{"id":1811,"date":"2019-10-20T19:28:00","date_gmt":"2019-10-20T17:28:00","guid":{"rendered":"http:\/\/countermelodypodcast.com\/?p=1811"},"modified":"2023-11-09T17:51:22","modified_gmt":"2023-11-09T16:51:22","slug":"episode-5-shirley-verrett-la-nera-callas-i","status":"publish","type":"post","link":"https:\/\/countermelodypodcast.com\/index.php\/2019\/10\/20\/episode-5-shirley-verrett-la-nera-callas-i\/","title":{"rendered":"Episode 5. Shirley Verrett 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\"><strong>Episode 5: Shirley Verrett I: La Nera Callas<\/strong> \u2013 <strong><em>Falcon&nbsp;<\/em>or Verdi soprano?<\/strong><\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"400\" height=\"40\" src=\"https:\/\/countermelody.blubrry.net\/?powerpress_embed=20-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\n\n\n<ul class=\"wp-block-social-links has-small-icon-size 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c-1.404,1.1-3.174,1.756-5.096,1.756c-0.331,0-0.658-0.019-0.979-0.057c1.816,1.164,3.973,1.843,6.29,1.843 c7.547,0,11.675-6.252,11.675-11.675c0-0.178-0.004-0.355-0.012-0.531C20.985,7.47,21.68,6.747,22.23,5.924z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share on Twitter<\/span><\/a><\/li>\n\n<li class=\"wp-social-link wp-social-link-pinterest  wp-block-social-link\"><a rel=\"noopener nofollow\" target=\"_blank\" href=\"https:\/\/pinterest.com\/pin\/create\/button\/?url=http%3A%2F%2Fcountermelodypodcast.com%2Findex.php%2F2019%2F10%2F20%2Fepisode-5-shirley-verrett-la-nera-callas-i%2F&#038;description=Episode%205.%20Shirley%20Verrett%20I\" class=\"wp-block-social-link-anchor\"><svg width=\"24\" height=\"24\" viewBox=\"0 0 24 24\" version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M12.289,2C6.617,2,3.606,5.648,3.606,9.622c0,1.846,1.025,4.146,2.666,4.878c0.25,0.111,0.381,0.063,0.439-0.169 c0.044-0.175,0.267-1.029,0.365-1.428c0.032-0.128,0.017-0.237-0.091-0.362C6.445,11.911,6.01,10.75,6.01,9.668 c0-2.777,2.194-5.464,5.933-5.464c3.23,0,5.49,2.108,5.49,5.122c0,3.407-1.794,5.768-4.13,5.768c-1.291,0-2.257-1.021-1.948-2.277 c0.372-1.495,1.089-3.112,1.089-4.191c0-0.967-0.542-1.775-1.663-1.775c-1.319,0-2.379,1.309-2.379,3.059 c0,1.115,0.394,1.869,0.394,1.869s-1.302,5.279-1.54,6.261c-0.405,1.666,0.053,4.368,0.094,4.604 c0.021,0.126,0.167,0.169,0.25,0.063c0.129-0.165,1.699-2.419,2.142-4.051c0.158-0.59,0.817-2.995,0.817-2.995 c0.43,0.784,1.681,1.446,3.013,1.446c3.963,0,6.822-3.494,6.822-7.833C20.394,5.112,16.849,2,12.289,2\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share on Pinterest<\/span><\/a><\/li>\n\n<li class=\"wp-social-link wp-social-link-linkedin  wp-block-social-link\"><a rel=\"noopener nofollow\" target=\"_blank\" 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screen-reader-text\">Share on LinkedIn<\/span><\/a><\/li>\n\n<li class=\"wp-social-link wp-social-link-email  wp-block-social-link\"><a rel=\"noopener nofollow\" target=\"_blank\" href=\"mailto:?body=http%3A%2F%2Fcountermelodypodcast.com%2Findex.php%2F2019%2F10%2F20%2Fepisode-5-shirley-verrett-la-nera-callas-i%2F&#038;subject=Episode%205.%20Shirley%20Verrett%20I\" class=\"wp-block-social-link-anchor\"><svg width=\"24\" height=\"24\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 24 24\"><path d=\"M9 11.8l6.1-4.5c.1.4.4.7.9.7h2c.6 0 1-.4 1-1V5c0-.6-.4-1-1-1h-2c-.6 0-1 .4-1 1v.4l-6.4 4.8c-.2-.1-.4-.2-.6-.2H6c-.6 0-1 .4-1 1v2c0 .6.4 1 1 1h2c.2 0 .4-.1.6-.2l6.4 4.8v.4c0 .6.4 1 1 1h2c.6 0 1-.4 1-1v-2c0-.6-.4-1-1-1h-2c-.5 0-.8.3-.9.7L9 12.2v-.4z\"\/><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share via Email<\/span><\/a><\/li><\/ul>\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\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 alignright\"><a class=\"wp-block-button__link\" href=\"https:\/\/countermelody.blubrry.net\/\">SUBSCRIBE VIA YOUR FAVORITE<br>PODCAST PLATFORM<\/a><\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter is-resized advgb-dyn-5318acde\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Winged-2.jpg\" alt=\"\" class=\"wp-image-1930\" width=\"629\" height=\"189\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Winged-2.jpg 506w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Winged-2-300x90.jpg 300w\" sizes=\"auto, (max-width: 629px) 100vw, 629px\" \/><\/figure>\n<\/div>\n\n\n<p>This episode is the first of two on one of my favorite singers, the <em>Zwischenfachs\u00e4ngerin<\/em>&nbsp;<strong><a href=\"https:\/\/shirleyverrett.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Shirley Verrett (opens in a new tab)\">Shirley Verrett<\/a><\/strong>. Renowned in the United States for her performances of Verdi mezzo-soprano parts, particularly Azucena in&nbsp;<em>Il Trovatore<\/em>&nbsp;and Eboli in&nbsp;<em>Don Carlo<\/em>, the late singer commanded an enormous repertoire, comprising&nbsp;<em>bel canto&nbsp;<\/em>and French roles, on which she left her indelible stamp. I focus in particular on the French roles she performed at the Op\u00e9ra de Paris from the mid-1980s through the early 1990s, as well as her Verdi soprano roles, including Amelia in&nbsp;<em>Un ballo in maschera<\/em>&nbsp;and the title role in&nbsp;<em>Aida<\/em>. Known in the Italian press as&nbsp;<em>La Nera Callas&nbsp;<\/em>[<em>The Black Callas<\/em>], Verrett is heard in this episode singing Brahms, Gluck, Saint-Sa\u00ebns, and Verdi roles for both soprano and mezzo-soprano. Special attention is paid to her newsworthy appearances with fellow African American mezzo-cum-soprano, Grace Bumbry, the first of which, a joint Carnegie Hall concert in 1982, honored the iconic contralto Marian Anderson on the occasion of her 80th birthday.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter advgb-dyn-b628ff2a\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-Anderson.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"410\" height=\"550\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-Anderson.jpg\" alt=\"\" class=\"wp-image-1901\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-Anderson.jpg 410w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-Anderson-224x300.jpg 224w\" sizes=\"auto, (max-width: 410px) 100vw, 410px\" \/><\/a><figcaption>Shirley Verrett, Marian Anderson, and Grace Bumbry in 1982:<br>great singers and important icons all! Photo by Henry Grossman.<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-custom-size\" style=\"font-size:30px\"><strong>RECORDINGS FEATURED ON THIS EPISODE<\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.youtube.com\/watch?v=2ZYp4owWG1k\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Brahms: <\/a><em><a href=\"https:\/\/www.youtube.com\/watch?v=2ZYp4owWG1k\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Alto Rhapsody<\/a><\/em><\/strong>. Shirley Verrett, Eugene Ormandy conducting the Philadelphia Orchestra and the Men of the Temple University Chorus, Robert Page, conductor. Recorded 1969. <a href=\"https:\/\/www.discogs.com\/Brahms-Shirley-Verrett-Eugene-Ormandy-The-Philadelphia-Orchestra-Brahms-Ormandy-Verret\/master\/1599163\"><strong>RCA Victor, ARL1-3001 <\/strong><\/a>(Released 1978). <\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft is-resized advgb-dyn-a66193fb\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/European-issue.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/European-issue.jpg\" alt=\"\" class=\"wp-image-1831\" width=\"272\" height=\"273\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/European-issue.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/European-issue-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/European-issue-300x300.jpg 300w\" sizes=\"auto, (max-width: 272px) 100vw, 272px\" \/><\/a><figcaption>The European issue of the Ormandy-Verrett <em>Alto Rhapsody<\/em> recording.<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Though this recording was first released in 1978, at which time Shirley Verrett had expanded her repertoire to include significant soprano roles, it was made in 1969. Verrett had a long-standing relationship with the Philadelphia Orchestra, beginning in 1960, when Leopold Stokowski hired her to sing the solos in <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/The-Philadelphia-Orchestra-Leopold-Stokowski-A-Historical-Reunion-Philadelphia-1960\/master\/535690\" target=\"_blank\">Manuel de Falla&#8217;s <\/a><\/strong><em><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/The-Philadelphia-Orchestra-Leopold-Stokowski-A-Historical-Reunion-Philadelphia-1960\/master\/535690\" target=\"_blank\">El amor brujo.<\/a><\/strong><\/em> Stokowski had earlier hoped to hire her to sing the role of the Waldtaube in Schoenberg&#8217;s <em>Gurre-Lieder<\/em> with the Houston Symphony, but the board of the symphony refused to let her appear because she was black. At any rate, Verrett is heard here in her absolute mezzo prime. It is particularly moving to hear her singing this part with this conductor and this orchestra, since in 1939 Ormandy and his Philadelphians made <strong><a href=\"https:\/\/www.youtube.com\/watch?v=lAvX_UwmQzQ\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">an iconic recording of the same piece<\/a><\/strong> with the distinguished contralto <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.npr.org\/2019\/08\/27\/753475676\/marian-anderson-the-most-modest-trailblazer\" target=\"_blank\">Marian Anderson<\/a><\/strong> that is even more beautiful than <strong><a rel=\"noreferrer noopener\" aria-label=\"her later 1951 recording with Fritz Reiner (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=3wdSIxI0VdA\" target=\"_blank\">her later 1951 recording with Fritz Reiner<\/a><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Marian-Anderson-Fritz-Reiner-RCA-Victor-Symphony-Orchestra-Robert-Shaw-Chorale-Of-Mens-Voices-Robert\/release\/6274014\" target=\"_blank\">.<\/a><\/strong> Verrett&#8217;s collaborations with Ormandy and the Philadelphia Orchestra include a recording of Mendelssohn&#8217;s <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/The-Philadelphia-Orchestra-Eugene-Ormandy-Felix-Mendelssohn-Bartholdy-Mendelssohn-Elijah\/release\/8140432\" target=\"_blank\">Elijah released in 1970<\/a><\/strong> with  the Welsh tenor <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.richardlewis-tenor.co.uk\/\" target=\"_blank\">Richard Lewis<\/a><\/strong> and the Finnish bass-baritone <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"http:\/\/www.tom-krause.com\/inhalt.php?id=5585&amp;menu_level=1&amp;id_mnu=5585&amp;id_kunden=540\" target=\"_blank\">Tom Krause<\/a><\/strong> (two particular favorites of mine) and a <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.worldcat.org\/title\/transcription-of-wfln-radio-broadcast-1975-january-25\/oclc\/84698001\" target=\"_blank\">1975 concert with Luciano Pavarotti<\/a><\/strong> in celebration of the 118th anniversary of the Philadelphia Academy of Music.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Marian-Anderson-painting.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"832\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Marian-Anderson-painting-832x1024.jpg\" alt=\"\" class=\"wp-image-1828\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Marian-Anderson-painting-832x1024.jpg 832w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Marian-Anderson-painting-244x300.jpg 244w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Marian-Anderson-painting-768x946.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Marian-Anderson-painting.jpg 1072w\" sizes=\"auto, (max-width: 832px) 100vw, 832px\" \/><\/a><figcaption>An exquisite painting by William H. Johnson (painted ca. 1945)<br>of the great contralto and civil rights icon Marian Anderson<\/figcaption><\/figure>\n\n\n\n<div style=\"height:44px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-d18e06f8\"><\/div>\n\n\n\n<p>Verdi: O don fatale (<em>Don Carlo<\/em>). Two live recordings. The first is from the <strong><a href=\"https:\/\/www.youtube.com\/watch?v=pUkevy0ik_E\">Wiener Staatsoper 25 October 1970<\/a><\/strong>. <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"http:\/\/www.musicweb-international.com\/classrev\/2005\/Sep05\/verdi_doncarlo_C649053D.htm\" target=\"_blank\">Horst Stein<\/a><\/strong> conducting the Orchestra of the Wiener Staatsoper. The cast includes Corelli, Janowitz, Ghiaurov, Waechter, Talvela, and Blegen.  The second is Shirley Verrett&#8217;s final Eboli at the<strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=XSGLopkGGvI\" target=\"_blank\"> Metropolitan Opera, 12 April 1986<\/a><\/strong>. David Stivender conducted a cast which included Giuliano Ciannella, Aprile Millo, Leo Nucci, James Morris, Dimitri Kavrakos, and Hei-Kyung Hong. It is interesting to contrast Verrett&#8217;s two performances nearly 16 years apart. In both versions she brings her characteristic full-throated intensity. Though by 1986 the voice has lost a certain amount of its plushness, she sounds for the most part at the age of 55 very much still in control of her instrument. As for the earlier performance, I am going to go out on a limb and make the unprovable statement that it is simply the greatest performance of this aria that has ever taken place in the history of the universe.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Eboli-Wien-1970.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"744\" height=\"780\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Eboli-Wien-1970.jpg\" alt=\"\" class=\"wp-image-1833\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Eboli-Wien-1970.jpg 744w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Eboli-Wien-1970-286x300.jpg 286w\" sizes=\"auto, (max-width: 744px) 100vw, 744px\" \/><\/a><figcaption>Shirley Verrett as the Princess Eboli, Wiener Staatsoper 1970.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-af21a01c\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft advgb-dyn-d397eda4\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-et-al-Trovatore-Cast.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"205\" height=\"300\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-et-al-Trovatore-Cast.jpg\" alt=\"\" class=\"wp-image-1790\"\/><\/a><figcaption>The cast for the 1976 Met <em>Trovatore<\/em>.<\/figcaption><\/figure>\n<\/div>\n\n\n<p> Verdi: Deh, rallentate, o barbari (<em>Il Trovatore<\/em>). <strong><a href=\"https:\/\/www.youtube.com\/watch?v=rIXr4-TptQc&amp;t=221s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Live performance from the Metropolitan Opera, 1976<\/a><\/strong>. Gianandrea Gavazzeni conducted the Metropolitan Opera Orchestra and Chorus in a performance the cast of which included Renata Scotto, Luciano Pavarotti, and Louis Quilico. It still boggles my mind that this video footage, however grainy, actually exists. Someone must have smuggled a video camera into the house and furtively recorded these excerpts (there are several other clips from this performance that are also available on YouTube). Though the other principals as heard here are also in fine form, it is Verrett&#8217;s Azucena that blazes forth with particular intensity. (BTW, dig her frames on the photo at left!)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Ciannella-Trovatore-1987.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"629\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Ciannella-Trovatore-1987.jpg\" alt=\"\" class=\"wp-image-1835\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Ciannella-Trovatore-1987.jpg 960w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Ciannella-Trovatore-1987-300x197.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Ciannella-Trovatore-1987-768x503.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/a><figcaption>Shirley Verrett as Azucena and Giuliano Ciannella as Manrico<br>in the Lyric Opera of Chicago production of <em>Il Trovatore<\/em>, 1987,<\/figcaption><\/figure>\n\n\n\n<p>Verdi: Ecco l&#8217;orrido campo (<em>Un ballo in maschera<\/em>). <strong><a href=\"https:\/\/www.youtube.com\/watch?v=yn-5Pz-xcFc\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Live 1977 performance from La Scala <\/a><\/strong>with Claudio Abbado conducting. The cast included Luciano Pavarotti, Piero Cappuccilli, Elena Obraztsova, and Daniela Mazzucato. As noted on the podcast, Verrett&#8217;s performance here was not considered a success. Perhaps it lacked the iconic quality of her appearances as Lady Macbeth at La Scala the previous season, but on its own terms, and based on what one hears in this recording, she proves herself a full-fledged Verdi soprano. For those interested, the complete recording is available for purchase <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/operadepot.com\/products\/verdi-un-ballo-in-maschera-mara-zampieri-luciano-pavarotti-piero-cappuccilli-obraztsova-abbado?_pos=1&amp;_sid=fee674e7a&amp;_ss=r\" target=\"_blank\">here<\/a><\/strong>  at a reasonable price. (Incidentally, by the time the opera was <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"http:\/\/www.operaonvideo.com\/un-ballo-in-maschera-milan-1978-pavarotti-cappuccilli-zampieri-obraztsova\/\" target=\"_blank\">filmed for television the following season<\/a><\/strong>, Verrett had already been replaced by Mara Zampieri as Amelia, a singer I honestly have never &#8220;gotten.&#8221;)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Pavarotti.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"3011\" height=\"2170\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/crop-0-0-3011-2170-0-Verrett-Pavarotti.jpg\" alt=\"\" class=\"wp-image-1869\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/crop-0-0-3011-2170-0-Verrett-Pavarotti.jpg 3011w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/crop-0-0-3011-2170-0-Verrett-Pavarotti-300x216.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/crop-0-0-3011-2170-0-Verrett-Pavarotti-768x553.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/crop-0-0-3011-2170-0-Verrett-Pavarotti-1024x738.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/crop-0-0-3011-2170-0-Verrett-Pavarotti-1600x1153.jpg 1600w\" sizes=\"auto, (max-width: 3011px) 100vw, 3011px\" \/><\/a><figcaption>Beloved colleagues<\/figcaption><\/figure>\n\n\n\n<p>Pavarotti and Verrett shared numerous memorable performances together including not only this <em>Ballo<\/em>, but also, at the Met, <em>Tosca<\/em> and <em>La Favorita<\/em>, as well as the late career 1990 recording of <em><strong><a href=\"https:\/\/www.discogs.com\/Giuseppe-Verdi-Luciano-Pavarotti-Zubin-Mehta-Il-Trovatore\/release\/7298849\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Trovatore<\/a><\/strong><\/em><strong><a href=\"https:\/\/www.discogs.com\/Giuseppe-Verdi-Luciano-Pavarotti-Zubin-Mehta-Il-Trovatore\/release\/7298849\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\"> <\/a><\/strong>(released in 1995) in which Verrett&#8217;s Azucena commands particular attention.<\/p>\n\n\n\n<div style=\"height:24px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-9821cc03\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized advgb-dyn-c959628c\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-Opera-News-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-Opera-News-2.jpg\" alt=\"\" class=\"wp-image-1847\" width=\"305\" height=\"413\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-Opera-News-2.jpg 576w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-Opera-News-2-221x300.jpg 221w\" sizes=\"auto, (max-width: 305px) 100vw, 305px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p>Puccini: Vissi d&#8217;arte (<em>Tosca<\/em>). <strong><a href=\"https:\/\/youtu.be\/Cti66FoWv3Y?t=1698\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Live performance from Tanglewood, 31 July 1980<\/a><\/strong>. Seiji Ozawa conducts the Boston Symphony Orchestra. Cast includes Veriano Luchetti, Sherrill Milnes, Italo Tajo, and Kim Scown. People love to take pot shots at Verrett&#8217;s assumption of the role of Floria Tosca. I don&#8217;t get what the criticism is all about. I think it suits her down to a T. I know that she was having a particularly hard time with her allergies around the time she was first singing the role at the Met (a friend of mine recalled seeing her in his ENT&#8217;s office apparently in a compromised state), but I find her performance there (and here, in the Tanglewood performance) thrilling. For one thing, her high notes sail forth with ease and assurance and in her Vissi d&#8217;arte in particular, she sings with an ideal sense of line, shape, and feeling. It is also not insignificant that she does <em>not<\/em> for once turn the aria into a dirge (don&#8217;t get me started on this!)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Tosca-Caricature-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"718\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Tosca-Caricature-2.jpg\" alt=\"\" class=\"wp-image-1848\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Tosca-Caricature-2.jpg 695w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Tosca-Caricature-2-290x300.jpg 290w\" sizes=\"auto, (max-width: 695px) 100vw, 695px\" \/><\/a><figcaption> The Al Hirschfeld caricature of the stars of the Met&#8217;s  December 1978 telecast of <em>Tosca<\/em><br>(Shirley Verrett, Luciano Pavarotti, Cornell MacNeil, Italo Tajo) <\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex advgb-dyn-fbdc4fc5\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"765\" data-id=\"1858\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-New-Orleans-3.jpg\" alt=\"\" class=\"wp-image-1858\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-New-Orleans-3.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-New-Orleans-3-235x300.jpg 235w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption> Three stills from Verrett&#8217;s portrayal of Tosca in her home town of New Orleans, 1983 <\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"753\" data-id=\"1859\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-New-Orleans.jpg\" alt=\"\" class=\"wp-image-1859\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-New-Orleans.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Tosca-New-Orleans-239x300.jpg 239w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption>Three stills from Verrett&#8217;s portrayal of Tosca in her home town of New Orleans, 1983<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"758\" data-id=\"1860\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Beniamino-Prior-New-Orleans-Tosca-1984.jpg\" alt=\"\" class=\"wp-image-1860\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Beniamino-Prior-New-Orleans-Tosca-1984.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Beniamino-Prior-New-Orleans-Tosca-1984-237x300.jpg 237w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption>With Beniamino Prior as Cavaradossi, New Orleans 1983<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<div style=\"height:34px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-07ded97b\"><\/div>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Grace-Shirley-Marian.png\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"681\" height=\"344\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Grace-Shirley-Marian.png\" alt=\"\" class=\"wp-image-1912\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Grace-Shirley-Marian.png 681w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Grace-Shirley-Marian-300x152.png 300w\" sizes=\"auto, (max-width: 681px) 100vw, 681px\" \/><\/a><figcaption>Three divas <em>above the fold<\/em> in the February 1, 1982 issue of <em>The New York Times<\/em>.<\/figcaption><\/figure>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=S_-jzmcdDBs\" target=\"_blank\">Rehearsal and interview with Shirley Verrett and Grace Bumbry<\/a><\/strong> (if I am not mistaken, that is <strong><a href=\"https:\/\/africlassical.blogspot.com\/2011\/05\/new-york-amsterdam-news-suite-sounds.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Warren Wilson<\/a><\/strong> at the piano). This is one of my favorite YouTube clips of all time. Everything about it is perfection: the singing, the slightly barbed camaraderie, the scarf magic. I believe this clip is from the televised appearance of the two divas at <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.imdb.com\/title\/tt0351008\/?ref_=nm_flmg_slf_4\" target=\"_blank\">Covent Garden in 1984<\/a><\/strong>. (For more, see directly below.)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-NYT-Magazine-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"931\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-NYT-Magazine-2-1024x931.jpg\" alt=\"\" class=\"wp-image-1851\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-NYT-Magazine-2-1024x931.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-NYT-Magazine-2-300x273.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-NYT-Magazine-2-768x698.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Bumbry-NYT-Magazine-2.jpg 1166w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption>The January 31, 1982 Carnegie Hall concert celebrating<br>Marian Anderson&#8217;s 80th [sic] birthday generated enormous publicity,<br>including a <strong>New York Times Magazine<\/strong> cover story.<\/figcaption><\/figure>\n\n\n\n<p>Verdi: Fu la sorte dell&#8217;armi (<em>Aida<\/em>). Shirley Verrett (Aida) and Grace Bumbry (Amneris) in a <strong><a href=\"https:\/\/www.youtube.com\/watch?v=pdqOAD7SecM\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\"> 1984 PBS telecast from Covent Garden recorded live on 4 December 1983<\/a><\/strong> with Michelangelo Veltri conducting. Neither diva, in my opinion, has ever sounded better. An absolutely stunning performance that desperately needs to be issued on DVD. Take note of what the <em><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"http:\/\/csmonitor.com\/1984\/0425\/042510.html\" target=\"_blank\">Christian Science Monitor <\/a><\/strong><\/em><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"http:\/\/csmonitor.com\/1984\/0425\/042510.html\" target=\"_blank\">critic Arthur Unger<\/a><\/strong> has to say about this performance.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-Covent-Garden-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"972\" height=\"720\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-Covent-Garden-2.jpg\" alt=\"\" class=\"wp-image-1855\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-Covent-Garden-2.jpg 972w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-Covent-Garden-2-300x222.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-Covent-Garden-2-768x569.jpg 768w\" sizes=\"auto, (max-width: 972px) 100vw, 972px\" \/><\/a><figcaption>Two divas &#8220;on the same stage [not] scratching each other&#8217;s eyes out.&#8221; <br>A still from the 1984 telecast recorded at Covent Garden, 4 December 1983.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:22px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-6e062361\"><\/div>\n\n\n\n<p>Hector Berlioz: Je vais mourir (<em>Les Troyens<\/em>). From a <strong><a href=\"https:\/\/www.youtube.com\/watch?v=H_FMjUgTS0I\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">live 1969 Rome concert performance <\/a><\/strong>of the abridged opera. The Orchestra Sinfonica e Coro di Roma della RAI is conducted by  Georges Pr\u00eatre. Others in the cast include Nicolai Gedda, Marilyn Horne, Robert Massard, and Veriano Luchetti. Shirley Verrett, along with   <a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=XP8kZPcDVcs\" target=\"_blank\">R\u00e9gine Crespin<\/a> and <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=CEPsskcf9GU\" target=\"_blank\">Janet Baker<\/a><\/strong> (even singing the role in English!) was one of the all-time supreme interpreters of Didon. See below for more links to live excerpts.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Didon-Bastille-1990-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"802\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Didon-Bastille-1990-2.jpg\" alt=\"\" class=\"wp-image-1862\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Didon-Bastille-1990-2.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Didon-Bastille-1990-2-224x300.jpg 224w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><figcaption>Shirley Verrett as Didon (and, if I&#8217;m not mistaken, Nadine Denize as Anna)<br>in the 1990 inaugural production of <em>Les Troyens <\/em>at the Op\u00e9ra Bastille.<\/figcaption><\/figure>\n\n\n\n<p><strong><a href=\"https:\/\/www.youtube.com\/watch?v=ZMsp_ok7DBs\">Cole Porter: I Love Paris<\/a><\/strong>. This is a very brief clip from a short about Shirley Verrett&#8217;s years in Paris. This was evidently telecast on <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Paris_Premi%C3%A8re\">Paris Premi\u00e8re<\/a><\/strong>, a cable channel which debuted in 1986. I have been unable to find out anything more substantial about this program. It is magnificent to hear Shirley toss off a few phrases of the iconic Cole Porter song. I only wish it were longer! It&#8217;s worth watching the entire clip to hear Verrett in fascinating video excerpts from many of the roles she sang in Paris.<\/p>\n\n\n\n<p>Incidentally, I just found this wonderful program from <strong><a href=\"https:\/\/www.francemusique.fr\/emissions\/une-heure-une-voix\/shirley-verrett-mezzo-soprano-63240\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">France Musique that commemorates Verrett<\/a><\/strong>, which features a number of rare live recordings, as well as excerpts from some of her best recordings. Enjoy!<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-af21a01c\"><\/div>\n\n\n\n<p>Christoph Willibald Gluck:  Non cet affreux devoir&#8230; Je t&#8217;implore et je tremble (<em>Iphig\u00e9nie en Tauride<\/em>). <strong><a href=\"https:\/\/youtu.be\/nKeJdsJcvQU?t=780\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Live 1985 performance (possibly 16 October), Op\u00e9ra de Paris (Palais Garnier)<\/a><\/strong>. Though it is not easy to find complete information about this performance, I believe it was conducted by Kenneth Montgomery on the date cited above. This is possibly one of Verrett&#8217;s most successful late career assumptions, though the voice sounds a little shrill and driven, possibly because of the low fidelity of the recording. Nevertheless, the electricity she generates is palpable.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verret-Iphigenie-Daniel-Cande.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"739\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verret-Iphigenie-Daniel-Cande-739x1024.jpg\" alt=\"\" class=\"wp-image-1864\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verret-Iphigenie-Daniel-Cande-739x1024.jpg 739w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verret-Iphigenie-Daniel-Cande-217x300.jpg 217w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verret-Iphigenie-Daniel-Cande-768x1064.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verret-Iphigenie-Daniel-Cande.jpg 1220w\" sizes=\"auto, (max-width: 739px) 100vw, 739px\" \/><\/a><figcaption>Shirley Verrett as Iphig\u00e9nie in the Pier Luigi Pizzi production<br>of <em>Iphig\u00e9nie en Tauride<\/em>,  Op\u00e9ra Bastille  1985. Photo by Daniel Cande, Gallica\/Bnf.fr.<\/figcaption><\/figure>\n\n\n\n<p>Christoph Willibald Gluck: Divinit\u00e9s du Styx (<em>Alceste<\/em>).<strong><a href=\"https:\/\/www.youtube.com\/watch?v=vyPAn_Qnqw8\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\"> Live 1985 dress rehearsal, Op\u00e9ra de Paris (Palais Garnier)<\/a><\/strong>. A few things are remarkable about this performance. First of all, the production was directed by Robert Wilson, whose work with Jessye Norman was discussed in last week&#8217;s episode. Verrett finds a wonderful balance between his stylized postures and her natural tendency to give to the nth degress. Second, it is a dress rehearsal and in certain aspects Verrett can be heard holding back slightly vocally. And yet her powerful high notes are completely on point. (The photos below of that production, as with the Iphig\u00e9nie  photo above, are by  <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/fr.wikipedia.org\/wiki\/Daniel_Cande\" target=\"_blank\">Daniel Cande<\/a><\/strong>, Gallica\/Bnf.fr.)<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex advgb-dyn-f0d8fa33\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"515\" data-id=\"1866\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-1985.jpg\" alt=\"\" class=\"wp-image-1866\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-1985.jpg 960w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-1985-300x161.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-1985-768x412.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"651\" data-id=\"1867\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-Daniel-Cande-Gallica-Bnf.fr_.jpg\" alt=\"\" class=\"wp-image-1867\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-Daniel-Cande-Gallica-Bnf.fr_.jpg 960w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-Daniel-Cande-Gallica-Bnf.fr_-300x203.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Alceste-Daniel-Cande-Gallica-Bnf.fr_-768x521.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/figure>\n<\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-af21a01c\"><\/div>\n\n\n\n<p>Giacomo Meyerbeer: Sur mes genoux (<em>L&#8217;Africaine<\/em>). <strong><a href=\"https:\/\/youtu.be\/xC5L5zZ2TYE?t=2712\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Live recording from San Francisco Opera, 3 November 1973<\/a><\/strong>. Jean Perisson, conductor; the cast includes Evelyn Mandac and Simon Estes. The role of Selika was a perfect fit for Shirley Verrett, yet she only sang it twice, both times in San Francisco, once in 1973 and <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"http:\/\/www.operaonvideo.com\/lafricaine-san-francisco-1989-domingo-swenson-diaz-verrett\/\" target=\"_blank\">again 16 years later, this time filmed for telecast,<\/a><\/strong> both times with a tenor who shall remain nameless.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter advgb-dyn-02729338\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Selika.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"627\" height=\"960\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Selika.jpg\" alt=\"\" class=\"wp-image-1872\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Selika.jpg 627w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Selika-196x300.jpg 196w\" sizes=\"auto, (max-width: 627px) 100vw, 627px\" \/><\/a><figcaption>The 1973 San Francisco <em>L&#8217;Africaine<\/em> production. If Mme. Verrett appears<br>to be saying &#8220;Get away from me!&#8221;, most of us can sympathize with her reaction!<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:31px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-1aac33ff\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright is-resized advgb-dyn-9b0ab4ad\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Carmen.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Carmen.jpg\" alt=\"\" class=\"wp-image-1875\" width=\"255\" height=\"373\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Carmen.jpg 430w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Carmen-205x300.jpg 205w\" sizes=\"auto, (max-width: 255px) 100vw, 255px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p>Georges Bizet: Final Scene (<em>Carmen<\/em>). <strong><a href=\"https:\/\/youtu.be\/YNp5FSM0ELs?t=9590\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Live performance from the Royal Opera House, Covent Garden, 4 July 1973<\/a><\/strong>. Georg Solti conducts a cast that includes Kiri Te Kanawa,  Jos\u00e9&nbsp; van Dam, and Thomas Allen. As mentioned on the podcast, the role of Carmen provided Verrett with some of her most important debuts, including at the Bolshoi in 1963 and at the Metropolitan Opera in 1968. Though eventually she dropped the role from her repertoire, she gives a pitch-perfect performance of the role in this live performance from 1973. The story is that she was also supposed to record the role for <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Sir-Georg-Solti-Conducts-Bizet-Troyanos-Domingo-Te-Kanawa-Van-Dam-Carmen\/release\/6915234\" target=\"_blank\">London\/Decca<\/a><\/strong> but had to withdraw from the recording and was replaced by the magnificent Tatiana Troyanos, who gave a complete different but equally valid interpretation of the role. Meanwhile, we are <em>very<\/em> lucky to have this 1973 live performance in excellent sound from Covent Garden.<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-af21a01c\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft is-resized advgb-dyn-5806918f\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Vickers-2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Vickers-2.jpg\" alt=\"\" class=\"wp-image-1879\" width=\"406\" height=\"588\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Vickers-2.jpg 522w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Vickers-2-207x300.jpg 207w\" sizes=\"auto, (max-width: 406px) 100vw, 406px\" \/><\/a><figcaption>She&#8217;s all amorous until she notices that he&#8217;s not watching her.<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Camille Saint-Sa\u00ebns : Two excerpts from <em>Samson et Dalila<\/em>. The first, Amour, viens aider ma faiblesse is from a <strong><a href=\"https:\/\/www.youtube.com\/watch?v=SPpOtky9u2k&amp;feature=youtu.be&amp;t=740\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">September 1980 performance at the San Francisco Opera<\/a><\/strong> conducted by Julius Rudel with a cast including<a href=\"https:\/\/youtu.be\/SPpOtky9u2k?t=740\"> <\/a>Wolfgang Brendel, Arnold Voketaitis, and Kevin Langan. As in the past several examples, the tenor is a defamed sexual harrasser who shall remain nameless. The second example, Mon c\u0153ur s\u2019ouvre \u00e0 ta voix. is from a <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=sq3H42NjmIU\" target=\"_blank\">Covent Garden production on 6 October in the same year<\/a><\/strong> directed by Elijah Moshinsky. Here Verrett&#8217;s conductor is Colin Davis and her Samson is <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.theguardian.com\/music\/2016\/jun\/28\/from-the-classical-archive-tenor-jon-vickers-the-music-is-only-the-beginning\" target=\"_blank\">Jon Vickers<\/a><\/strong>, a brilliant actor and singer whose reputation is somewhat tarnished by his ingrained homophobia, but unlike the previously mentioned defamed tenor, is a genuinely great artist. Please note: this is the performance that I cite on the podcast as providing a stunning example of Verrett&#8217;s greatness and subtlety as an actor. <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=sq3H42NjmIU\" target=\"_blank\">Don&#8217;t miss this!<\/a><\/strong><\/p>\n\n\n\n<div style=\"height:57px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-987d792a\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong> Corn\u00e9lie Falcon. The shortest influential career in operatic history?<\/strong><\/h4>\n\n\n\n<p>I had intended to write a long introduction to the important French singer  Marie-Corn\u00e9lie Falcon (1814-1897), who created, among other roles, Rachel in Fromental Hal\u00e9vy&#8217;s <em>La Juive<\/em>, Valentine in Giacomo Meyerbeer&#8217;s <em>Les Huguenots<\/em>, and, interestingly,  Pamira in Gioacchino Rossini\u2019s <em>Le si\u00e8ge de Corinthe<\/em> (the role, interestingly, which Beverly Sills sang at her belated 1975 Met debut opposite Shirley Verrett&#8217;s assumption of the pants role of Neocle in the curious Italian hybrid version of the opera called <em>L&#8217;assedio di Corinto<\/em>). Falcon&#8217;s career ended after only five years when, at the age of 23, she lost her voice during a performance of the role of  L\u00e9onor in Louis Niedermeyer\u2019s <em>Stradella<\/em>. (Certainly an opera and a composer lost somewhere along the side of the road in operatic history!) For one whose career lasted such a short time, Falcon definitely created a lasting impact, even lending her name to a new (if infrequently used) voice category, the <em>falcon<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex advgb-dyn-ca6ecfeb\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"510\" height=\"400\" data-id=\"1882\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Cornelie-Falcon.jpg\" alt=\"\" class=\"wp-image-1882\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Cornelie-Falcon.jpg 510w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Cornelie-Falcon-300x235.jpg 300w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"862\" height=\"1024\" data-id=\"1883\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-2-862x1024.jpg\" alt=\"\" class=\"wp-image-1883\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-2-862x1024.jpg 862w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-2-253x300.jpg 253w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-2-768x912.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-2.jpg 1188w\" sizes=\"auto, (max-width: 862px) 100vw, 862px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"470\" data-id=\"1884\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-3.jpg\" alt=\"\" class=\"wp-image-1884\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-3.jpg 366w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-3-234x300.jpg 234w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"281\" height=\"400\" data-id=\"1885\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-4.jpeg\" alt=\"\" class=\"wp-image-1885\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-4.jpeg 281w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-4-211x300.jpeg 211w\" sizes=\"auto, (max-width: 281px) 100vw, 281px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"220\" height=\"349\" data-id=\"1886\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-5.jpg\" alt=\"\" class=\"wp-image-1886\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-5.jpg 220w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-5-189x300.jpg 189w\" sizes=\"auto, (max-width: 220px) 100vw, 220px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"711\" height=\"1024\" data-id=\"1887\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-as-Rachel-711x1024.jpg\" alt=\"\" class=\"wp-image-1887\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-as-Rachel-711x1024.jpg 711w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-as-Rachel-208x300.jpg 208w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-as-Rachel-768x1106.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-as-Rachel-1600x2305.jpg 1600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Falcon-as-Rachel.jpg 1700w\" sizes=\"auto, (max-width: 711px) 100vw, 711px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"220\" height=\"320\" data-id=\"1888\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/falcon.jpg\" alt=\"\" class=\"wp-image-1888\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/falcon.jpg 220w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/falcon-206x300.jpg 206w\" sizes=\"auto, (max-width: 220px) 100vw, 220px\" \/><\/figure>\n<\/figure>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-afe3be10\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Modern-day <em>falcons<\/em>.<\/strong><\/h3>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Three-Falcons-in-one-photo.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"794\" height=\"960\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Three-Falcons-in-one-photo.jpg\" alt=\"\" class=\"wp-image-1897\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Three-Falcons-in-one-photo.jpg 794w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Three-Falcons-in-one-photo-248x300.jpg 248w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Three-Falcons-in-one-photo-768x929.jpg 768w\" sizes=\"auto, (max-width: 794px) 100vw, 794px\" \/><\/a><figcaption> Three <em>falcons<\/em> in one photo: Shirley Verrett, Maria Ewing, and R\u00e9gine Crespin<br>in this beautifully-composed shot by Jack Mitchell taken at the time<br>of the 1977 Metropolitan Opera premiere of <em>The Dialogues of the Carmelites<\/em>. <\/figcaption><\/figure>\n\n\n\n<p>Some of the most interesting (and occasionally controversial) singers in the recent past could be considered <em>falcons<\/em>, among them R\u00e9gine Crespin, Grace Bumbry, Jessye Norman, Maria Ewing, Anna Caterina Antonacci, Lorraine Hunt Lieberson, and Christa Ludwig. One could even make the case for Maria Callas as a potential <em>falcon<\/em>, if her career had remained active in the early 1960s and she had taken on more French and<em> zwischenfach<\/em> repertoire.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter advgb-dyn-91fd6b66\"><img loading=\"lazy\" decoding=\"async\" width=\"807\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-2-1-807x1024.jpg\" alt=\"\" class=\"wp-image-1909\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-2-1-807x1024.jpg 807w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-2-1-237x300.jpg 237w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-2-1-768x974.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Grace-2-1.jpg 1577w\" sizes=\"auto, (max-width: 807px) 100vw, 807px\" \/><figcaption>Verrett and Bumbry: Together again for the first time!<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:22px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-6e062361\"><\/div>\n\n\n\n<p>How about this? I promise to whatever few people actually visit this page, to bring you a more thorough discussion of the purveyors of the so-called <em>falcon<\/em> <em>fach  <\/em>(heavens, what a linguistic mash-up that is!) and the roles that they sing in the second installment of <em>La Nera Callas<\/em> in two weeks. In anticipation, enjoy these marvelous photos below of some of the prime <em>falcons <\/em>in recent operatic history.<\/p>\n\n\n\n<figure class=\"alignwide wp-block-coblocks-gallery-masonry alignwide masonry-grid has-medium-gutter advgb-dyn-677d5d1d\">\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"231\" height=\"356\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Christa-1.jpg\" alt=\"Image gallery image\" class=\"wp-image-1900\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Christa-1.jpg 231w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Christa-1-195x300.jpg 195w\" sizes=\"auto, (max-width: 231px) 100vw, 231px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"315\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Sills-Corinto-2.jpg\" alt=\"Image gallery image\" class=\"wp-image-1893\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Sills-Corinto-2.jpg 200w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Sills-Corinto-2-190x300.jpg 190w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"562\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Jessye-1.jpg\" alt=\"Image gallery image\" class=\"wp-image-1892\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Jessye-1.jpg 1000w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Jessye-1-300x169.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Jessye-1-768x432.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Antonacci-1024x1024.jpg\" alt=\"Image gallery image\" class=\"wp-image-1891\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Antonacci-1024x1024.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Antonacci-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Antonacci-300x300.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Antonacci-768x768.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Antonacci.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"489\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Bumblebee-on-Jaguar.jpg\" alt=\"Image gallery image\" class=\"wp-image-1890\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Bumblebee-on-Jaguar.jpg 350w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Bumblebee-on-Jaguar-215x300.jpg 215w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"803\" height=\"1000\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Maria-Ewing.jpg\" alt=\"Image gallery image\" class=\"wp-image-1906\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Maria-Ewing.jpg 803w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Maria-Ewing-241x300.jpg 241w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Maria-Ewing-768x956.jpg 768w\" sizes=\"auto, (max-width: 803px) 100vw, 803px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large masonry-brick\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"507\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/LHL-2.jpg\" alt=\"Image gallery image\" class=\"wp-image-1907\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/LHL-2.jpg 400w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/LHL-2-237x300.jpg 237w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/figure>\n<\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Additional listening<\/strong><\/h3>\n\n\n\n<p>I have given myself ONE ADDITIONAL HOUR to work on this Show Notes page today. In that time, I want to present you with as many YouTube clips as possible of today&#8217;s subject.<\/p>\n\n\n\n<p>I want to pay particular tribute to the YouTube user <strong><a href=\"https:\/\/www.youtube.com\/watch?v=Dovhf99Hbgw&amp;list=PLBC21C6D49A8AC258\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">foropera<\/a><\/strong>, who has done opera lovers the enormous service of posting rare clips, both audio and video, of Mme. Verrett. S\/he tends to post only short snippets, which can sometimes be a little irritating when one wants to hear full arias or movements, but in spite of that, we are much in this poster&#8217;s debt.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett singing Brahms<\/strong><\/h4>\n\n\n\n<p>This is a fascinating relic from Shirley Verrett&#8217;s student days at Juilliard: <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=S3T_rIbZEc4\" target=\"_blank\">two 1957 performances of the Brahms <\/a><\/strong><em><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=S3T_rIbZEc4\" target=\"_blank\">Vier  ernste Ges\u00e4nge<\/a><\/strong><\/em>, both with pianist Marius Nygaard. One can hear even in this very early clip, Verrett&#8217;s intense connection with Brahms&#8217;s music. In the follow-up episode in two weeks, I will also feature more of Shirley&#8217;s work in recital.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett as Eboli in <em>Don Carlo<\/em><\/strong><\/h4>\n\n\n\n<p>Here is <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=WXIaXqhnNBA\" target=\"_blank\">the complete performance of the opera from the Wiener Staatsoper in 1970 referenced above<\/a><\/strong> featuring Horst Stein conducting a cast including Corelli, Janowitz, Ghiaurov, Talvela, and Blegen (appropriately, as the Heavenly Voice). Astoundingly, this production marked Shirley Verrett&#8217;s sole appearances at the Wiener Staatsoper!<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett as Azucena in <em>Il Trovatore<\/em><\/strong><\/h4>\n\n\n\n<p>Here is <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=27RKYFyFUGc\" target=\"_blank\">a complete performance from the San Francisco Opera<\/a><\/strong> (opening night of the 1975-76 season, 17 September 1975, featuring Richard Bonynge conducting a cast including Luciano Pavarotti, Joan Sutherland, Ingvar Wixell, and Clifford Grant.<\/p>\n\n\n\n<p>Incidentally, here are the other live video clips from the legendary 1976 Met <em>Trovatore<\/em> featuring Pavarotti, Scotto, and Quilico, with Gianadrea Gavazzeni conducting.<\/p>\n\n\n\n<ol class=\"wp-block-list\"><li>The Act Two scene between Manrico (Pavarotti) and Azucena (Verrett) which includes the hair-raising <strong><a href=\"https:\/\/www.youtube.com\/watch?v=D8vGx7WpIkQ\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Condotta ell&#8217;era in ceppi and the subsequent duet<\/a><\/strong>.<\/li><li>The Act Two scene which includes Louis Quilico as di Luna singing <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=D8vGx7WpIkQ\" target=\"_blank\">Il balen del suo sorriso and Renata Scotto as Leonora singing D&#8217;amor sull&#8217;ali rosee<\/a><\/strong>.<\/li><li>Renata Scotto singing the <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=uEq5BX0q1rk\" target=\"_blank\">Miserere and the often-cut cabaletta Tu vedrai che amore in terra<\/a><\/strong>. (If you love Scotto, ya GOTTA watch this one!)<\/li><li>Pavarotti and Verrett singing <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=D2jf0vVJkK8\" target=\"_blank\">Ai nostri monti, a short but tender excerpt from the final scene<\/a><\/strong>.<\/li><\/ol>\n\n\n\n<p>In addition, here is the audio of <strong><a href=\"https:\/\/www.youtube.com\/watch?v=vreJ12uKCtQ&amp;t=3896s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">a complete performance from that run<\/a><\/strong>, this time with Matteo Manueguerra as di Luna.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett in <em>Un ballo in maschera<\/em><\/strong><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li>As Amelia.  <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=sXBCbh18NBk\" target=\"_blank\">The complete 30 December 1977 performance from La Scala excerpted in the podcast<\/a><\/strong> featuring Claudio Abbado conducting a cast including Luciano Pavarotti, Piero Cappuccilli, Elena Obraztsova, Daniela Mazzucato. The <strong><a href=\"https:\/\/youtu.be\/sXBCbh18NBk?t=3620\">Act II duet with Pavarotti<\/a><\/strong> is a particular highlight. <\/li><li>As Ulrica.  Verrett made her Covent Garden debut in 1966 in this role. This live excerpt from the 14 May 1966 performance of <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=ItJN4W4q1ig\" target=\"_blank\">the Act II trio,  Che v&#8217;agita cos\u00ec?<\/a><\/strong>, is conducted by the great  Istv\u00e1n Kert\u00e9sz, and also features Jon Vickers as Riccardo and the superb British dramatic soprano Amy Shuard as Amelia. <\/li><\/ol>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett as Desdemona in <em>Otello<\/em><\/strong><\/h4>\n\n\n\n<p>Ms. Verrett sang staged performances of this role exclusively in Boston in 1981. Here is a <strong>live recording of the Willow Song and the Ave Maria<\/strong>.  She also sang the same excerpt in the second half of the duo concerts with Grace Bumbry around the same time. In addition, I have a clip of <strong><a rel=\"noreferrer noopener\" aria-label=\"Verrett and James McCracken singing the emotionally violent Act III duet (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=SRLl296Exsg\" target=\"_blank\">Verrett and James McCracken singing the emotionally violent Act III duet<\/a><\/strong> from the same Boston performances. As always, Sarah Caldwell conducted.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter is-resized advgb-dyn-2c472eeb\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-McCracken-Otello-Boston.jpg\" alt=\"\" class=\"wp-image-1921\" width=\"544\" height=\"409\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-McCracken-Otello-Boston.jpg 450w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-McCracken-Otello-Boston-300x225.jpg 300w\" sizes=\"auto, (max-width: 544px) 100vw, 544px\" \/><figcaption>James McCracken as Otello and Shirley Verrett as Desdemona<br>in the 1981 production of <em>Otello<\/em> at the Opera Company of Boston.<\/figcaption><\/figure>\n<\/div>\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett as Floria Tosca<\/strong><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li>A bad-looking transfer of Met telecast of the <strong><a href=\"https:\/\/www.youtube.com\/watch?v=Z3MJBRMsOS4\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Act I duet with Pavarotti<\/a><\/strong>.<\/li><li>The <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=Cti66FoWv3Y&amp;t=1698s\" target=\"_blank\">complete Act II from the 1980 performance referenced above<\/a><\/strong>, with Seiji Ozawa conducting a cast including Sherrill Milnes and Veriano Luchetti.<\/li><li>The <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=7fu8N5QjoN0\" target=\"_blank\">beginning of Act III from the 1978 Met telecast<\/a><\/strong> (unfortunately without any Shirley!), including E lucevan le stelle.<\/li><li>A performance of <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=Pbaudx4RSlc\" target=\"_blank\">the Act III duet in not-terrific sound<\/a><\/strong> from a performance in Verona on 2 July 1984 with Giacomo (Jaime) Aragall and Daniel Oren conducting. Shirley is not in great voice here, but in spite of that, her &#8220;<strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/youtu.be\/Pbaudx4RSlc?t=132\" target=\"_blank\">Io quella lama<\/a><\/strong>&#8221; line makes its mark.<\/li><\/ol>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett in <em>Aida<\/em><\/strong><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li>In the title role, <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=_X-KD5F_32U\" target=\"_blank\">live performance 8 August 1980 from Boston<\/a><\/strong> with a cast including James McCracken as Radames, Elizabeth Connell  as Amneris, David Arnold as Amonasro and Ferruccio Furlanetto  as Ramfis. Sarah Caldwell conducts the forces of the Boston Opera Company. foropera has provided us with this fascinating, if dimly-recorded, audio of Verrett&#8217;s assumption of the title role of Aida. She is in full command of nearly every aspect of the role. <\/li><li>As Ameneris.  By contrast here is Verrett at her considerable best as Amneris in a <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=ILRyxAsi3S8\" target=\"_blank\">1971 BBC television program <\/a><\/strong>which pitted her against the Radames of Richard Cassilly. The clip includes the subsequent judgment scene and is something to see and hear! <\/li><\/ol>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett in <\/strong><em><strong>Les Troyens<\/strong><\/em><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li>The love duet, <strong><a href=\"https:\/\/www.youtube.com\/watch?v=DRgj8pIfwEg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Nuit d&#8217;ivresse from the 1969 Rome performance<\/a><\/strong> conducted by Georges  Pr\u00eatre and featuring Nicolai Gedda as \u00c9n\u00e9e .<\/li><li>The <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=NTsciFAGhUw\" target=\"_blank\">same scene from the 1973 Metropolitan Opera production<\/a><\/strong> and featuring Jon Vickers as \u00c9n\u00e9e to Verrett&#8217;s Didon. Rafael Kubelik, beginning his very brief tenure as the Met&#8217;s music director, conducts; I feel that his more relaxed tempo better suits the music.<\/li><li> Two excerpts from the above performance featuring Shirley Verrett as Cassandre. <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=5O2Nb67diSE\" target=\"_blank\">Les grecs ont disparu&#8230; Malheureux roi<\/a><\/strong>. and <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=N3vgE0F2_L8\" target=\"_blank\">Tous ne p\u00e9riront pas<\/a><\/strong>. This is the role which she was originally slated to perform in the same production before she jumped in to cover for Christa Ludwig as Didon. Though she sang that latter role more frequently, one can hear just how well Verrett&#8217;s artistry suits her in the role of Cassandre as well.  <\/li><li><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=MkSQ4WICAzo&amp;t=279s\" target=\"_blank\">Didon&#8217;s death scene from a 1978 Ravinia performance<\/a><\/strong> of Les troyens also featuring Claudine Carson as Anna, James Levine conducting.<\/li><\/ol>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett singing Gluck<\/strong><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li><strong><a href=\"https:\/\/www.youtube.com\/watch?v=axSeJDL7AdM\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Several excerpts from the 1985 dress rehearsal<\/a><\/strong> of the Robert Wilson production of <em>Alceste<\/em> referenced above, also featuring Barry McCauley as Adm\u00e8te. One can hear here just how well-suited Verrett was to the high-lying aspects of this <em>zwischenfach<\/em> role. <\/li><li>Again from <em>Alceste<\/em>, Verrett singing <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=IVMWg3_4Apg\" target=\"_blank\">Divinit\u00e9s du Styx from a 1989 gala <\/a><\/strong>celebrating the opening of the Op\u00e9ra Bastille. By all accounts she was apparently quite nervous here, but in spite of that, she still creates an intense impact.<\/li><li><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=Uc1ek5aTMKg\" target=\"_blank\">O toi, qui prolongeas mes jours<\/a><\/strong> from <em>Iphig\u00e9nie en Tauride<\/em>. Once again, noble, intense, and exquisite.<\/li><li>Finally, foropera has put together <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=BCUcXx8iOv4\" target=\"_blank\">a clip of Verrett singing snippets of singing Gluck excerpts<\/a><\/strong>, including the title roles of Orfeo in <em>Orfeo ed Euridice<\/em> (which she also recorded complete for RCA Victor earlier in her career), <em>Alceste<\/em>, and <em>Iphig\u00e9nie en Tauride.<\/em> Based on the extant material, <em>Alceste <\/em>remains my favorite of her Gluck assumptions.<\/li><\/ol>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett singing S\u00e9lika in Meyerbeer&#8217;s <\/strong><em><strong>L&#8217;africaine<\/strong><\/em><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li> <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=xC5L5zZ2TYE&amp;t=2801s\" target=\"_blank\">The complete legendary 1973 San Francisco Opera production<\/a><\/strong> excerpted in the podcast and referenced above. Jean P\u00e9risson conducts.<\/li><li>An <strong><a rel=\"noreferrer noopener\" aria-label=\"excerpt from the 1989 telecast  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=FroSV7dw7uk\" target=\"_blank\">excerpt from the 1989 San Francisco Opera telecast <\/a><\/strong>featuring Justino D\u00edaz as N\u00e9lusko. Maurizio Arena conducts. These were Verrett&#8217;s final appearances with the San Francisco Opera.<\/li><\/ol>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett as Carmen<\/strong><\/h4>\n\n\n\n<p>In a <strong><a rel=\"noreferrer noopener\" aria-label=\"1977 interview (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=hLap0D1r7P4\" target=\"_blank\">1977 interview<\/a><\/strong> following her performances of the Liebestod from <em>Tristan und Isolde<\/em> with the New York Philharmonic, Shirley Verrett claimed that she had abandoned the role of Carmen. However, in 1984 she once again appeared in the part, at La Scala with Claudio Abbado conducting a cast that included Ruggiero Raimondi and Alida Ferrarini. Happily for us, the<strong><a rel=\"noreferrer noopener\" aria-label=\" 7 December 1984 performance (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=X54tTxVWswY\" target=\"_blank\"> 7 December 1984 performance<\/a><\/strong> was telecast and is available on YouTube.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett as Dalila<\/strong><\/h4>\n\n\n\n<ol class=\"wp-block-list\"><li>Once again at La Scala, Shirley Verrett performs the role of Dalila in a live performance from 25 January 1970 conducted by Georges  Pr\u00eatre; the cast included Richard Cassilly and Robert Massard. First, <strong><a rel=\"noreferrer noopener\" aria-label=\"Printemps qui commence (opens in a new tab)\" href=\"http:\/\/youtube.com\/watch?v=opIVIWLX1UY\" target=\"_blank\">Printemps qui commence<\/a><\/strong>, followed by <strong><a rel=\"noreferrer noopener\" aria-label=\"Amour, viens aider ma faiblesse (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=mlbbmT0RMOM\" target=\"_blank\">Amour, viens aider ma faiblesse<\/a><\/strong> and  <strong><a rel=\"noreferrer noopener\" aria-label=\"Mon c\u0153ur s\u2019ouvre \u00e0 ta voix (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=qMW4V7rxxrk\" target=\"_blank\">Mon c\u0153ur s\u2019ouvre \u00e0 ta voix<\/a><\/strong>  (with passionate interjections by Cassilly&#8217;s Samson).<\/li><li>From the 1981 San Francisco Opera performances with that unnamed hot-blooded sexually aggressive tenor,<strong><a rel=\"noreferrer noopener\" aria-label=\" Act II of the opera (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=SPpOtky9u2k&amp;t=751s\" target=\"_blank\"> Act II of the opera<\/a><\/strong> as conducted by Julius Rudel.<\/li><li>To complement the Covent Garden performance of  <strong><a rel=\"noreferrer noopener\" aria-label=\"Mon c\u0153ur s\u2019ouvre \u00e0 ta voix (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=sq3H42NjmIU\" target=\"_blank\">Mon c\u0153ur s\u2019ouvre \u00e0 ta voix<\/a><\/strong> from the same year, here is Verrett singing, once again,<strong><a rel=\"noreferrer noopener\" aria-label=\" Amour, viens aider ma faiblesse (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=WhEhay8BJ9Y\" target=\"_blank\"> Amour, viens aider ma faiblesse<\/a><\/strong>.<\/li><\/ol>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter advgb-dyn-2c86e052\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Dalila.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"750\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Dalila.jpg\" alt=\"\" class=\"wp-image-1924\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Dalila.jpg 620w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Dalila-248x300.jpg 248w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption>An enormous seductive Shirley as Dalila.<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:24px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-9821cc03\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shirley Verrett: Fan appreciations<\/strong><\/h4>\n\n\n\n<p>In closing, because Shirley Verrett was greeted by frequent backlashes based on her musical, vocal, and artistic choices (<strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/wordhandler.com\/2018\/10\/11\/the-shirley-verrett-conundrum\/\" target=\"_blank\">here is a choice one<\/a><\/strong>) two frankly adoring fan posts touting the many virtues of Shirley Verrett. One, <strong><a rel=\"noreferrer noopener\" aria-label=\"written by user Enzo Bordello, appeared on parterre.com (opens in a new tab)\" href=\"https:\/\/parterre.com\/2010\/11\/07\/remembering-shirley-verrett\/\" target=\"_blank\">written by user Enzo Bordello, appeared on parterre.com<\/a><\/strong>, and the other, <strong><a rel=\"noreferrer noopener\" aria-label=\"on the Oberon's Grove blog (opens in a new tab)\" href=\"https:\/\/oberon481.typepad.com\/oberons_grove\/2008\/11\/singers-shirley-verrett.html\" target=\"_blank\">on the <\/a><\/strong><em><strong><a rel=\"noreferrer noopener\" aria-label=\"on the Oberon's Grove blog (opens in a new tab)\" href=\"https:\/\/oberon481.typepad.com\/oberons_grove\/2008\/11\/singers-shirley-verrett.html\" target=\"_blank\">Oberon&#8217;s Grove<\/a><\/strong><\/em><strong><a rel=\"noreferrer noopener\" aria-label=\"on the Oberon's Grove blog (opens in a new tab)\" href=\"https:\/\/oberon481.typepad.com\/oberons_grove\/2008\/11\/singers-shirley-verrett.html\" target=\"_blank\"> blog<\/a><\/strong>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter advgb-dyn-02a272f8\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Lidoine.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"779\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Lidoine-779x1024.jpg\" alt=\"\" class=\"wp-image-1926\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Lidoine-779x1024.jpg 779w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Lidoine-228x300.jpg 228w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Lidoine-768x1010.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Verrett-Lidoine.jpg 868w\" sizes=\"auto, (max-width: 779px) 100vw, 779px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p>I will be back in two weeks to discuss further Verrett&#8217;s two greatest achievements, as well as her recital work, and her recordings of pop music and spirituals. Meanwhile, please tune in next week for the first part of my interview with <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>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter advgb-dyn-36005f20\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"768\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Janet-1.jpg\" alt=\"\" class=\"wp-image-1937\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Janet-1.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Janet-1-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Janet-1-300x300.jpg 300w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><figcaption>Janet Williams<\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Episode 5: Shirley Verrett I: La Nera Callas \u2013 Falcon&nbsp;or Verdi soprano? SOCIAL SHARE SUBSCRIPTION PLATFORM This episode is the&hellip;<\/p>\n","protected":false},"author":1,"featured_media":1843,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[420,1626,2398,2399,5137,1263,808,5691],"tags":[360,349,351,344,153,368,347,370,333,357,343,367,350,117,207,341,348,365,353,363,362,369,354,342,364,366,358,361,355,352,337,356,332,345],"class_list":["post-1811","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-african-american-opera-singers","category-african-american-singers","category-giuseppe-verdi","category-great-baritones","category-great-tenors","category-mezzo-madness","category-needle-drop","category-shirley-verrett","tag-anna-caterina-antonacci","tag-camille-saint-saens","tag-carmen","tag-christa-ludwig","tag-christoph-willibald-gluck","tag-claudio-abbado","tag-cornelie-falcon","tag-covent-garden","tag-don-carlo","tag-eugene-ormandy","tag-eve-queler","tag-fritz-reiner","tag-georges-bizet","tag-giacomo-meyerbeer","tag-giuseppe-verdi","tag-grace-bumbry","tag-il-trovatore","tag-imre-pallo","tag-jon-vickers","tag-julius-rudel","tag-justino-diaz","tag-la-scala","tag-luciano-pavarotti","tag-marian-anderson","tag-maurizio-arena","tag-michelangelo-veltri","tag-philadelphia-orchestra","tag-richard-cassilly","tag-richard-lewis","tag-samson-et-dalila","tag-shirley-verrett","tag-tom-krause","tag-un-ballo-in-maschera","tag-zwischenfach"],"author_meta":{"display_name":"admin","author_link":"https:\/\/countermelodypodcast.com\/index.php\/author\/admin\/"},"featured_img":"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Eyes-2-300x169.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\/giuseppe-verdi\/\" class=\"advgb-post-tax-term\">Giuseppe Verdi<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/great-baritones\/\" class=\"advgb-post-tax-term\">Great Baritones<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/great-tenors\/\" class=\"advgb-post-tax-term\">Great Tenors<\/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\/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>"],"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\">Giuseppe Verdi<\/span>","<span class=\"advgb-post-tax-term\">Great Baritones<\/span>","<span class=\"advgb-post-tax-term\">Great Tenors<\/span>","<span class=\"advgb-post-tax-term\">Mezzo Madness<\/span>","<span class=\"advgb-post-tax-term\">Needle Drop<\/span>","<span class=\"advgb-post-tax-term\">Shirley Verrett<\/span>"]},"tags":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Anna Caterina Antonacci<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Camille Saint-Saens<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Carmen<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Christa Ludwig<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Christoph Willibald Gluck<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Claudio Abbado<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Cornelie Falcon<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Covent Garden<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Don Carlo<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Eugene Ormandy<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Eve Queler<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Fritz Reiner<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Georges Bizet<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Giacomo Meyerbeer<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Giuseppe Verdi<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Grace Bumbry<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Il Trovatore<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Imre Pallo<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Jon Vickers<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Julius Rudel<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Justino Diaz<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">La Scala<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Luciano Pavarotti<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Marian Anderson<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Maurizio Arena<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Michelangelo Veltri<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Philadelphia Orchestra<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Richard Cassilly<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Richard Lewis<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Samson et Dalila<\/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\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Tom Krause<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Un ballo in maschera<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Zwischenfach<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Anna Caterina Antonacci<\/span>","<span class=\"advgb-post-tax-term\">Camille Saint-Saens<\/span>","<span class=\"advgb-post-tax-term\">Carmen<\/span>","<span class=\"advgb-post-tax-term\">Christa Ludwig<\/span>","<span class=\"advgb-post-tax-term\">Christoph Willibald Gluck<\/span>","<span class=\"advgb-post-tax-term\">Claudio Abbado<\/span>","<span class=\"advgb-post-tax-term\">Cornelie Falcon<\/span>","<span class=\"advgb-post-tax-term\">Covent Garden<\/span>","<span class=\"advgb-post-tax-term\">Don Carlo<\/span>","<span class=\"advgb-post-tax-term\">Eugene Ormandy<\/span>","<span class=\"advgb-post-tax-term\">Eve Queler<\/span>","<span class=\"advgb-post-tax-term\">Fritz Reiner<\/span>","<span class=\"advgb-post-tax-term\">Georges Bizet<\/span>","<span class=\"advgb-post-tax-term\">Giacomo Meyerbeer<\/span>","<span class=\"advgb-post-tax-term\">Giuseppe Verdi<\/span>","<span class=\"advgb-post-tax-term\">Grace Bumbry<\/span>","<span class=\"advgb-post-tax-term\">Il Trovatore<\/span>","<span class=\"advgb-post-tax-term\">Imre Pallo<\/span>","<span class=\"advgb-post-tax-term\">Jon Vickers<\/span>","<span class=\"advgb-post-tax-term\">Julius Rudel<\/span>","<span class=\"advgb-post-tax-term\">Justino Diaz<\/span>","<span class=\"advgb-post-tax-term\">La Scala<\/span>","<span class=\"advgb-post-tax-term\">Luciano Pavarotti<\/span>","<span class=\"advgb-post-tax-term\">Marian Anderson<\/span>","<span class=\"advgb-post-tax-term\">Maurizio Arena<\/span>","<span class=\"advgb-post-tax-term\">Michelangelo Veltri<\/span>","<span class=\"advgb-post-tax-term\">Philadelphia Orchestra<\/span>","<span class=\"advgb-post-tax-term\">Richard Cassilly<\/span>","<span class=\"advgb-post-tax-term\">Richard Lewis<\/span>","<span class=\"advgb-post-tax-term\">Samson et Dalila<\/span>","<span class=\"advgb-post-tax-term\">Shirley Verrett<\/span>","<span class=\"advgb-post-tax-term\">Tom Krause<\/span>","<span class=\"advgb-post-tax-term\">Un ballo in maschera<\/span>","<span class=\"advgb-post-tax-term\">Zwischenfach<\/span>"]}},"comment_count":"0","relative_dates":{"created":"Posted 6 years ago","modified":"Updated 2 years ago"},"absolute_dates":{"created":"Posted on 20\/10\/2019","modified":"Updated on 09\/11\/2023"},"absolute_dates_time":{"created":"Posted on 20\/10\/2019 19:28","modified":"Updated on 09\/11\/2023 17:51"},"featured_img_caption":"","series_order":"","_links":{"self":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/1811","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/comments?post=1811"}],"version-history":[{"count":81,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/1811\/revisions"}],"predecessor-version":[{"id":10370,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/1811\/revisions\/10370"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media\/1843"}],"wp:attachment":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media?parent=1811"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/categories?post=1811"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/tags?post=1811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}