{"id":2181,"date":"2019-11-10T18:38:27","date_gmt":"2019-11-10T17:38:27","guid":{"rendered":"http:\/\/countermelodypodcast.com\/?p=2181"},"modified":"2023-02-05T16:44:07","modified_gmt":"2023-02-05T15:44:07","slug":"episode-8-williams-williams","status":"publish","type":"post","link":"https:\/\/countermelodypodcast.com\/index.php\/2019\/11\/10\/episode-8-williams-williams\/","title":{"rendered":"Episode 8. Williams &#038; Williams"},"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-controls=\"mega-menu-primary\" aria-expanded=\"false\" aria-haspopup=\"true\" aria-label=\"Menu\" class=\"mega-toggle-animated mega-toggle-animated-slider\" type=\"button\">\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\"><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-home mega-align-bottom-left mega-menu-flyout mega-menu-item-19160\" id=\"mega-menu-item-19160\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/\">Home<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-align-bottom-left mega-menu-flyout mega-menu-item-19161\" id=\"mega-menu-item-19161\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/about-daniel\/\">About Daniel<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-current_page_parent mega-align-bottom-left mega-menu-flyout mega-menu-item-19171\" id=\"mega-menu-item-19171\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/all-episodes\/\">All Episodes<\/a><\/li><\/ul><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Episode 8. Williams &amp; Williams<\/h2>\n\n\n\n<iframe width=\"340\" height=\"40\" src=https:\/\/countermelody.blubrry.net\/?powerpress_embed=29-podcast&amp;powerpress_player=mediaelement-audio\" frameborder=\"0\" scrolling=\"no\"><\/iframe>\n\n\n\n<div class=\"wp-block-columns has-2-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><strong>SOCIAL SHARE<\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right\"><strong>SUBSCRIPTION PLATFORM<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-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\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-coblocks-buttons\"><div class=\"wp-block-coblocks-buttons__inner flex-align-right\">\n<div class=\"wp-block-button aligncenter\"><a class=\"wp-block-button__link\" href=\"https:\/\/countermelody.blubrry.net\/2019\/09\/12\/episode-1-countermelody\/\">SUBSCRIBE VIA YOUR FAVORITE SUBSCRIPTION PLATFORM<\/a><\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"685\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Camilla-1024x685.jpg\" alt=\"\" class=\"wp-image-2192\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Camilla-1024x685.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Camilla-300x201.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Camilla-768x514.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Camilla-1600x1071.jpg 1600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>As a supplement to the first part of my interview last week with Janet Williams, I offer a cache of rare studio recordings by Camilla Williams, supplemented by live material sung by Janet Williams from the artist\u2019s private archives. Among other material featured are excerpts from Camilla\u2019s rarely-heard album of spirituals on the MGM Records label, and a concert given by Janet Williams in her home town of Detroit in 1989, capped by a stunning rendition of Undine Smith Moore\u2019s arrangement of the spiritual \u201cWatch and Pray,\u201d dedicated to Camilla Williams.<\/p>\n\n\n\n<p style=\"font-size:30px\" class=\"has-custom-size\"><strong>RECORDINGS HEARD IN THIS EPISODE<\/strong><\/p>\n\n\n\n<h6 class=\"wp-block-heading\"><strong>CAMILLA WILLIAMS<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Wistful-Smile.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"627\" height=\"365\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Wistful-Smile.jpg\" alt=\"\" class=\"wp-image-2162\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Wistful-Smile.jpg 627w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Wistful-Smile-300x175.jpg 300w\" sizes=\"auto, (max-width: 627px) 100vw, 627px\" \/><\/a><\/figure>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Summertime-78.jpg\" alt=\"\" class=\"wp-image-2265\" width=\"292\" height=\"301\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Summertime-78.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Summertime-78-291x300.jpg 291w\" sizes=\"auto, (max-width: 292px) 100vw, 292px\" \/><\/figure><\/div>\n\n\n\n<p>George Gershwin: <strong><a href=\"https:\/\/www.youtube.com\/watch?v=rWx7Y_tf8-A\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Summertime (Porgy and Bess) (opens in a new tab)\">Summertime (<\/a><\/strong><em><strong><a href=\"https:\/\/www.youtube.com\/watch?v=rWx7Y_tf8-A\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Summertime (Porgy and Bess) (opens in a new tab)\">Porgy and Bess<\/a><\/strong><\/em><strong><a href=\"https:\/\/www.youtube.com\/watch?v=rWx7Y_tf8-A\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Summertime (Porgy and Bess) (opens in a new tab)\">)<\/a><\/strong>.  Camilla Williams with Al Goodman and His Orchestra and The Guild Choristers. RCA Victor 46-0004-B, 1947.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-1\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"599\" height=\"596\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-NYCO.jpg\" alt=\"\" data-id=\"2219\" data-link=\"https:\/\/countermelodypodcast.com\/?attachment_id=2219\" class=\"wp-image-2219\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-NYCO.jpg 599w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-NYCO-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-NYCO-300x298.jpg 300w\" sizes=\"auto, (max-width: 599px) 100vw, 599px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"596\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-BackCover-1.jpg\" alt=\"\" data-id=\"2220\" data-link=\"https:\/\/countermelodypodcast.com\/?attachment_id=2220\" class=\"wp-image-2220 is-layout-flex wp-block-gallery-is-layout-flex\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-BackCover-1.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-BackCover-1-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Aida-BackCover-1-300x298.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>Giuseppe Verdi: Ciel, mio padre! Camilla Williams, Aida; Lawrence Winters, Amonasro (from <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Aida excerpts, MGM Records, K81, ca. 1951 (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Verdi-New-York-City-Opera-Company-Camilla-Williams-Lydia-Ibarrondo-Giulio-Gari-Lawrence-Winters-Oper\/master\/1558700\" target=\"_blank\">Aida<\/a><\/strong><\/em><strong><a rel=\"noreferrer noopener\" aria-label=\"Aida excerpts, MGM Records, K81, ca. 1951 (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Verdi-New-York-City-Opera-Company-Camilla-Williams-Lydia-Ibarrondo-Giulio-Gari-Lawrence-Winters-Oper\/master\/1558700\" target=\"_blank\"> excerpts, MGM Records, K81, ca. 1951<\/a><\/strong>).  L\u00e1szl\u00f3  Halasz conducts the New York City Opera Orchestra. Additional cast includes Giulio Gari, Radames; and Lydia Ibarrondo, Amneris. (This duet is unavailable on YouTube; <strong><a rel=\"noreferrer noopener\" aria-label=\"click here to hear Camilla's performance of Ritorna vincitor (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=iuyLIkCxiFo\" target=\"_blank\">click here to hear Camilla&#8217;s performance of Ritorna vincitor<\/a><\/strong> from this recording.)<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"801\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camillawithe-2-801x1024.jpg\" alt=\"\" class=\"wp-image-2295\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camillawithe-2-801x1024.jpg 801w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camillawithe-2-235x300.jpg 235w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camillawithe-2-768x982.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camillawithe-2-1600x2046.jpg 1600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camillawithe-2.jpg 1711w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\" \/><\/figure><\/div>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-2\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"591\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Recital-1.jpg\" alt=\"\" data-id=\"2117\" data-link=\"https:\/\/countermelodypodcast.com\/episode-7-janet-williams-i-no-accidents\/camilla-recital-1\/\" class=\"wp-image-2117\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Recital-1.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Recital-1-300x296.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"603\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Recital-Back-Cover-1.jpg\" alt=\"\" data-id=\"2116\" data-link=\"https:\/\/countermelodypodcast.com\/episode-7-janet-williams-i-no-accidents\/camilla-recital-back-cover-1\/\" class=\"wp-image-2116 is-layout-flex wp-block-gallery-is-layout-flex\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Recital-Back-Cover-1.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Recital-Back-Cover-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>From <em><strong><a href=\"https:\/\/www.discogs.com\/Camilla-Williams-Song-Recital\/release\/13712654\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"A Camilla Williams Recital (MGM Records E140, 1952) (opens in a new tab)\">A Camilla Williams Recital <\/a><\/strong><\/em><strong><a href=\"https:\/\/www.discogs.com\/Camilla-Williams-Song-Recital\/release\/13712654\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"A Camilla Williams Recital (MGM Records E140, 1952) (opens in a new tab)\">(MGM Records E140, 1952)<\/a><\/strong> (Borislav Bazala, pianist)<\/p>\n\n\n\n<p><strong><a href=\"https:\/\/youtu.be\/-AM3MLsDZnE?t=1\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Claude Debussy: Beau soir (opens in a new tab)\">Claude Debussy: Beau soir<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/youtu.be\/-AM3MLsDZnE?t=243\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"L\u00e9o Delibes:  \u00c9glogue (opens in a new tab)\">L\u00e9o Delibes:  \u00c9glogue<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/youtu.be\/-AM3MLsDZnE?t=683\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Ottorino Respighi: Pioggia (opens in a new tab)\">Ottorino Respighi: Pioggia<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/youtu.be\/PExR7r1KrM8?t=422\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Celius Dougherty: The K'e (opens in a new tab)\">Celius Dougherty: The K&#8217;e<\/a><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-2 is-cropped wp-block-gallery-3\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"597\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-1.jpg\" alt=\"\" data-id=\"2119\" data-link=\"https:\/\/countermelodypodcast.com\/episode-7-janet-williams-i-no-accidents\/camilla-spirituals-1\/\" class=\"wp-image-2119\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-1.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-1-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-1-300x300.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"601\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-Back-Cover-1.jpg\" alt=\"\" data-id=\"2120\" data-link=\"https:\/\/countermelodypodcast.com\/episode-7-janet-williams-i-no-accidents\/camilla-spirituals-back-cover-1\/\" class=\"wp-image-2120 is-layout-flex wp-block-gallery-is-layout-flex\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-Back-Cover-1.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-Back-Cover-1-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Spirituals-Back-Cover-1-300x300.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>From <em><strong><a href=\"https:\/\/www.discogs.com\/Camilla-Williams-Sings-Spirituals\/release\/13712689\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Camilla Williams Sings Spirituals  (opens in a new tab)\">Camilla Williams Sings Spirituals<\/a><\/strong><\/em><strong><a href=\"https:\/\/www.discogs.com\/Camilla-Williams-Sings-Spirituals\/release\/13712689\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Camilla Williams Sings Spirituals  (opens in a new tab)\"> <\/a><\/strong>(MGM Records E-156, ca. 1953) (Borislav Bazala, pianist)<\/p>\n\n\n\n<p>Poor Me (Trouble Will Bury Me Down)<\/p>\n\n\n\n<p>Hold On<\/p>\n\n\n\n<p>When I&#8217;ve Done<\/p>\n\n\n\n<p>Oh, What a Beautiful City<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-and-Boris-2-1024x683.jpg\" alt=\"\" class=\"wp-image-2254\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-and-Boris-2-1024x683.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-and-Boris-2-300x200.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-and-Boris-2-768x512.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-and-Boris-2-1600x1067.jpg 1600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Camilla Williams and Boris Bazala in old age.<\/figcaption><\/figure><\/div>\n\n\n\n<p>The good news for intrepid collectors is that all of the above recordings are available to customers in the United States via special order. Please contact me privately either here or through my Facebook page for details.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\"><strong>JANET WILLIAMS RECORDINGS<\/strong><\/h6>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"394\" height=\"586\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-01-1.png\" alt=\"\" class=\"wp-image-2283\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-01-1.png 394w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-01-1-202x300.png 202w\" sizes=\"auto, (max-width: 394px) 100vw, 394px\" \/><figcaption>Janet Williams in the title role of <em>Semele<\/em>, Berliner Staatsoper.<br>Photo by  Monika Rittershaus.<\/figcaption><\/figure><\/div>\n\n\n\n<p>The majority of the recordings of Janet used here come from a recording of a live recital that Janet gave in her hometown of Detroit in January, 1989. She relates the story behind this recital in the next portion of our interview (which, if all goes according to plan, will be posted next week.) Her pianist is Lawrence Gee (with whom she is pictured below after the concert).<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Larry-Gee.jpg\" alt=\"\" class=\"wp-image-2281\" width=\"611\" height=\"814\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Larry-Gee.jpg 720w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-and-Larry-Gee-225x300.jpg 225w\" sizes=\"auto, (max-width: 611px) 100vw, 611px\" \/><figcaption>Janet and Lawrence Gee after their Detroit recital, January 1989<\/figcaption><\/figure><\/div>\n\n\n\n<p>Meanwhile, here are the details of the excerpts used in this podcast episode:<\/p>\n\n\n\n<p>Jules Massenet: Ob\u00e9issons&nbsp;quand&nbsp;leur voix&nbsp;appelle (<em>Manon<\/em>)<\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.oxfordlieder.co.uk\/song\/2545\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Francis Poulenc: C (opens in a new tab)\">Francis Poulenc: C<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.lieder.net\/lieder\/get_multi_text_setting.html?SettingId=20463\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Franz Schubert: Der Hirt auf dem Felse (opens in a new tab)\">Franz Schubert: Der Hirt auf dem Felse<\/a><\/strong>n (with Stephen Millen, clarinettist)<\/p>\n\n\n\n<p>Spiritual (arr. <strong><a href=\"https:\/\/www.musicbyblackcomposers.org\/2017\/08\/25\/undine-smith-moore\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Undine Smith Moore (opens in a new tab)\">Undine Smith Moore<\/a><\/strong>): <strong><a rel=\"noreferrer noopener\" aria-label=\"Watch and Pray (opens in a new tab)\" href=\"https:\/\/songofamerica.net\/song\/watch-and-pray\/\" target=\"_blank\">Watch and Pray<\/a><\/strong>. The dedication to this piece reads, &#8220;For my dear Camilla Williams with love and pride in her career.&#8221;<\/p>\n\n\n\n<p>Spiritual (arr. Hall Johnson): Ride On, King Jesus<\/p>\n\n\n\n<p>Additional recordings of Janet Williams used in this episode include:<\/p>\n\n\n\n<p>Georges Bizet: Comme autrefois (<em>Les p\u00eacheurs de perles<\/em>) (L\u00e1szl\u00f3  Halasz conducts; Janet told me this was a recording made in Budapest).<\/p>\n\n\n\n<p>George Frideric Handel: Two excerpts from <em>Semele<\/em> (televised production from the Berliner Staatsoper) <strong><a rel=\"noreferrer noopener\" aria-label=\"Myself I Shall Adore (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=YKYrvW4rm6I\" target=\"_blank\">Myself I Shall Adore<\/a><\/strong>; and <strong><a rel=\"noreferrer noopener\" aria-label=\"O Sleep, Why Dost Thou Leave Me? (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=XWPRSvpBs5c\" target=\"_blank\">O Sleep, Why Dost Thou Leave Me?<\/a><\/strong><\/p>\n\n\n\n<h5 class=\"wp-block-heading\">A SLIGHT DIVERSION: CELIUS DOUGHERTY, NINA KOSHETZ, AND POVLA FRIJSH<\/h5>\n\n\n\n<p>I mentioned in passing the distinguished accompanist and composer <strong><a rel=\"noreferrer noopener\" aria-label=\"Celius Dougherty (opens in a new tab)\" href=\"http:\/\/www.celiusdougherty.org\/gpage6.html\" target=\"_blank\">Celius Dougherty<\/a><\/strong> (1902-1986). (Camilla sings his song <em>The K&#8217;e<\/em> on the podcast.) He is mostly remembered today for novelty songs such as <em>Love in the Dictionary<\/em>, although a <strong><a rel=\"noreferrer noopener\" aria-label=\"volume of his art songs (opens in a new tab)\" href=\"https:\/\/www.classicalvocalrep.com\/products\/Celius-Dougherty-30-Art-Songs-in-Original-Keys-for-Medium-High-Voic-313695.html?sid=8247bb48b8ce7fd477fdd42c4cbcb1af\" target=\"_blank\">volume of his art songs<\/a><\/strong> and another of his <strong><a rel=\"noreferrer noopener\" aria-label=\"folk song settings (opens in a new tab)\" href=\"http:\/\/classicalvocalrep.com\/products\/Celius-Dougherty-Folksongs-and-Chanties-High-Voice-313712.html?sid=8247bb48b8ce7fd477fdd42c4cbcb1af\" target=\"_blank\">folk song settings<\/a><\/strong> and <strong><a rel=\"noreferrer noopener\" aria-label=\"sea chanty arrangements (opens in a new tab)\" href=\"https:\/\/www.classicalvocalrep.com\/products\/Celius-Dougherty-Folksongs-and-Chanties-Low-Voice-313713.html?sid=8247bb48b8ce7fd477fdd42c4cbcb1af\" target=\"_blank\">sea chanty arrangements<\/a><\/strong> have been recently been republished by G. Schirmer.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"367\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Celius-Dougherty.jpg\" alt=\"\" class=\"wp-image-2290\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Celius-Dougherty.jpg 367w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Celius-Dougherty-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Celius-Dougherty-300x300.jpg 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><figcaption>Celius Dougherty<\/figcaption><\/figure><\/div>\n\n\n\n<p>As an accompanist, probably his most important recordings are a series of <strong><a rel=\"noreferrer noopener\" aria-label=\"Rachmaninov songs made with soprano Nina Koshetz (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=65d1ObpjcxQ\" target=\"_blank\">Rachmaninov songs made with soprano Nina Koshetz<\/a><\/strong>. These are particularly significant because during her years in Russia, Koshetz and Rachmaninov had toured together (evidently the only such singer with whom he did so). I hope to do a program on the fascinating Koshetz in the near future.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"460\" height=\"640\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Nina-Koshetz.jpg\" alt=\"\" class=\"wp-image-2287\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Nina-Koshetz.jpg 460w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Nina-Koshetz-216x300.jpg 216w\" sizes=\"auto, (max-width: 460px) 100vw, 460px\" \/><figcaption>Nina Koshetz<\/figcaption><\/figure><\/div>\n\n\n\n<p>On the podcast I also mentioned the deeply expressive but modest vocal talent of the singer <strong><a href=\"https:\/\/oxfordindex.oup.com\/view\/10.1093\/oi\/authority.20110803095836361\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Povla Frijsh (opens in a new tab)\">Povla Frijsh<\/a><\/strong>. She and Dougherty also made a series of distinguished recordings together but, shockingly, only one of them seems to be available on YouTube: a setting of <strong><a rel=\"noreferrer noopener\" aria-label=\"Randall Thompson's Velvet Shoes (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=17XxruP5zXQ\" target=\"_blank\">Randall Thompson&#8217;s Velvet Shoes<\/a><\/strong> that Dougherty and Frijsh recorded for RCA Victor in 1940. The recording gives one the opportunity to hear the curiously moving way that Frijsh had with even the simplest material. It might be an interesting endeavor to do a podcast on these three artists together. We shall see&#8230; Meanwhile, <strong><a rel=\"noreferrer noopener\" aria-label=\"check out this fascinating radio interview with Frijsh from 1953 on the preparation and interpretation fo song. (opens in a new tab)\" href=\"https:\/\/archive.org\/details\/C_1953_09_28\/C_1953_09_28_A_ed.wav\" target=\"_blank\">check out this fascinating radio interview with Frijsh from 1953 on the preparation and interpretation of song repertoire.<\/a><\/strong><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"305\" height=\"420\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Povla-Frijsh.jpg\" alt=\"\" class=\"wp-image-2288\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Povla-Frijsh.jpg 305w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Povla-Frijsh-218x300.jpg 218w\" sizes=\"auto, (max-width: 305px) 100vw, 305px\" \/><figcaption>Povla Frijsh<\/figcaption><\/figure><\/div>\n\n\n\n<p>BTW, here&#8217;s a review I found of a 1936 recital that Frijsh and Dougherty did at Town Hall on November 21 of that year:<\/p>\n\n\n\n<p>The New York Times, Sunday November 22, 1936\/Music in Review by Olin Downes\/Povla Frijsh, Danish Soprano, Is Heard at Town Hall<\/p>\n\n\n\n<p>The art of song interpretation in its highest estate was\nenjoyed by the large audience which gathered in Town Hall last night for the\nrecital given by Povla Frijsh, the Danish soprano. There was a big ovation for\nthe singer when she first appeared and, had she been so minded, she might have\ndoubled the length of the program, so insistent was the applause after each of\nher selections.<\/p>\n\n\n\n<p>To judge the work of this great interpreter from the purely\nvocal point of view would result in a misunderstanding of her status as an\nartist. For the text is basic in every phrase she sets forth and is the primary\nfactor in the coloring and nuance of the tones as they fall into their\nappointed place in the general scheme. Naturally, this is the goal for which\nall singers strive. But how pitifully few attain it to anything like the degree\nmade known in Miss Frijsh\u2019s extraordinary evocations of innumerable contrasting\nmoods at this recital.<\/p>\n\n\n\n<p>As always her list of offerings was a model of program-making\nand contained numerous little-known contributions as well as more familiar\nitems. For her opening song, Miss Frijsh had chosen Bach\u2019s \u201cBist du bei mir,\u201d\nwhich was remarkable for its tenderness and depth of devotion, and strikingly juxtaposed,\nSchubert\u2019s delicated lied, \u201cDer Schmetterling,\u201d followed hard upon it. This\nlatter offering was given with such gossamer lightness of pianissimo in the\nexpert delineation of its joyous measures that it had to be repeated.<\/p>\n\n\n\n<p>Miss Frijsh was a trifle hoarse and this interfered with the\nsteadiness of some of her tones in her gripping interpretation of the next\nSchubert song, \u201cDeath and the Maiden.\u201d There was almost no attempt to make the\nviolent and melodramatic difference of tone quality between the two\nprotagonists in this lyric so frequently indulged in. But the simplicity and\ndirectness with which she expressed the awe-struck timidity and fear of the\nmaiden and the profoundly consolatory response were equally touching and\nimpressive. As fine, in its way, was the way the third Schubert number, \u201cErstarrung,\u201d\nwith its deeply felt mood of anguish and despair.<\/p>\n\n\n\n<p>In the French group, next attempted, Miss Frijsh rose to her\ngreatest heights in a superb reading of Fevrier\u2019s \u201cL\u2019Intruse,\u201d which was a\nlittle masterpiece of dramatic power and beyond praise in the establishing of\nan all-enveloping atmosphere of haunting mystery. Biting satire was so cleverly\nhandled in another of the Gallic songs, Poulenc\u2019s \u201c1904,\u201d that it bore\nrepetition, and exotic sensuousness was most compellingly encompassed in the\nsucceeding \u201cLes roses d\u2019Ispahan\u201d of Faur\u00e9.<\/p>\n\n\n\n<p>Arrived at the third group, comprising German lieder by Trunck  (sic), Buesser and Marx and children\u2019s songs by Fiona McCleary and Kricka. Miss Frijsh\u2019s voice overcame the huskiness which sometimes handicapped her singing earlier in the evening, her tones being particularly fresh and free in Trunck\u2019s \u201cDie Stadt.\u201d Kricka\u2019s \u201cDie unfolgsamen Zicklein\u201d served to demonstrate the artist\u2019s fund of sly humor in a schedule which ran the whole gamut of human emotions. The list also comprised numbers by Grieg and Fini Henriques, sung in the original language. Celius Dougherty, at the piano, provided accompaniments worthy of Miss Frijsh\u2019s splendid art.  <\/p>\n\n\n\n<p>In next week&#8217;s episode, Janet speaks more about Camilla; we relive our memorable time spent with the San Francisco Opera; and Janet reveals how she went to study in Paris with R\u00e9gine Crespin and ended up as a member of the ensemble of the Berliner Staatsoper, ultimately settling here in Berlin with her husband, the distinguished German director and stage designer <strong><a rel=\"noreferrer noopener\" aria-label=\"Fred Berndt (opens in a new tab)\" href=\"http:\/\/fredberndt.de\/#FB_d\" target=\"_blank\">Fred Berndt<\/a><\/strong>.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Janet-Boris-and-Fred-2-1024x768.jpg\" alt=\"\" class=\"wp-image-2292\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Janet-Boris-and-Fred-2-1024x768.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Janet-Boris-and-Fred-2-300x225.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Janet-Boris-and-Fred-2-768x576.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Janet-Boris-and-Fred-2-1600x1200.jpg 1600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Janet-Boris-and-Fred-2.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Camilla, Janet, Boris, and Fred<\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Episode 8. Williams &amp; Williams<\/p>\n","protected":false},"author":1,"featured_media":3386,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[420,1626,1075,4894,3132,3273,2261,808,4510,3272,2806],"tags":[437,439,429,395,440,396,280,350,207,394,433,436,68,432,434,431,435,443,442,438,430,441],"class_list":["post-2181","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-african-american-opera-singers","category-african-american-singers","category-art-song","category-bhm-2023-wk-1","category-franz-schubert","category-french-opera","category-full-figured-baroque","category-needle-drop","category-nyco-divas","category-singers-of-color","category-twentieth-century-music","tag-aida","tag-berliner-staatsoper","tag-boris-bezala","tag-camilla-williams","tag-celius-dougherty","tag-detroit","tag-george-frideric-handel","tag-georges-bizet","tag-giuseppe-verdi","tag-janet-williams","tag-jules-massenet","tag-laszlo-halasz","tag-leo-delibes","tag-les-pecheurs-de-perles","tag-manon","tag-mgm-records","tag-new-york-city-opera","tag-nina-koshetz","tag-povla-frijsh","tag-semele","tag-spirituals","tag-undine-smith-moore"],"author_meta":{"display_name":"admin","author_link":"https:\/\/countermelodypodcast.com\/index.php\/author\/admin\/"},"featured_img":"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-and-Janet2-2-300x133.jpg","coauthors":[],"tax_additional":{"categories":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">African American Opera Singers<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-singers\/\" class=\"advgb-post-tax-term\">African American Singers<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/art-song\/\" class=\"advgb-post-tax-term\">Art Song<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/bhm-2023-wk-1\/\" class=\"advgb-post-tax-term\">BHM 2023 Wk 1<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/franz-schubert\/\" class=\"advgb-post-tax-term\">Franz Schubert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/french-opera\/\" class=\"advgb-post-tax-term\">French Opera<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/full-figured-baroque\/\" class=\"advgb-post-tax-term\">Full-Figured Baroque<\/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\/nyco-divas\/\" class=\"advgb-post-tax-term\">NYCO Divas<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/singers-of-color\/\" class=\"advgb-post-tax-term\">Singers of Color<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Twentieth Century Music<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">African American Opera Singers<\/span>","<span class=\"advgb-post-tax-term\">African American Singers<\/span>","<span class=\"advgb-post-tax-term\">Art Song<\/span>","<span class=\"advgb-post-tax-term\">BHM 2023 Wk 1<\/span>","<span class=\"advgb-post-tax-term\">Franz Schubert<\/span>","<span class=\"advgb-post-tax-term\">French Opera<\/span>","<span class=\"advgb-post-tax-term\">Full-Figured Baroque<\/span>","<span class=\"advgb-post-tax-term\">Needle Drop<\/span>","<span class=\"advgb-post-tax-term\">NYCO Divas<\/span>","<span class=\"advgb-post-tax-term\">Singers of Color<\/span>","<span class=\"advgb-post-tax-term\">Twentieth Century Music<\/span>"]},"tags":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Aida<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Berliner Staatsoper<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Boris Bezala<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Camilla Williams<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Celius Dougherty<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Detroit<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">George Frideric Handel<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Georges Bizet<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Giuseppe Verdi<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Janet Williams<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Jules Massenet<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Laszlo Halasz<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">L\u00e9o Delibes<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Les pecheurs de perles<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Manon<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">MGM Records<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">New York City Opera<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Nina Koshetz<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Povla Frijsh<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Semele<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Spirituals<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Undine Smith Moore<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Aida<\/span>","<span class=\"advgb-post-tax-term\">Berliner Staatsoper<\/span>","<span class=\"advgb-post-tax-term\">Boris Bezala<\/span>","<span class=\"advgb-post-tax-term\">Camilla Williams<\/span>","<span class=\"advgb-post-tax-term\">Celius Dougherty<\/span>","<span class=\"advgb-post-tax-term\">Detroit<\/span>","<span class=\"advgb-post-tax-term\">George Frideric Handel<\/span>","<span class=\"advgb-post-tax-term\">Georges Bizet<\/span>","<span class=\"advgb-post-tax-term\">Giuseppe Verdi<\/span>","<span class=\"advgb-post-tax-term\">Janet Williams<\/span>","<span class=\"advgb-post-tax-term\">Jules Massenet<\/span>","<span class=\"advgb-post-tax-term\">Laszlo Halasz<\/span>","<span class=\"advgb-post-tax-term\">L\u00e9o Delibes<\/span>","<span class=\"advgb-post-tax-term\">Les pecheurs de perles<\/span>","<span class=\"advgb-post-tax-term\">Manon<\/span>","<span class=\"advgb-post-tax-term\">MGM Records<\/span>","<span class=\"advgb-post-tax-term\">New York City Opera<\/span>","<span class=\"advgb-post-tax-term\">Nina Koshetz<\/span>","<span class=\"advgb-post-tax-term\">Povla Frijsh<\/span>","<span class=\"advgb-post-tax-term\">Semele<\/span>","<span class=\"advgb-post-tax-term\">Spirituals<\/span>","<span class=\"advgb-post-tax-term\">Undine Smith Moore<\/span>"]}},"comment_count":"0","relative_dates":{"created":"Posted 6 years ago","modified":"Updated 3 years ago"},"absolute_dates":{"created":"Posted on 10\/11\/2019","modified":"Updated on 05\/02\/2023"},"absolute_dates_time":{"created":"Posted on 10\/11\/2019 18:38","modified":"Updated on 05\/02\/2023 16:44"},"featured_img_caption":"","series_order":"","_links":{"self":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/2181","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=2181"}],"version-history":[{"count":19,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/2181\/revisions"}],"predecessor-version":[{"id":3387,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/2181\/revisions\/3387"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media\/3386"}],"wp:attachment":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media?parent=2181"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/categories?post=2181"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/tags?post=2181"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}