{"id":2497,"date":"2019-12-01T13:08:36","date_gmt":"2019-12-01T12:08:36","guid":{"rendered":"http:\/\/countermelodypodcast.com\/?p=2497"},"modified":"2022-08-29T09:30:05","modified_gmt":"2022-08-29T07:30:05","slug":"episode-11-janet-williams-iii","status":"publish","type":"post","link":"https:\/\/countermelodypodcast.com\/index.php\/2019\/12\/01\/episode-11-janet-williams-iii\/","title":{"rendered":"Episode 11. Janet Williams III"},"content":{"rendered":"<div id=\"mega-menu-wrap-primary\" class=\"mega-menu-wrap\"><div class=\"mega-menu-toggle\"><div class=\"mega-toggle-blocks-left\"><\/div><div class=\"mega-toggle-blocks-center\"><\/div><div class=\"mega-toggle-blocks-right\"><div class='mega-toggle-block mega-menu-toggle-animated-block mega-toggle-block-1' id='mega-toggle-block-1'><button aria-label=\"Menu\" class=\"mega-toggle-animated mega-toggle-animated-slider\" type=\"button\" aria-haspopup=\"true\" aria-expanded=\"false\" aria-controls=\"mega-menu-primary\">\n                  <span class=\"mega-toggle-animated-box\">\n                    <span class=\"mega-toggle-animated-inner\"><\/span>\n                  <\/span>\n                <\/button><\/div><\/div><\/div><ul id=\"mega-menu-primary\" class=\"mega-menu max-mega-menu mega-menu-horizontal mega-no-js\" data-event=\"hover_intent\" data-effect=\"slide\" data-effect-speed=\"200\" data-effect-mobile=\"slide\" data-effect-speed-mobile=\"200\" data-mobile-force-width=\"body\" data-second-click=\"go\" data-document-click=\"collapse\" data-vertical-behaviour=\"standard\" data-breakpoint=\"600\" data-unbind=\"true\" data-mobile-state=\"collapse_all\" data-mobile-direction=\"vertical\" data-hover-intent-timeout=\"300\" data-hover-intent-interval=\"100\"><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-home mega-align-bottom-left mega-menu-flyout mega-menu-item-19160\" id=\"mega-menu-item-19160\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/\">Home<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-align-bottom-left mega-menu-flyout mega-menu-item-19161\" id=\"mega-menu-item-19161\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/about-daniel\/\">About Daniel<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-current_page_parent mega-align-bottom-left mega-menu-flyout mega-menu-item-19171\" id=\"mega-menu-item-19171\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/all-episodes\/\">All Episodes<\/a><\/li><\/ul><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Episode 11.  Janet Williams Interview Part III: <em>Der ganze Unterschied<\/em><\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"340\" height=\"50\" src=\"https:\/\/countermelody.blubrry.net\/?powerpress_embed=45-podcast&amp;powerpress_player=mediaelement-audio\" frameborder=\"0\" scrolling=\"no\"><\/iframe>\n\n\n\n<div class=\"wp-block-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 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<ul class=\"wp-block-social-links has-normal-icon-size is-style-logos-only is-layout-flex wp-block-social-links-is-layout-flex\"><li class=\"wp-social-link wp-social-link-facebook  wp-block-social-link\"><a rel=\"noopener nofollow\" target=\"_blank\" href=\"https:\/\/facebook.com\/sharer\/sharer.php?u=http%3A%2F%2Fcountermelodypodcast.com%2Findex.php%2F2019%2F12%2F01%2Fepisode-11-janet-williams-iii%2F&#038;title=Episode%2011.%20Janet%20Williams%20III\" 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 2C6.5 2 2 6.5 2 12c0 5 3.7 9.1 8.4 9.9v-7H7.9V12h2.5V9.8c0-2.5 1.5-3.9 3.8-3.9 1.1 0 2.2.2 2.2.2v2.5h-1.3c-1.2 0-1.6.8-1.6 1.6V12h2.8l-.4 2.9h-2.3v7C18.3 21.1 22 17 22 12c0-5.5-4.5-10-10-10z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share on Facebook<\/span><\/a><\/li>\n\n<li class=\"wp-social-link wp-social-link-twitter  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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%2F12%2F01%2Fepisode-11-janet-williams-iii%2F&#038;description=Episode%2011.%20Janet%20Williams%20III\" 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-email  wp-block-social-link\"><a rel=\"noopener nofollow\" target=\"_blank\" 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1-1.4-1.371 1.954 1.954 0 0 1 .482-1.442 1.15 1.15 0 0 1 .842-.379 1.7 1.7 0 0 1 1.49 1.777 1.323 1.323 0 0 1-.325 1.015 1.476 1.476 0 0 1-1.089.4Zm-7.485 0a1.476 1.476 0 0 1-1.086-.4 1.323 1.323 0 0 1-.325-1.016 1.7 1.7 0 0 1 1.49-1.777 1.151 1.151 0 0 1 .843.379 1.951 1.951 0 0 1 .481 1.441 1.276 1.276 0 0 1-1.403 1.373Z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share on Reddit<\/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<div class=\"wp-block-coblocks-buttons\"><div class=\"wp-block-coblocks-buttons__inner flex-align-left\">\n<div class=\"wp-block-button alignright advgb-dyn-1246c6f9\"><a class=\"wp-block-button__link\" href=\"https:\/\/countermelody.blubrry.net\/\">SUBSCRIBE VIA YOUR FAVORITE PODCAST PLATFORM<\/a><\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div style=\"height:42px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-6f06b070\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized advgb-dyn-de1bd8a0\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Agrippina-Poppea.png\" alt=\"\" class=\"wp-image-2568\" width=\"479\" height=\"699\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Agrippina-Poppea.png 408w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Agrippina-Poppea-206x300.png 206w\" sizes=\"auto, (max-width: 479px) 100vw, 479px\" \/><figcaption>Janet Williams as Poppea in <em>Agrippina<\/em>. Halle  H\u00e4ndel-Festspiele 1999.<br>Photo by  Gert Kiermeyer.<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:29px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-f2e1cee8\"><\/div>\n\n\n\n<p>In the third and final part of our interview, recorded in July 2019, Janet Williams and I discuss how we reunited in 2004 (several years after our Merola connection); about her vocal studies with R\u00e9gine Crespin, Denise Duplex, and David Jones; about some of the roles she sang during the illustrious career which took her around the world; and about her current activities with her newly-formed  Leistung &amp; Performance Vokal Akademie here in Berlin, where singers gain invaluable professional training in all aspects of what she calls &#8220;this illustrious but very difficult profession.&#8221; As always, the interview is interspersed with musical interludes and commentary, which are all cited below.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-c00e95a5\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"720\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/With-Janet-in-Berlin-2.jpg\" alt=\"\" class=\"wp-image-2519\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/With-Janet-in-Berlin-2.jpg 960w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/With-Janet-in-Berlin-2-300x225.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/With-Janet-in-Berlin-2-768x576.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><figcaption>Dan and Janet, Berlin, July 2012, several months before I moved here permanently.<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:36px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-86a1343a\"><\/div>\n\n\n\n<p class=\"has-custom-size\" style=\"font-size:30px\"><strong>RECORDINGS HEARD IN THIS EPISODE<\/strong><\/p>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Pascal&nbsp;Dusapin: Perel\u00e0,&nbsp;l'homme de fum\u00e9e (excerpt) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=pyyvNPWBFvo\" target=\"_blank\">Pascal&nbsp;Dusapin: <em>Perel\u00e0<\/em>,&nbsp;<em>l&#8217;homme de fum\u00e9e<\/em> (excerpt)<\/a><\/strong>. Daniel Gundlach (L&#8217;archev\u00eaque); Alain Altinoglu conducting the Orchestre National de Montpellier and the Ch\u0153urs de l&#8217;Op\u00e9ra National de Montpellier.  Na\u00efve Records MO 782168 (2004). Others in the cast include John Graham-Hall, Nora Gubisch, Isabelle Philippe, Chantal Perraud, Scott Wilde, Nicolas Courjal and Martine Mah\u00e9. In the world premiere performances, in February 2003 at Op\u00e9ra Bastille, conducted by James Conlon, I sang the role of Le Perroquet [The Parrot] while Dominique Visse created the role of the Archev\u00eaque. In the Montpellier performances which took place several months later, I sang the role that Dominique created. Some time I will tell more about this amazing experience, but for now, just two photos, one of me on the stage of the Bastille as the Perroquet (taken by Dominique, who is also a very gifted photographer) and the other of me as the Archev\u00eaque, as reproduced in the booklet of the Na\u00efve recording.<\/p>\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-f0d8fa33\">\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"619\" data-id=\"2503\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Perroquet.jpg\" alt=\"\" class=\"wp-image-2503\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Perroquet.jpg 500w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Perroquet-242x300.jpg 242w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption>As the Perroquet in Paris<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"582\" data-id=\"2501\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/archeveque.jpg\" alt=\"\" class=\"wp-image-2501\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/archeveque.jpg 640w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/archeveque-300x273.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>As the Archev\u00eaque in Montpellier<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<div style=\"height:142px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-c5cce35f\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-5cf10b1b\"><img loading=\"lazy\" decoding=\"async\" width=\"588\" height=\"574\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-LOpera-Seria-II.jpg\" alt=\"\" class=\"wp-image-2569\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-LOpera-Seria-II.jpg 588w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-LOpera-Seria-II-300x293.jpg 300w\" sizes=\"auto, (max-width: 588px) 100vw, 588px\" \/><figcaption>Janet Williams as Porporina in <em>L&#8217;Opera Seria<\/em>, Berliner Staatsoper Unter den Linden.<br>Photo by Monika Rittershaus<\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized advgb-dyn-880ba2b8\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-LOpera-Seria-1.jpg\" alt=\"\" class=\"wp-image-2505\" width=\"378\" height=\"504\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-LOpera-Seria-1.jpg 720w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-LOpera-Seria-1-225x300.jpg 225w\" sizes=\"auto, (max-width: 378px) 100vw, 378px\" \/><figcaption>Janet Williams with Jeffrey Francis in <em>L&#8217;Opera Seria<\/em>,<br>Berliner Staatsoper Unter den Linden 1994.<br>Photo by Monika Rittershaus<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a href=\"https:\/\/www.youtube.com\/watch?v=8Yo6vyztXB8\">Florian Leopold Gassmann: Delfin che a laccio infido (<em>L&#8217;Opera Seria<\/em>)<\/a><\/strong>. Janet Williams. Live performance from the  Berliner Staatsoper Unter den Linden (1994). Other cast members included  Laura Aikin, Efrat Ben-Nun Curtis Rayam, Dominique Visse, and Ralf Popken. Janet gives a virtuoso (and hilarious) performance here. It&#8217;s worth clicking on the link to watch her antics, perfectly in sync with the figurations in the music.<\/p>\n\n\n\n<div style=\"height:108px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-fb0e269b\"><\/div>\n\n\n\n<p><a rel=\"noreferrer noopener\" aria-label=\"rges Bizet: Je dis que rien ne m'\u00e9pouvante (Carmen). (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=h90aXi7adB8\" target=\"_blank\"><strong>Georges Bizet: Je dis que rien ne m&#8217;\u00e9pouvante (<em>Carmen<\/em>)<\/strong>.<\/a> Mary Mills (Mica\u00ebla); Neeme  J\u00e4rvi, conductor. Live performance (2000) from the Op\u00e9ra Bastille. During her time on the world&#8217;s major operatic stages, <strong><a rel=\"noreferrer noopener\" aria-label=\"Mary Mills (opens in a new tab)\" href=\"https:\/\/www.marymillssoprano.com\/\" target=\"_blank\">Mary Mills<\/a><\/strong> was a force of nature. Her deeply-ingrained musicianship and increasingly powerful voice enabled her to put her stamp on whatever repertoire she undertook. She happened to be singing at the Bastille as Marguerite in <em>Faust<\/em> opposite Rolando Villazon while I was appearing in the Dusapin world premiere in the same house in the Winter of 2003. I heard her in performance and found her to be exquisite, but our paths didn&#8217;t actually cross until a few years later at that marvelous <em>Kaffeeklatsch<\/em> chez Williams-Berndt. that we describe in the podcast. Like Janet, she now works as a teacher in Berlin. I was honored to be able to work with her as she was preparing works by both Wagner and Dvo\u0159\u00e1k for performance. These were some of the most thrilling and rewarding coaching sessions I have experienced in my long years as a <em>Korrepetitor<\/em> [vocal coach]. I also saw her at the Deutsche Oper in the role of Johanna [Joan of Arc] in Walter Braunfels&#8217;s superb and compelling opera <em>Szenen aus dem Leben der Heiligen Johanna<\/em>, in which she gave a performance that ranks among the greatest I have seen on the operatic stage. Numerous and varied clips of her singing are available on YouTube. Check her out, people!<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"535\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mary-Braunfels-1024x535.jpg\" alt=\"\" class=\"wp-image-2506\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mary-Braunfels-1024x535.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mary-Braunfels-300x157.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mary-Braunfels-768x401.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mary-Braunfels.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Mary Mills as Joan of Arc in Walter Braunfels&#8217;s <em>Szenen aus der Leben der heiligen Johanna<\/em>,<br>Deutsche Oper Berlin, 2010.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-db4b1242\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Jeff Barry, Ellie Greenwich: Do Wah Diddy Diddy (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=43vOAw2sAFU\" target=\"_blank\">Jeff Barry, Ellie Greenwich: Do Wah Diddy Diddy<\/a><\/strong>. Manfred Mann. from <em>The Manfred Mann Album<\/em>, Ascot Records  AM 13015 \/ ALS 16015 (1964). Just another of my comic interpolations in the middle of a very serious interview!<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"675\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-1024x675.jpg\" alt=\"\" class=\"wp-image-2507\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-1024x675.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-300x198.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-768x507.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-1536x1013.jpg 1536w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-2048x1351.jpg 2048w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Manfred-Mann-1600x1055.jpg 1600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Manfred Mann, 1967.  To the uninitiated, yes; they were a group!<br>L to R: Tom McGuinness, L to R: Dave Berry, Klaus Voormann, Mike Hugg, Manfred Mann, Mike d&#8217;Abo.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:38px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-5a996784\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Carl Heinrich Graun: Two arias from Cleopatra e Cesare. (opens in a new tab)\" href=\"https:\/\/vimeo.com\/7179199\" target=\"_blank\">Carl Heinrich Graun: Two arias from <em>Cleopatra e Cesare<\/em>.<\/a><\/strong> Janet Williams (Cleopatra). Live telecast from the  Berliner Staatsoper Unter den Linden, 1992. It was her appearance in this extraordinary production of this rare Graun opera that confirmed Janet as an operatic sensation. It is such fun for those of us who know and love her off the stage to see her imperious, playful, sexy characterization.<\/p>\n\n\n\n<figure class=\"wp-block-gallery aligncenter has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex advgb-dyn-d2dc9850\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"467\" height=\"591\" data-id=\"2509\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-01-2.png\" alt=\"\" class=\"wp-image-2509\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-01-2.png 467w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-01-2-237x300.png 237w\" sizes=\"auto, (max-width: 467px) 100vw, 467px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"418\" height=\"600\" data-id=\"2510\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-02-2.png\" alt=\"\" class=\"wp-image-2510\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-02-2.png 418w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-02-2-209x300.png 209w\" sizes=\"auto, (max-width: 418px) 100vw, 418px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"644\" height=\"595\" data-id=\"2511\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-03-2.png\" alt=\"\" class=\"wp-image-2511\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-03-2.png 644w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-03-2-300x277.png 300w\" sizes=\"auto, (max-width: 644px) 100vw, 644px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"882\" height=\"589\" data-id=\"2512\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-04-2.png\" alt=\"\" class=\"wp-image-2512\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-04-2.png 882w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-04-2-300x200.png 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-04-2-768x513.png 768w\" sizes=\"auto, (max-width: 882px) 100vw, 882px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"425\" height=\"590\" data-id=\"2513\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-05-2.png\" alt=\"\" class=\"wp-image-2513\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-05-2.png 425w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Graun-Cleopatra-e-Cesare-05-2-216x300.png 216w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\" \/><\/figure>\n<figcaption class=\"blocks-gallery-caption\">Janet Williams as Cleopatra in <em>Cleopatra e Cesare<\/em>, Berliner Staatsoper 1992.<br>Photos by Monika Rittershaus<\/figcaption><\/figure>\n\n\n\n<div style=\"height:87px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-15fa9acb\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Giacomo Puccini: Il Tabarro [excerpt] (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=JSpfjvz2oy4&amp;t=1599s\" target=\"_blank\">Giacomo Puccini: <em>Il Tabarro <\/em>[excerpt]<\/a><\/strong>. Clara Petrella (Giorgetta); Mirto Picchi (Luigi); Oliviero de Fabritiis conducting the Orchestra e Coro di Milano della RAI. Cast also includes Carlo Tagliabue as Michele.  I find two different dates attached to this television production, 1954 and 1957. My gut instinct tells me it is the former. I BEG OF ALL OF YOU, PLEASE TAKE AN HOUR AND WATCH THIS VIDEO! <em>This<\/em> is the height of verismo style, performed with guts and distinction by a cast totally versed in the idiom. I cannot say enough about this video. Clara Petrella was a goddess of this repertoire; Mirto Picchi deserves to be remembered for more than just his fairly workaday Giasone on the curiously lackluster Callas studio recording of <em>Medea<\/em>; and Carlo Tagliabue is chilling, compelling, and sympathetic in equal measure.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-1dcd2b0a\"><img loading=\"lazy\" decoding=\"async\" width=\"678\" height=\"480\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-276.png\" alt=\"\" class=\"wp-image-2515\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-276.png 678w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-276-300x212.png 300w\" sizes=\"auto, (max-width: 678px) 100vw, 678px\" \/><figcaption>Clara Petrella as Giorgetta and Mirto Picchi as Luigi in the 1950s RAI TV production of <em>Il Tabarro<\/em>.<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-a1f5334f\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Giacomo Puccini: Che tua madre (Madama Butterfly). (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=jzOtguMsl9Y\" target=\"_blank\">Giacomo Puccini: Che tua madre (Madama Butterfly).<\/a><\/strong> Mafalda Favero (Butterfly). Live performance from the Grand Th\u00e9\u00e2tre de Gen\u00e8ve, 1947.  The cast also includes Giacinto Prandelli as Pinkerton, Scipio Colombo as Sharpless,  Gabriella Galli as Suzuki and an &#8220;Unknown Conductor&#8221; conducting the Orchestre de la Suisse Romande. Like the <em>Tabarro <\/em>above, this recently rediscovered live performance is an invaluable document in <em>verismo<\/em> style. Like Antonietta Stella and Rosanna Carteri, Mafalda Favero was blessed with movie-star looks and a voice, musicianship, and style that equipped her for the challenges that Puccini and his fellow Italians posed to their singers. Enormous chunks of this performance are available on YouTube and once again, I BEG YOU ALL to listen to these. I recently got a pirate copy of the complete performance on CD and I cannot <em>wait <\/em>to listen to the entire thing.<\/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-aa4d5ce2\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"318\" height=\"458\" data-id=\"2517\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mafalda-Favero-as-Thais.jpg\" alt=\"\" class=\"wp-image-2517\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mafalda-Favero-as-Thais.jpg 318w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mafalda-Favero-as-Thais-208x300.jpg 208w\" sizes=\"auto, (max-width: 318px) 100vw, 318px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"275\" height=\"399\" data-id=\"2518\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-277.png\" alt=\"\" class=\"wp-image-2518\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-277.png 275w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-277-207x300.png 207w\" sizes=\"auto, (max-width: 275px) 100vw, 275px\" \/><\/figure>\n<figcaption class=\"blocks-gallery-caption\">Mafalda Favero in two contrasting parts: the title roles in <em>Tha\u00efs<\/em> and <em>Madama Butterfly<\/em>.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:56px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-2d3bf47f\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized advgb-dyn-d66ba1e7\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-as-Musetta-1.jpg\" alt=\"\" class=\"wp-image-2521\" width=\"296\" height=\"395\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-as-Musetta-1.jpg 719w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-as-Musetta-1-225x300.jpg 225w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\" \/><figcaption>Janet Williams, not as Violetta, but as Musetta in <em>La Boheme<\/em>.<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Giuseppe Verdi: Violetta-Germont duet (La Traviata). (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=PKvHtN_5L54\" target=\"_blank\">Giuseppe Verdi: Violetta-Germont duet (<em>La Traviata<\/em>).<\/a><\/strong> Janet Williams (Violetta); Andreas Poulimenos (Germont). Live performance ca. 1991 at the Wharton Center for the Performing Arts, East Lansing, MI. It&#8217;s interesting to hear Janet describe the circumstances under which she sang a string of more-or-less complete performances of <em>Traviata<\/em> while an Adler Fellow in San Francisco. Not the most congenial of circumstances! This performance is evidently from around the same time. Thanks to Eric Schlossberg for helping to enhance the poor sound quality of the original files as posted on YouTube!<\/p>\n\n\n\n<div style=\"height:55px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-13857eb0\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"George Frideric Handel: Myself I Shall Adore (Semele) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=YKYrvW4rm6I\" target=\"_blank\">George Frideric Handel: Myself I Shall Adore (<em>Semele<\/em>)<\/a><\/strong>. Janet Williams (Semele). Live performance, Berliner Staatsoper Unter den Linden, ca. 1993. I know I have posted excerpts from Janet&#8217;s performance of this aria before, but I find it to be a particularly compelling example of her ability to sing florid music with enormous aplomb, taste, style, and vigor.<\/p>\n\n\n\n<figure class=\"wp-block-gallery aligncenter has-nested-images columns-default is-cropped wp-block-gallery-4 is-layout-flex wp-block-gallery-is-layout-flex advgb-dyn-93f80a9b\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"395\" height=\"587\" data-id=\"2523\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-02-1.png\" alt=\"\" class=\"wp-image-2523\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-02-1.png 395w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-02-1-202x300.png 202w\" sizes=\"auto, (max-width: 395px) 100vw, 395px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"394\" height=\"586\" data-id=\"2524\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-01-2.png\" alt=\"\" class=\"wp-image-2524\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-01-2.png 394w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Semele-01-2-202x300.png 202w\" sizes=\"auto, (max-width: 394px) 100vw, 394px\" \/><\/figure>\n<figcaption class=\"blocks-gallery-caption\">Janet Williams in the title role of <em>Semele<\/em>, Berliner Staatsoper Unter den Linden<br>with Jeffrey Francis as Jupiter (Photo at Left)<br>Photos by Monika Rittershaus<\/figcaption><\/figure>\n\n\n\n<div style=\"height:55px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-13857eb0\"><\/div>\n\n\n\n<p>Janet also mentioned the first Handel opera production she did while a member of the Adler Fellow program of the San Francisco Opera Center. That was a performance of <em>Giustino<\/em> conducted by Nicholas McGegan. Janet gave me a photo of her in that production alongside Patricia Spence, who was another of our fellow Merolini. Here they are:<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-6764977a\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"801\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/12\/Janet-Patty-Spence-Giustino.jpg\" alt=\"\" class=\"wp-image-2574\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/12\/Janet-Patty-Spence-Giustino.jpg 960w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/12\/Janet-Patty-Spence-Giustino-300x250.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/12\/Janet-Patty-Spence-Giustino-768x641.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><figcaption>Janet Williams and Patricia Spence in Handel&#8217;s <em>Giustino<\/em>, San Francisco 1989<\/figcaption><\/figure>\n<\/div>\n\n\n<p>And here is a review of the production written by <strong><a href=\"https:\/\/www.latimes.com\/archives\/la-xpm-1989-06-29-ca-3350-story.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Herbert Glass which appeared in the Los Angeles Times (opens in a new tab)\">Herbert Glass which appeared in the <em>Los Angeles Times<\/em><\/a><\/strong>: &#8221; While one admired the stylish aplomb with which the entire cast negotiated the Handelian fioritura, the evening was dominated by Janet Williams\u2019 exquisite Arianna, empress of this Classical never-never land. Her every pose elicited sympathy; every note was finely tuned, with a sensitivity to dynamics that might serve as a model for singers far more experienced, and with, alone among the cast, a serviceable trill. All these qualities came together in her heart-stopping Act II aria, &#8216;Quel torrente.'&#8221;<\/p>\n\n\n\n<div style=\"height:58px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-fecf9cf2\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Wolfgang Amadeus Mozart: Vorrei spiegarvi, o Dio (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=85QnenUTKXQ\" target=\"_blank\">Wolfgang Amadeus Mozart: Vorrei spiegarvi, o Dio<\/a><\/strong>. Ann Panagulius, soprano; Samuel Cristler conducting the Sinfonia San Francisco. Live performance ca. 1990. Ann and I were on tour together in the Western Opera Theater production of <em>Don Pasquale<\/em> that followed on the summer that Janet and I spent in Merola; Ann herself had participated in Merola the previous summer. She went on to sing the title role in Berg&#8217;s <em>Lulu<\/em> at the San Francisco Opera in 1990. She is a fine person of enormous integrity whose friendship I have enjoyed for many years now. And as you can hear, she was also a hell of a singer in her day! (And BTW,  R\u00e9gine Crespin proved to be an important mentor to Ann as well; we spoke about it in an interview that she did with me another lifetime ago!)<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-ff37fdb8\"><img loading=\"lazy\" decoding=\"async\" width=\"715\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Ann-P.jpg\" alt=\"\" class=\"wp-image-2527\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Ann-P.jpg 715w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Ann-P-209x300.jpg 209w\" sizes=\"auto, (max-width: 715px) 100vw, 715px\" \/><figcaption>Ann Panagulias in 1989, San Francisco<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized advgb-dyn-99575622\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Crespin-Ariadne-Aix.jpg\" alt=\"\" class=\"wp-image-2379\" width=\"282\" height=\"449\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Crespin-Ariadne-Aix.jpg 307w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Crespin-Ariadne-Aix-189x300.jpg 189w\" sizes=\"auto, (max-width: 282px) 100vw, 282px\" \/><figcaption>Crespin as the Prima Donna in <em>Ariadne<\/em>, Aix, 1966<\/figcaption><\/figure>\n<\/div>\n\n\n<p> <strong><a href=\"https:\/\/www.youtube.com\/watch?v=uBr3CHGe4V4&amp;t=1s\">Richard Strau<\/a><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=uBr3CHGe4V4&amp;t=1s\" target=\"_blank\">ss: Marschallin&#8217;s Monologue [excerpt] (<em>Der Rosenkavalier<\/em>)<\/a><\/strong>. R\u00e9gine Crespin (The Marschallin); Louis de Froment conducting the Orchestre de la RTF. Radio performance, 1962. Mme. Crespin offers a little commentary on how important it is to find one&#8217;s way through life with dignity, compassion, and perseverance. She penned an autobiography which is available in both the original French and in an expanded English translation. I&#8217;ve not yet gotten my hands on it, but I understand there is a lot of gossip therein as well as frank discussion of many of the more unhappy aspects of her life. I, for one, am grateful that in spite of all of this, she made left us with such a beautiful and wide-ranging legacy which I will explore in a further episode in early 2020.<\/p>\n\n\n\n<div style=\"height:57px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-987d792a\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized advgb-dyn-0c98f84c\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Blegen-Sophie.jpg\" alt=\"\" class=\"wp-image-2531\" width=\"367\" height=\"448\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Blegen-Sophie.jpg 491w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Blegen-Sophie-246x300.jpg 246w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><figcaption>Judith Blegen as Sophie in <em>Der Rosenkavalier<\/em>.<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Wolfgang Amadeus Mozart: Durch Z\u00e4rtlichkeit&nbsp;und Schmeicheln (Die&nbsp;Entf\u00fchrung&nbsp;aus dem Serail). (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=MxWPXl7KmDo\" target=\"_blank\">Wolfgang Amadeus Mozart: Durch Z\u00e4rtlichkeit&nbsp;und Schmeicheln (<em>Die Entf\u00fchrung&nbsp;aus dem Serail<\/em>).<\/a><\/strong> Judith Blegen (Blondchen). I can&#8217;t find out too much about the movie from which this clip emanates, except that it is from a German television production of the complete opera in 1969, which would have been at the very beginning of Judith Blegen&#8217;s career; that it also features Anneliese Rothenberger, Werner Krenn, Gerhard Stolze, Oskar Czerwenka, and Peter Pasetti in the cast; and that it is a precious document of Blegen in particular. Blegen went on to become a mainstay at the Metropolitan Opera until a chronic health condition forced her into early retirement in 1991. She is married to the former concertmaster of the Metropolitan Opera Orchestra, Raymond Gniewek and is one of my very favorite light-voiced sopranos. Rest assured that I will be doing a program on her sometime in the New Year.<\/p>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-5e6d8bb3\"><\/div>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-5 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=\"660\" height=\"1024\" data-id=\"2533\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-and-Klaus-Donath-1-660x1024.jpg\" alt=\"\" class=\"wp-image-2533\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-and-Klaus-Donath-1-660x1024.jpg 660w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-and-Klaus-Donath-1-194x300.jpg 194w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-and-Klaus-Donath-1-768x1191.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-and-Klaus-Donath-1-991x1536.jpg 991w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-and-Klaus-Donath-1.jpg 1032w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"515\" height=\"720\" data-id=\"2534\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-Donath.png\" alt=\"\" class=\"wp-image-2534\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-Donath.png 515w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helen-Donath-215x300.png 215w\" sizes=\"auto, (max-width: 515px) 100vw, 515px\" \/><\/figure>\n<\/figure>\n\n\n\n<p><strong><a href=\"https:\/\/www.youtube.com\/watch?v=2GQjeu082RM\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Richard Strauss: Presentation of the Rose [excerpt] (Der Rosenkavalier ) (opens in a new tab)\">Richard Strauss: Presentation of the Rose [excerpt] (<em>Der Rosenkavalier <\/em>)<\/a><\/strong>. Helen Donath (Sophie); Georg Solti conducting the Wiener Philharmoniker. from the complete recording also featuring  R\u00e9gine Crespin, Yvonne Minton, Manfred Jungwirth and others. Decca  SET 418-21 \/ London OSAL-1435 (1969). Helen Donath was, along with Lucia Popp, probably the finest Sophie of the past 50 years. She later graduated to the role of the Marschallin, which she sang at Washington Opera in 1991, a production which also featured Janet Williams as Sophie.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-9d9faf4e\"><img loading=\"lazy\" decoding=\"async\" width=\"958\" height=\"429\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/JWilliams-HDonath-Rosenkavalier-Washington-2.png\" alt=\"\" class=\"wp-image-2535\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/JWilliams-HDonath-Rosenkavalier-Washington-2.png 958w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/JWilliams-HDonath-Rosenkavalier-Washington-2-300x134.png 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/JWilliams-HDonath-Rosenkavalier-Washington-2-768x344.png 768w\" sizes=\"auto, (max-width: 958px) 100vw, 958px\" \/><figcaption>Janet Williams as Sophie and Helen Donath as the Marschallin. Washington Opera 1995.<br>Janet told me that this occasion marked her first Sophie and Helen&#8217;s first Marschallin<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:63px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-9e9df0c5\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Richard Strauss:  Gro\u00dfm\u00e4chtige Prinzessin [excerpt] (Ariadne auf Naxos). (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=mXTEztwwh1g\" target=\"_blank\">Richard Strauss:  Gro\u00dfm\u00e4chtige Prinzessin [excerpt] (<em>Ariadne auf Naxos<\/em>).<\/a><\/strong>  Reri Grist (Zerbinetta); Karl B\u00f6hm conducting the Wiener Philharmoniker. Live performance Salzburg, 21 August 1965. Reri Grist was a remarkable singer who absolutely sparkled as Zerbinetta in particular, as can be witnessed in the video of this live performance from her early prime. Let us also pay tribute to the enormous versatility of this artist, who first appeared in the original cast of <em>West Side Story<\/em> in 1957, both playing Consuela and singing the iconic song &#8220;Somewhere.&#8221; Shortly thereafter Leonard Bernstein used her as the soprano soloist in his first recording of Mahler&#8217;s Fourth Symphony. She went on to make her mark in a wide variety of repertoire from Rosina to Gilda to Blondchen to Aminta in Strauss&#8217;s underrated <em>Die schweigsame Frau<\/em>. She remains active as an important voice teacher.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-e6cbbce7\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"726\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Grist-1024x726.jpg\" alt=\"\" class=\"wp-image-2536\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Grist-1024x726.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Grist-300x213.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Grist-768x545.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Grist.jpg 1031w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Hildegard Hillebrecht as Ariadne and Reri Grist as Zerbinetta, Salzburger Festspiele August 1965.<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:62px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-82fb6f36\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large advgb-dyn-8d15aa1e\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"360\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Michele-Crider.jpg\" alt=\"\" class=\"wp-image-2537\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Michele-Crider.jpg 480w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Michele-Crider-300x225.jpg 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><figcaption> Mich\u00e8le Crider<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Wolfgang Amadeus Mozart: Non mi dir (Don Giovanni) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=Ffm7Hv5JqDU\" target=\"_blank\">Wolfgang Amadeus Mozart: Non mi dir (<em>Don Giovanni<\/em>)<\/a><\/strong>.  Mich\u00e8le&nbsp; Crider (Donna Anna). Orchestre de la Suisse Romande. From the Winners&#8217; Final Concert, Concours de Gen\u00e8ve&nbsp;1989.  Mich\u00e8le Crider was mentioned by Janet as a student of Reri Grist&#8217;s who had a completely different vocal profile from her teacher.<\/p>\n\n\n\n<div style=\"height:43px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-77744762\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Richard Strauss: Elektra-Klyt\u00e4mnestra scene [excerpt] (Elektra) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=m6QNHRC1lAM&amp;t=771s\" target=\"_blank\">Richard Strauss: Elektra-Klyt\u00e4mnestra scene [excerpt] (<em>Elektra<\/em>)<\/a><\/strong>. Deborah Polaski (Elektra). James Levine conducting the Metropolitan Opera Orchestra, Autumn 2002. Also featured in this performance was Marjana Lipov\u0161ek as Klyt\u00e4mnestra.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-38972047\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Polaski.jpg\" alt=\"\" class=\"wp-image-2538\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Polaski.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Polaski-300x200.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption>Deborah Polaski, Berlin 2006<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:61px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-229a064a\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized advgb-dyn-72592d4a\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Battle-Price-2.jpg\" alt=\"\" class=\"wp-image-2549\" width=\"405\" height=\"319\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Battle-Price-2.jpg 475w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Battle-Price-2-300x236.jpg 300w\" sizes=\"auto, (max-width: 405px) 100vw, 405px\" \/><figcaption>Kathleen Battle and Leontyne Price<br>at Oprah Winfrey&#8217;s Legends celebration, 2006<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Heitor Villa-Lobos: Aria (Bachianas Brasilieras No. 5) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=woN47pZJsEI\" target=\"_blank\">Heitor Villa-Lobos: Aria (<em>Bachianas<\/em> <em>Brasileiras No. 5<\/em>)<\/a><\/strong>. Kathleen Battle, soprano; Lynn Harrell, cello. Live performance from <em>Gallery of the Stars 1985<\/em>. Though I have some problems with the singing of the artist here represented, there is no denying her value or her impact in the opera world. Interestingly, the cellist Lynn Harrell wrote a comment on this very YouTube posting which I think is worth sharing for the insight he sheds on the link between great singing and great instrumental playing: &#8220;I just discovered this!  I had forgotten that even I had done it. Useful for this performance Kathy and I did it without conductor for a great performance series at Alice Tully Hall in New York City. Because it is really very difficult particularly the second moment without a conductor, we started rehearsing in September for the performance was in  March&#8230;  After 50 years of talking until my face is blue about the connection of great instrumental playing and great singing, I am betting that 99% of those people that have heard me rant and rave, has [sic] still yet to listen carefully over and over again to great singers and their art. in my teaching I go so far as to say that those who did do this exercise achieved much greater levels of their career.&#8221; I would here like to remind (or inform) my readers that Lynn Harrell&#8217;s father was the great American baritone Mack Harrell, who is probably best known for his performance of the title role of Alban Berg&#8217;s <em>Wozzeck <\/em>under Dimitri Mitropoulos, but who was also a superb interpreter of a wide range of repertoire from Bach to art song.<\/p>\n\n\n\n<figure class=\"wp-block-gallery aligncenter has-nested-images columns-default is-cropped wp-block-gallery-6 is-layout-flex wp-block-gallery-is-layout-flex advgb-dyn-ca3acca3\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"239\" height=\"300\" data-id=\"2554\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Mack-Harrell.jpg\" alt=\"\" class=\"wp-image-2554\"\/><figcaption>The great Mack Harrell<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"520\" height=\"669\" data-id=\"2555\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Lynn-Harrell-1.jpg\" alt=\"\" class=\"wp-image-2555\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Lynn-Harrell-1.jpg 520w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Lynn-Harrell-1-233x300.jpg 233w\" sizes=\"auto, (max-width: 520px) 100vw, 520px\" \/><figcaption>The great Lynn Harrell<\/figcaption><\/figure>\n<figcaption class=\"blocks-gallery-caption\">No family resemblance here&#8230; nope!<\/figcaption><\/figure>\n\n\n\n<div style=\"height:21px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-fc589dc8\"><\/div>\n\n\n\n<div style=\"height:44px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-d18e06f8\"><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"George Frideric Handel: Overture to Agrippina (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=eRoeX5i0r4o\" target=\"_blank\">George Frideric Handel: Overture to <em>Agrippina<\/em><\/a><\/strong>. Helsinki Baroque Orchestra.  Aapo H\u00e4kkinen, conductor. Live performance from the  Gulbenkian Auditorium, Lisbon, 22 April 2014. I picked this performance when looking for an orchestral sample from Handel&#8217;s <em>Agrippina<\/em>. And why not? It&#8217;s marvelous playing! Kudos to the players.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-78b466ce\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"281\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helsinki.jpg\" alt=\"\" class=\"wp-image-2543\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helsinki.jpg 500w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Helsinki-300x169.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption>The Helsinki Baroque Orchestra<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"George Frideric Handel: Se giunge un dispetto (Agrippina) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=7pmrQn4L5qk\" target=\"_blank\">George Frideric Handel: Se giunge un dispetto (<em>Agrippina<\/em>)<\/a><\/strong>. Karina Gauvin (Poppea); Jeanne Lamon conducting Tafelmusik. from <em>Airs et Danses; Extraits de <strong>Agrippina<\/strong> et <strong>Alcina <\/strong><\/em>(Analeka  Records, FL 2 3137) [1999]). The exceptional Canadian soprano Karina Gauvin is one of that rare breed: a current soprano specializing in Baroque repertoire whose singing I consistently enjoy. Kudos to her for her brilliant performance of this, one of Poppea&#8217;s florid arias in Handel&#8217;s <em>Agrippina<\/em>. <\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-a64cbb46\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"680\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-1024x680.jpg\" alt=\"\" class=\"wp-image-2542\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-1024x680.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-300x199.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-768x510.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-1536x1020.jpg 1536w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-2048x1360.jpg 2048w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Gauvin-1600x1063.jpg 1600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Karina Gauvin dressing boldly and colo(u)rfully. Just like the way she sings!<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:87px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-15fa9acb\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"747\" height=\"595\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Vixen-Dallas-with-Beth-Clayton.png\" alt=\"\" class=\"wp-image-2570\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Vixen-Dallas-with-Beth-Clayton.png 747w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Vixen-Dallas-with-Beth-Clayton-300x239.png 300w\" sizes=\"auto, (max-width: 747px) 100vw, 747px\" \/><figcaption>Janet Williams (R) as  Bystrou\u0161ka [Sharp-Ears] and Beth Clayton (L) as  Zlatoh\u0159b\u00edtek&nbsp; [Gold-Spur]<br>in  <em>P\u0159\u00edhody li\u0161ky Bystrou\u0161ky<\/em> [<em>The Cunning Little Vixen<\/em>], Dallas Opera, 2000<\/figcaption><\/figure>\n\n\n\n<p> <strong><a rel=\"noreferrer noopener\" aria-label=\"Leo\u0161 Jan\u00e1\u010dek: P\u0159\u00edhody li\u0161ky Bystrou\u0161ky [The Cunning Little Vixen] (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=4g69DoApIv8&amp;t=8s\" target=\"_blank\">Leo\u0161 <\/a><\/strong><a rel=\"noreferrer noopener\" aria-label=\"Leo\u0161 Jan\u00e1\u010dek: P\u0159\u00edhody li\u0161ky Bystrou\u0161ky [The Cunning Little Vixen] (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=4g69DoApIv8&amp;t=8s\" target=\"_blank\"><strong>Jan\u00e1\u010dek<\/strong><\/a><strong><a rel=\"noreferrer noopener\" aria-label=\"Leo\u0161 Jan\u00e1\u010dek: P\u0159\u00edhody li\u0161ky Bystrou\u0161ky [The Cunning Little Vixen] (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=4g69DoApIv8&amp;t=8s\" target=\"_blank\">: <em>P\u0159\u00edhody li\u0161ky Bystrou\u0161ky<\/em> [<em>The Cunning Little Vixen<\/em>]<\/a><\/strong>. Bohumil Gregor conducting the Orchestra and Chorus of the Prague National Theater. This complete recording (Supraphon  1 12 1181-2, recorded 1971) includes  Helena Tattermuschov\u00e1, Zden\u011bk Kroupa, Li\u0161\u00e1k Zlatoh\u0159b\u00edtek, Eva Zikmundov\u00e1, Josef Heriban, Jan Hlavsa, and Dalibor Jedli\u010dka.  Admittedly Jan\u00e1\u010dek is an acquired taste, but this is surely one of his most accessible works and this recording presents an authentically Czech flavor to the proceedings, with performances by some of the most distinguished Czech singers of the era. To those who wish to find an inroad to this fascinating composer, I recommend it without reservation.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-bf30161b\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"1000\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Vixen.jpg\" alt=\"\" class=\"wp-image-2551\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Vixen.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Vixen-180x300.jpg 180w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption> Helena Tattermuschov\u00e1 as Vixen Sharp-Ears (a true appellation!)<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:60px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-377da97f\"><\/div>\n\n\n\n<p>Richard Strauss: The Marschallin&#8217;s Monologue [excerpt] (<em>Der Rosenkavalier<\/em>). Christa Ludwig (the Marschallin); Leonard Bernstein conducting the Wiener Philharmoniker. Live performance, Wiener Staatsoper 13 April 1968. Christa Ludwig is one of the greatest singers of the 20th Century who bestowed her artistry on a wide range of roles, both mezzo and soprano. As celebrated as a <em>Lieder<\/em> interpreter as she was in opera, her assumption of the Marschallin proved a compelling undertaking that put her unique abilities on clear display. Though some were troubled by her lack of a distinctly soprano color in this role, I never had a problem with it. Her attention to detail and to the meaning of words grants her a special place in the pantheon of great Marschallins, which includes, for me,  R\u00e9gine&nbsp; Crespin,  Elisabeth S\u00f6derstr\u00f6m, Gwyneth Jones, and, supremely, Lotte Lehmann. In the second tier of best Marschallins I give special consideration to Della Casa, Janowitz, Lear, and Jurinac (I only wish that there were audio documentation of Donath in this role!)  (And yes, there is at least one celebrated name which does <em>not<\/em> appear on this list! About her I am, in the words of my late grandmother &#8220;keeping my mouth shut.&#8221;)<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-d4c2a096\"><img loading=\"lazy\" decoding=\"async\" width=\"755\" height=\"425\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Christa-Ludwig.jpg\" alt=\"\" class=\"wp-image-2544\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Christa-Ludwig.jpg 755w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Christa-Ludwig-300x169.jpg 300w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><figcaption>The great Christa Ludwig. Cannes 2013.<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:55px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-13857eb0\"><\/div>\n\n\n\n<p>Ric<strong><a rel=\"noreferrer noopener\" aria-label=\"hard Strauss: Finale to Act II [excerpt] (Die Frau ohne Schatten) (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=lOraQt705FY\" target=\"_blank\">hard Strauss: Finale to Act II [excerpt] (<em>Die Frau ohne Schatten<\/em>)<\/a><\/strong>. Janice Baird (Die F\u00e4rberin [the Dyer&#8217;s Wife]). I am not aware of the exact provenance of this recording, but I have to say that it is the most impressive example of Janice Baird&#8217;s singing that I have encountered. The fact that she has the perfect <em>physique du r\u00f4le<\/em> is, to quote my favorite tautology, an &#8220;added plus.&#8221;<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large advgb-dyn-4390329e\"><img loading=\"lazy\" decoding=\"async\" width=\"524\" height=\"595\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-279.png\" alt=\"\" class=\"wp-image-2557\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-279.png 524w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Screenshot-279-264x300.png 264w\" sizes=\"auto, (max-width: 524px) 100vw, 524px\" \/><figcaption>Screenshot of Janice Baird as the  F\u00e4rberin in <em>Die Frau ohne Schatten<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:58px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-fecf9cf2\"><\/div>\n\n\n\n<p>Traditional American Spiritual: On My Journey. Camilla Williams, soprano; Borislav Bazala, pianist. From <em><strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.discogs.com\/Camilla-Williams-Sings-Spirituals\/release\/13712689\" target=\"_blank\">Camilla Williams Sings Spirituals<\/a><\/strong><\/em> (MGM Records E-156, ca. 1953). I love that Janet is going to perpetuate the name and legacy of her pathbreaking teacher Camilla Williams with a recital series that is to bear her name. Is anyone else fascinated by the power dynamic displayed in the photo of Camilla with her mentor Geraldine Farrar, herself a Butterfly of great historical and dramatic significance?<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"664\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Farrar.jpg\" alt=\"\" class=\"wp-image-2145\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Farrar.jpg 800w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Farrar-300x249.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Camilla-Farrar-768x637.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>Camilla Williams pictured alongside her mentor Geraldine Farrar<br>after her New York City Opera debut as Madama Butterfly.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:49px\" aria-hidden=\"true\" class=\"wp-block-spacer advgb-dyn-4bcfb21b\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized advgb-dyn-b2a33fb7\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-2.jpg\" alt=\"\" class=\"wp-image-2413\" width=\"271\" height=\"363\"\/><figcaption>My gracious interviewee<br>in all her sassy classiness<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=YZ3sQcx8DvA\" target=\"_blank\">Johannes Brahms: Ihr habt nun Traurigkeit (<em>Ein deutsches Requiem<\/em>).<\/a><\/strong> Janet Williams, soprano. Daniel Barenboim conducting the Chicago Symphony Orchestra and Chorus. Erato Records  4509-92856-2 (1993). We bid farewell for now to Janet Williams with much gratitude for her openness, honesty, wit, vulnerability, and eloquence in our interview; for her meticulous and profound artistry; and for her sense of purpose as a teacher and mentor and her profound dedication to her students.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Episode 11. Janet Williams Interview Part III: Der ganze Unterschied SOCIAL SHARE SUBSCRIPTION PLATFORM In the third and final part&hellip;<\/p>\n","protected":false},"author":1,"featured_media":3378,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[420],"tags":[513,508,462,439,527,395,467,344,465,509,36,528,515,512,517,280,123,522,394,516,525,520,450,530,510,518,519,514,507,521,444,524,329,430,511],"class_list":["post-2497","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-african-american-opera-singers","tag-agrippina","tag-ann-panagulias","tag-ariadne-auf-naxos","tag-berliner-staatsoper","tag-bohumil-gregor","tag-camilla-williams","tag-carl-heinrich-graun","tag-christa-ludwig","tag-cleopatra-e-cesare","tag-dallas-opera","tag-daniel-gundlach","tag-das-schlaue-fuchslein","tag-deborah-polaski","tag-der-rosenkavalier","tag-elektra","tag-george-frideric-handel","tag-geraldine-farrar","tag-helena-tattermuschova","tag-janet-williams","tag-janice-baird","tag-judith-blegen","tag-karina-gauvin","tag-kathleen-battle","tag-leistung-und-performance-vokal-akademie-berlin","tag-leos-janacek","tag-lynn-harrell","tag-mack-harrell","tag-marschallin","tag-mary-mills","tag-prihody-lisky-bystrousky","tag-regine-crespin","tag-reri-grist","tag-richard-strauss","tag-spirituals","tag-the-cunning-little-vixen"],"author_meta":{"display_name":"admin","author_link":"https:\/\/countermelodypodcast.com\/index.php\/author\/admin\/"},"featured_img":"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/11\/Janet-as-Jemmy-I-think-3-300x170.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>"],"unlinked":["<span class=\"advgb-post-tax-term\">African American Opera Singers<\/span>"]},"tags":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Agrippina<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Ann Panagulias<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Ariadne auf Naxos<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Berliner Staatsoper<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Bohumil Gregor<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Camilla Williams<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Carl Heinrich Graun<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Christa Ludwig<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Cleopatra e Cesare<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Dallas Opera<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Daniel Gundlach<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Das schlaue F\u00fcchslein<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Deborah Polaski<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Der Rosenkavalier<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Elektra<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">George Frideric Handel<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Geraldine Farrar<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Helena Tattermuschov\u00e1<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Janet Williams<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Janice Baird<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Judith Blegen<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Karina Gauvin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Kathleen Battle<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Leistung und Performance Vokal Akademie Berlin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Leos Janacek<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Lynn Harrell<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Mack Harrell<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Marschallin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Mary Mills<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">P\u0159\u00edhody li\u0161ky Bystrou\u0161ky<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Regine Crespin<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Reri Grist<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Richard Strauss<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">Spirituals<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">The Cunning Little Vixen<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Agrippina<\/span>","<span class=\"advgb-post-tax-term\">Ann Panagulias<\/span>","<span class=\"advgb-post-tax-term\">Ariadne auf Naxos<\/span>","<span class=\"advgb-post-tax-term\">Berliner Staatsoper<\/span>","<span class=\"advgb-post-tax-term\">Bohumil Gregor<\/span>","<span class=\"advgb-post-tax-term\">Camilla Williams<\/span>","<span class=\"advgb-post-tax-term\">Carl Heinrich Graun<\/span>","<span class=\"advgb-post-tax-term\">Christa Ludwig<\/span>","<span class=\"advgb-post-tax-term\">Cleopatra e Cesare<\/span>","<span class=\"advgb-post-tax-term\">Dallas Opera<\/span>","<span class=\"advgb-post-tax-term\">Daniel Gundlach<\/span>","<span class=\"advgb-post-tax-term\">Das schlaue F\u00fcchslein<\/span>","<span class=\"advgb-post-tax-term\">Deborah Polaski<\/span>","<span class=\"advgb-post-tax-term\">Der Rosenkavalier<\/span>","<span class=\"advgb-post-tax-term\">Elektra<\/span>","<span class=\"advgb-post-tax-term\">George Frideric Handel<\/span>","<span class=\"advgb-post-tax-term\">Geraldine Farrar<\/span>","<span class=\"advgb-post-tax-term\">Helena Tattermuschov\u00e1<\/span>","<span class=\"advgb-post-tax-term\">Janet Williams<\/span>","<span class=\"advgb-post-tax-term\">Janice Baird<\/span>","<span class=\"advgb-post-tax-term\">Judith Blegen<\/span>","<span class=\"advgb-post-tax-term\">Karina Gauvin<\/span>","<span class=\"advgb-post-tax-term\">Kathleen Battle<\/span>","<span class=\"advgb-post-tax-term\">Leistung und Performance Vokal Akademie Berlin<\/span>","<span class=\"advgb-post-tax-term\">Leos Janacek<\/span>","<span class=\"advgb-post-tax-term\">Lynn Harrell<\/span>","<span class=\"advgb-post-tax-term\">Mack Harrell<\/span>","<span class=\"advgb-post-tax-term\">Marschallin<\/span>","<span class=\"advgb-post-tax-term\">Mary Mills<\/span>","<span class=\"advgb-post-tax-term\">P\u0159\u00edhody li\u0161ky Bystrou\u0161ky<\/span>","<span class=\"advgb-post-tax-term\">Regine Crespin<\/span>","<span class=\"advgb-post-tax-term\">Reri Grist<\/span>","<span class=\"advgb-post-tax-term\">Richard Strauss<\/span>","<span class=\"advgb-post-tax-term\">Spirituals<\/span>","<span class=\"advgb-post-tax-term\">The Cunning Little Vixen<\/span>"]}},"comment_count":"0","relative_dates":{"created":"Posted 6 years ago","modified":"Updated 4 years ago"},"absolute_dates":{"created":"Posted on 01\/12\/2019","modified":"Updated on 29\/08\/2022"},"absolute_dates_time":{"created":"Posted on 01\/12\/2019 13:08","modified":"Updated on 29\/08\/2022 09:30"},"featured_img_caption":"","series_order":"","_links":{"self":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/2497","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=2497"}],"version-history":[{"count":50,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/2497\/revisions"}],"predecessor-version":[{"id":10525,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/2497\/revisions\/10525"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media\/3378"}],"wp:attachment":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media?parent=2497"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/categories?post=2497"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/tags?post=2497"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}