Mutya ng Pasig (Nicanor Abelardo)

Here's one in keeping with the theme of lesser known pieces. I don't know about you, but until my student brought this song to me, I wasn't at all familiar with Filipino art song. This piece is a "kundiman", the Philippines signature love song. In the lexicon of the Tagalog (the official language of the Phillipines,) the word "mutya" means, literally, "pearl" and, figuratively, "gem", "charm", and "amulet." In the Tagalog folklore, the mutya is a woman, a maiden goddess of the rivers, lakes, springs, seas and oceans - in short she is the "Mother of Waters."

This is a beautiful performance by soprano, Mimi Kater and pianist, Christina Yue. The style contains elements of European romanticism mixed with more traditional folk sounding melodic lines and textures. This beautiful Kundiman portrays a lost kingdom and a mythical past.

Mutya ng Pasig
Music: Nicanor Aberlando (1893-1934)
Text: Deogracia A. Rosario

A brief translation:

On a night when the moon peeks from the heavens, when the gentle breeze tries to awaken her from her slumber. A vision of purity, her hair flows like a wave. She is the Mutya of Pasig, whose every gesture is song and poetry. (the muse speaks) "I was once a princess in the kingdom of Love. When love died so did my kingdom. My strength has gone and now lives in your hearts. If you want me to live again, give me back my love!"

Egypt: The Sound of Freedom/Moustafa Fahmy, Mohamed Khalifa, and Mohamed Shaker.

Just minutes ago, Vice President Sulieman annouced that President Mubarak has stepped down!

The people of Egypt have won their freedom from 30 years of a dictatorship. The sound of freedom is a glorious thing.

Good luck to the people of Egypt and continued strength in the days ahead.

The Sound of Freedom by Moustafa Fahmy, Mohamed Khalifa, and Mohamed Shaker.

"I went down and I said I am not coming back, and I wrote on every street wall that I am not coming back.

"All barriers have been broken down, our weapon was our dream, and the future is crystal clear to us, we have been waiting for a long time, we are still searching for our place, we keep searching for a place we belong too, in every corner in our country.

"The sound of freedom is calling, in every street corner in our country, the sound of freedom is calling..

"We will re-write history, if you are one of us, join us and don't stop us from fulfilling our dream.

Haugtussa (Grieg)

This performance is from Grieg's "Haugtussa, op 67 (The Mountain Maid), 8 songs in Norwegian. Swedish mezzo, Anne Sofie von Otter singing, Bengt Forsberg, piano.

It's a repeat of an earlier post, but it bears repeating because Scandinavian music is also somewhat neglected by singers in America, perhaps due to the fact that Norwegian and Swedish aren't part of the standard German, French and Italian taught at conservatories.

Haugtussa is a beautiful song cycle to poems by Arne Garborg (1851-1924). "Grieg himself maintained that the 'Haugtussa' songs were the best he ever composed. The cycle is a richly varied poetic work which nonetheless possesses a high degree of unity. The poems are centred around Veslemoey, a visionary young herd girl from a wilderness area in southwestern Norway. Rejected by her lover, she tries to escape life's harsh realities and the indifference of those around her. In her visions she comes into contact with nature itself and the powers of the underworld."

This the fourth song in the cycle:
Møte, n°4 (The Enounter)
text in Norwegian (Nynorsk)

Ho sit ein Sundag lengtande i Li;
det strøymer på med desse søte Tankar,
og Hjarta fullt og tungt i Barmen bankar,
og Draumen vaknar, bivrande og blid.
Då gjeng det som ei Hildring yver Nuten;
ho raudner heit; - der kjem den vene Guten.

Burt vil ho gøyma seg i Ørska brå,
men stoggar tryllt og Augo mot han vender;
dei tek einannan i dei varme Hender
og stend so der og veit seg inkje Råd.
Då bryt ho ut i dette Undringsord:
"Men snille deg då, at du er så stor!"

Og som det lid til svale Kveldings Stund,
alt meir og meir i Lengt dei saman søkjer,
og brådt um Hals den unge Arm seg krøkjer
og øre skjelv dei saman Munn mot Munn.
Alt svimrar burt. Og der i Kvelden varm
i heite Sæle søv ho i hans Arm.


English Translation

One Sunday she sits pensive on the hillside,
while sweet thoughts flow over her,
and her heart beats full and heavy in her breast,
and a shy dream wakens within her.
Suddenly, enchantment steals along the hilltop.
She blushes red; there he comes, the boy she loves.

She wants to hide in her confusion,
but timidly she raises her eyes to him;
their warm hands reach out for one another,
and they stand there, neither knowing what to say.
Then she bursts out in admiration:
"My, how tall you are!"

And as the day moves softly into evening,
they turn to each other full of longing,
their young arms wind around each other's necks,
and trembling mouth meets mouth.
Everything shimmers away, and in the warm evening
She falls blissfully asleep in his arms.



This is Lynni Treekrem singing a beautiful composition by Ketil Bjørnstad, a composer I came across it by chance. It's actually hard to pin the style, straddling folk and a more modern idiom. I thought it would be interesting to hear what this rich poetry would sound like in the hands of a contemporary composer.

This is the prologue of the Haugtussa, Text: Arne Garborg (1851-1924) Unfortunately, I wasn't able to find a translation.

Til deg, du Hei og bleike Myr
med Bukkeblad,
der Hegre stig og Heilo flyr,
eg gjev mitt Kvad.

Til deg, du visne Lyng um Haug,
der Draumar sviv,
eg gjev min Song um Dimd og Draug
og dulde Liv.

Eg kjenner deg, du Trollheim graa,
du Skugge-Natt!
Eg rømde rædd; men stundom maa
eg sjaa deg att.

Eg kjenner deg, du Havsens Marm,
med Galdre-Song;
du gauv meg Gru i rædde Barm
so mang ein Gong.

Eg kjenner Striden tung og sein
mot Trolldoms Vald.
Gud hjelpe oss for brotne Bein
og Mannefall!

Eg kjenner deg, - eg kjenner deg,
som ikkje vann! --
Eg saag din Strid, eg veit din Veg
i Skugge-Land.

Eg røynde sjølv den Striden stygg
i mange Aar,
med ville Mot, med bøygde Rygg,
med svære Saar.

Du um meg sviv, du hjaa meg sit,
du arme Aand!
I meg du enno riv og slit
i dine Baand.

Eg veit det væl: dei sterke Troll,
den Vilje rik;
ein Baat i Foss, eit Kvad i Moll,
sløkkt i eit Skrik. ­--

Men Lerka stig fraa gløymde Grav
med Sigers Ljod;
og Vinden stryker inn av Hav
so frisk og god.

Og um me kjenner Graat og Gru
og Saknad saar,
so maa me Lerkesongen tru,
som lovar Vaar.

Von Ewiger Liebe (Brahms)

Brahms (1833-1897) wrote 196 art songs. This is one of his masterpieces.

Fassbaender's recording was the one I listened to, many years ago — along with Fischer Dieskaus's — when I first learned this piece. Fassbaender is a great singer, who sings with commitment, passion, beauty of tone, great phrasing and attention the text. Never sentimental, she tells the story in the most direct and compelling way. I can't think of a better recording of this great piece. Irwin Cage plays beautifully.

It is important to note that the text has been falsely attributed in many additions to Joseph Wenzig. The error was made by Brahms when the piece was published and has been passed down by subsequent editions, but the text is from August Heinrich Hoffman von Falersleben's Gedichte of 1837 and is a free transcription of a translation from the Wendish by Leopold Haupt.


Von Ewiger Liebe/ Eternal Love

Dark, how dark it is in the forest and field!
It's already evening; now the world is silent.
Nowhere anymore light and nowhere anymore smoke.
Yes, and the lark is now silent too.

The lad is coming from the village,
He escorts his sweetheart home.
He leads her past the willow bushes,
Talking so much, and of so many things:

"If you suffer shame and if you grieve,
If you suffer disgrace before others because of me,
Then our love shall break apart as quickly as we came together.
Depart with the rain and depart with the wind,
As we were once united."

The maiden says, the maiden says:
"Our love cannot be torn asunder!
Steel is firm and iron very much so,
Yet our love is firmer still.

Iron and steel can be reforged.
But our love--who will transform it?
Iron and steel can disintegrate;
Our love, our love must endure eternally!"

Translation: Milagro Vargas

Here's Alexander Kipnis' version with Gerald Moore playing the piano for an excellent version with a male voice.

Non, Je ne regrette rien (Charles Dumont)

Composed by Charles Dumont, with lyrics by Michel Vaucaire, it was written in 1956, and is best known through its 1960 recording by the legendary Édith Piaf. The sound of her voice is unmistakable. She was the greatest popular singer of her time.

Non, rien de rien
Non, je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal, tout ça m'est bien égal
Non, rien de rien
Non, je ne regrette rien
C'est payé, balayé, oublié
Je me fous du passé

Avec mes souvenirs, j'ai allumé le feu
Mes chagrins, mes plaisirs, je n'ai plus besoin d'eux
Balayées les amours, avec leurs trémolos
Balayées pour toujours, je repars à zéro

Non, rien de rien
Non, je ne regrette rien
Ni le bien qu'on m'a fait
Ni le mal, tout ça m'est bien égal
Non, rien de rien
Non, je ne regrette rien
Car ma vie car mes joies
Aujourd'hui, ça commence avec toi

English Translation

No! Absolutely nothing...
No! I regret nothing
Neither the good that I've done nor the bad
All this is much the same to me!

No! Absolutely nothing...
No! I regret nothing...
It is paid, swept away, forgotten
I don't care about the past!

With my souvenirs
I lit a fire
My sorrows, my pleasures
I need them no more!

Swept away the love affairs
With their tremors
Swept away forever
I leave with nothing ...

No! Absolutely nothing...
No! I regret nothing
Neither the good that I've done nor the bad
All this is much the same to me!

No! Absolutely nothing...
No! I regret nothing...
Because my life, because my joys
Today that begins with you!

Schäfer's Klagelied (Schubert)

If you're an Aksel Schiøtz fan, this will be a treat. If you aren't you should be.

Here he performs three Schubert Lieder--Halt! Eifersucht und Stolz and Schäfers Klagelied with Gerald Moore, piano.

Nothing more to say--one of the great Lieder singers of our time.

Ging heut Morgen übers Feld (Mahler)

Fischer Dieskau is heard here singing the second song in Mahler's orchestral song cycle Lieder eines fahrenden Gesellen.

The text was written by Mahler himself. The performance is quintessential Dieskau. He sings here with abandon, beautiful phrasing and great attention to color and the text It dates from the year 1960. The cycle tells the story of a young man who takes a journey, having lost his love to a another.

The piece is a staple of singers and orchestras. But there is also a very good chamber ensemble arrangement by Schönberg, which affords the opportunity to perform the piece with smaller forces.


Ging heut Morgen übers Feld/ I walked across the fields this morning

I walked across the fields this morning;
dew still hung on the blades of grass.
The merry finch spoke to me:
"Hey! Isn't it? Good morning! Isn't it?
You! Isn't it becoming a fine world?
Chirp! Chirp! Fair and sharp!
How the world delights me!"
Also, the bluebells in the field
merrily with good spirits
tolled out to me with bells (ding, ding)
their morning greeting:
"Isn't it becoming a fine world?
Ding, ding! Fair thing!
How the world delights me!"
And then, in the sunshine,
the world suddenly began to glitter;
everything gained sound and color
in the sunshine!
Flower and bird, great and small!
"Good day,
Is it not a fine world?
Hey, isn't it? A fair world?"
Now will my happiness also begin?
No, no - the happiness I mean
can never bloom!

Translation from Lied and Art Song Texts Page (see side bar for links)

Moi genie, moi angel, moi drug (Tchaikovsky)

There is a great treasure trove of ravishingly beautiful Russian music written for the voice by composers such as Glinka, Musorgsky, Rachmanivov, Tchaikovsky, Shostakovich, Stravinsky and others. American singers don't program Russian music nearly as much as we should. Naturally, the language itself poses a bit of a stumbling block. I highly recommend taking a course in Russian diction or finding a Russian friend to help because the rewards are immense.

If you've never sung in Russian, I guarantee you that you can learn this piece and sing it on your next recital. This is one of Tchaikovky's earliest Romances and it is a gem.

Two performances by Dmitri Hvorostovsky and Olga Borodina.

Moi genie, moi angel, moi drug/ My genius, my angel, my friend
Composer:Tchaikovsky 1840-1893
Poet: Afanasii Afanas'evich Fet (1820–1892),

Russian Transliteration

Ne zdes' li ty ljogkoju ten'ju,
Moj genij, moj angel, moj drug,
Besedujesh' tikho so mnoju
I tikho letajesh' vokrug?

I robkim darish' vdokhnoven'jem,
I sladkij krachujesh' nedug,
I tikhim darish' snoviden'em,
Moj genij, moj angel, moj drug!


English translation

Isn't it here,
My my genius, my angel, my friend,
That you are talking to me softly,
And flying quietly around like a light shadow?

You are giving me a timid inspiration,
And healing my sweet ailments,
And giving me a quiet dream,
My angel, my genius, my friend!

Havanaise (Viardot) Cecilia Bartoli

Pauline Viardot,1821-1910, daughter of Manuel Garcia, the famous tenor and vocal pedagogue, was a major figure in her time. She was fluent in four languages by the age four, and she was an extremely gifted piano prodigy. She became a celebrated mezzo soprano and was well known for her extensive range, excellent technique and her expressive stage presence. She taught at the Paris Conservatory from 1871-1875.

Bartoli features some of her songs on her album, Chant D'Amour. This is one of the pieces on that album. It may not stand up to Schubert, Debussy or Brahms, but the melodic writing is beautiful and the piece offers the singer an opportunity for great expression,sensuality and agility. The style is a mixture of Spanish and French idioms, which are drawn from Viardot's Spanish/French background.

I'm not including a translation here because listening to the performance is all one needs to do. Bartoli is absolutely enthralling.

Du liebst mich nicht ( Schubert)

I discovered this piece in my twenties. I was fascinated by Schubert's treatment of the text. The phrase "Du liebst mich nicht/ You don't love me" is heard ten times. The modulations that emphasize the emotional text, the chromaticism and the unrelenting rhythmic figures all made the piece unique and compelling. The piece is sung here by Eileen Farrell (1920-2002) who sings it not only with her superb voice but with passion, subtlety and excellent German diction.

You'll find it as the third song of a wonderful group of Schubert Lieder. It appears at 10:05-13:50 to be precise. It's a piece that I've heard rarely in concerts. I'm not sure why. It does require a voice capable of producing both a strong dramatic quality as well as lyricism and excellent control over dynamics.

In her book, Can't Help Singing, she summed up the requirements for singing: "phrasing,rhythmic flexibility (and) the ability to tell a story in song." She does it all here.

Du liebst mich nicht

Composer: Franz Schubert(1797-1828)
Text: August von Platen-Hallermünde (1796-1835)

This poem represents the interest of poets of the time in oriental verse. Platen's poem come a volume called Ghazelen. The form originated in Arabic verse and one of the characteristics is that it contains five or more couplets and the second couplet usually ends with a repetition or refrain of of one or a few words. Here it is: Du liebst mich nicht!

My heart has been torn apart: you do not love me! You've made it very clear that you do not love me!
Although I come before you, begging and entreating,overflowing with love, you do not love me!
You've told me with your words, quite explicitly: you do not love me!

I must forgo the stars, the moon, the sun, for you do not love me!
What does it matter to me that roses bloom, or jasmine;
What does it matter that the narcissus blooms when you do not love me!

Translation: Milagro Vargas

Bachiana Brasileira No. 5 ( Villa-Lobos)

In keeping with music from Latin America, listen to what is certainly considered a definitive performance of a beloved piece by Heitor Villa-Lobos (1887-1959). Victoria de los Ángeles is incomparable! Also, listen to Bidu Sayão!

This is the fifth Bachiana from the series of nine suites, which constitutes the complete series Bachianas Brasileiras. This one is scored for soprano and orchestra of violoncelli (1938/45).

The two movements are:
Aria (Cantilena) (lyrics by Ruth V. Corrêa)
Dansa (Martelo) (lyrics by Manuel Bandeira)

Descúbrase El Pensamiento (Granados)

This is the first of Granados' Canciones Amatorias, Descúbrase el pensamiento, beautifully sung by Lorraine Hunt Lieberson.

There is an excellent recording by Bernarda Fink available that includes all the songs. The songs are suitable for a soprano with good low notes or mezzos with a strong upper range.

These pieces are not done as often as the Tonadillas but include some of his finest writing. The folklike melodies are combined with challenging piano and vocal writing and rich harmonies with frequent modulations to distant keys, especially in this first song. The pieces should be done more often. The end is especially daring harmonically!


Descúbrase el pensamiento
Poet: Anoymous
Music by Enrique Granados 1867- 1916

Discover the thought
of my well guarded secret,
and reveal my anguish,
my passionate life.
My passion is not new;
I've already suffered endlessly.
I am servant to a lady
who has forgotten my servitude.
Her beauty made me hers,
Her polished gesture,
is engraved in my soul.
Ah! Woe is me
who gazed on her
only to live in injury,
to weep and lament
glories of times gone by.
Ah! She has forgotten my servitude.

Translated by Milagro Vargas

MLK Day 2011: Let's Keep The Dream Alive

Let's keep the dream alive in all we do.

Helen Boatwright, Celebrated Soprano, Dies at 94

“I sing opera, but I am a musician,” she told The Sheboygan Press in 2004. “I teach too many crummy kids who think they’ve got to be opera singers. Opera is such a teeny tiny part in the world of music. I don’t want to be called an opera singer.”


Helen Boatwright sang early music, concert repertoire, opera and gave world premiere performances of some works by Charles Ives. She was a musician who believed that singers had the responsiblity to perform and promote contemporary music.

See NY times obituary here.

Shirley Verrett, 1931-2010 dies at 79

The great mezzo soprano and soprano Shirley Verrett died on Friday morning at the age of 79 of heart failure after several months of illness. She was a singer who was well known for the intensity of her performances and a voice of striking beauty and flexibility. She was part of a second generation of black opera singers who followed Marian Anderson's breakthrough at the Met in 1955. May she rest in peace.

New York Times obituary here

Go here for some examples of her singing from an earlier post.

Giulietta Simionato, 1910- 2010 dies at 99

Mezzo soprano Giulietta Simionato died on Wednesday at her home in Rome. A thrilling singer of the 50's and 60's. She was featured in February's Singer of the Day posts. Go here to listen.

Washington Post obituary here.

A great singer from a great era. May she rest in peace.

Blanche Thebom-1915-2010, dies at 94

American, mezzo soprano Blanche Thebom, Star at the Met and Beyond, Dies at 94 New York Times obituary here. Although, probably no longer well known to the current generation of singers, she was the leading mezzo soprano at the Met for 22 years, creating the American premieres of many roles. Below she sings O Don Fatale from Verdi's Don Carlo Here is a lovely tribute with reminiscences from colleagues and friends. Worth the read!

She was also famous for her long hair, which used in many of her roles to great advantage as seen in this photo of Blanche Thebom as Didon in the 1957 production of Les Troyens at the Royal Opera House, London.

Dichterliebe; Souzay and Cortot

A remarkable partnership. If you haven't heard this rare duo, take a listen. It will be worth it.


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February is "Singer of the Day" Month

For the month of February, I've started a series of posts called "Singer of the Day." Each day features a great singer from the past. So stay tuned. It may be someone you are familiar with or someone who has fallen off your radar for some reason. In some cases, these may be artists with whom you are not familiar at all. I hope the choices will interest you.
So far we've had:
Feb. 1- Paul Robeson
Feb. 2- Ninon Vallin
Feb. 3- George Thill
Feb. 4- Irmgard Seefried
Feb. 5- Mark Reizen
Feb. 6- Eula Beal
Feb. 7- Richard Tauber
Feb. 8- Marian Anderson
Feb. 9- Rolando Panerai
Feb. 10- Shirley Verret
Feb. 11- Gundula Janowitz
Feb. 12- Leyla Gencer
Feb. 13- Jussi Bjoerling
Feb. 14- Lauritz Melchior
Feb. 15- Giulietta Simionato
Feb. 16- Franco Corelli
Feb. 17- Sena Jurinac
Feb. 18- Tito Schipa
Feb. 19- Alfred Deller
Feb. 20- Janet Baker
Feb. 21- Kathleen Ferrier
Feb. 22- Luisa Tetrazzini
Feb. 23,24- Teresa Berganza and Hermann Prey
Feb. 25- Carla Gavazzi
Feb. 26- Aksel Schiøtz
Feb. 27- Fritz Wunderlich
Feb. 28- Maria Callas

Now that we've reached the final post, I have to say that the exclusion of many other worthy artists was by no means deliberate. There are so many that didn't make the list and I apologize for that. But I may pick up the theme again another time. So stay tuned.

Singer of the Day: Maria Callas, 1923-1977

Maria Anna Sophie Cecilia Kalogeropoulos was born in New York in 1923 to parents who had emigrated from Greece. Her father changed their family name to Callas in 1929. In 1937, after her parents separated, her mother took her to Greece, where she was admitted to the National Conservatoire of Athens. In 1939, at the age of 17, she made her stage debut in a student production of Cavelleria Rusticana as Santuzza.

For me, Callas was an acquired taste. As a young college student, I was introduced to her later recordings first. Some students I knew liked to play her recordings at half speed to show the wobble she had sadly developed in her later years. So while I knew she was a legend, I didn't at that time understand why. It wasn't until later that I discovered the extraordinary ability she had to convey with voice, timbre, color, phrasing attention to text and acting, the depths of the many operatic characters she portrayed. I am always struck by the rightness of her choices, the amount of time she chooses to hold a fermata, the nuanced nature of her character studies and of course the unsurpassed ability she had with the technical demands of the Bel Canto repertoire. Theatrically, she was brilliant. She changed the face of opera for the future. Her characterizations were always layered, multi-dimensional and complex. Her singing and acting, always interwined so organically that you feel this is the only way it can be performed! She is considered one of the greatest singers of the twentieth century. The acclaim is justly deserved.


Mad Scene from Donizetti, Lucia Di Lammermoor

Singer of the Day: Fritz Wunderlich, 1930-1966

Only two days left and I'm struggling with whom to include, but any list would be incomplete without Wunderlich. His impeccable singing and artistry, which covered opera, Lieder and standard orchestral fare was sadly cut short due to an accident at the home of a friend where he fell down a staircase.


Mozart, Die Zauberflöte, Tamino's Aria Dies Bildnis is bezaubernte schön

Singer of the Day: Aksel Schiøtz, 1906-1975

I wonder how many singers and pianists are familiar with Aksel Schiotz. He is well known to connoisseurs of Lieder, though I became familiar with him by chance only seven years ago. In other words, I got through my entire musical training and much of my career without once having heard of Aksel Schiøtz. A real shame because this is a superb singer who sings with such ease, style, clarity and depth of emotion. Really top drawer. We are lucky that his legacy will live on through the recordings.


Schubert Lieder- Die schöne Müllerin 1. Der Neugierige 2. Ungeduld 3. Eifersucht und Stolz 4.Die böse Farbe


Mozart, Cosi fan tutte, Un aura amorosa

Singer of the Day: Carla Gavazzi, 1913-2008

Perhaps eclipsed by the fame and stardom of other post-war sopranos such as Tebaldi, Callas, Schwartzkopf,Sutherland and others, Carla Gavazzi was a real talent and had a very unique instrument. Her voice exudes a raw, earthy quality that is quite compelling.


Adriana Lecouvreur, Francesco Cilea Io sono l'umile ancella


Cavalleri Rusticana, Mascagni- Voi lo sapete

Singer of the Day: Teresa Berganza and Hermann Prey

Today, we get a twofer because I skipped yesterday. Watch the lovely interaction between Prey and the brilliant Teresa Berganza. There are other examples of this superb artist at this blog if you go to the sidebar under Teresa Berganza!


Rossini, Il Barbiere de Seviglia, Dunque io son

Singer of the Day: Luisa Tetrazzini, 1871-1940

Rossini, Semiramide, Bel Raggio Lusinghier
Just superb!

Singer of the Day: Kathleen Ferrier, 1912-1953

Brahms, Vier ernste Gesänge, O Tod,wie bitter bist du


A wonderful tribute to Kathleen Ferrier

Singer of the Day: Janet Baker

From Dido and Aeneas- When I am Laid


Berlioz, Nuits d'été Le spectre de la rose
Look at the links on the side under Janet Baker to view the complete Nuits d'été.

Singer of the Day: Alfred Deller, 1912-1979

Black is the Color


Flow my tears

Singer of the Day: Tito Schipa

Singer of the Day: Sena Jurinac, b. 1921

Sena Jurinac was born in Travnik, Bosnia at that time- Yugoslavia. She sang roles in the mezzo and soprano fachs. Her portrayal of Octavian in Strauss' Rosenkavalier is legendary. Her operatic debut was in 1942 in Zagreb, with the role of Mimi.


In this radiant performance of Dove Sono, her voice is like glistening silver, both bright and round and a perfect vibrato constantly spinning even in the most delicate sounds.

Singer of the Day: Franco Corelli, 1921- 2003

Corelli, in a class of his own! The voice, the technique, the ease, the brilliant timbre, the full sound, the phrasing, the emotion. A force of nature. It's useless to enter the proverbial "who's the all time greatest tenor" discussions. But this performance can easily be considered one of those uniquely great moments in the history of singing.

From Cavelleria Rusticana by Mascagni

Singer of the Day: Giulietta Simionato, b. 1910

Listen to this exquisite performance! Simionato is unsurpassed in this thrilling and moving performance of "Voi lo Sapete" from Cavalleria Rusticana (Pietro Mascagni)


O don fatale- Don Carlo Verdi

Singer of the Day: Lauritz Melchior

Lauritz Melchior was born in Copenhagen and became an American citizen in 1947. He started off his career singing baritone and bass. He later switched to tenor and became one of the centuries greatest singers, well known for the heroic tenor roles in Wagner's operas.


Here he is singing "In fernem Land" from Wagner's Lohengrin.

Go here for more!

Singer of the Day: Jussi Bjoerling,1911-1960

Marvelous singing and artistry!

Singer of the Day: Leyla Gencer. 1928- 2008

Leyla Gencer (La Diva Turka) was born in Istanbul. She had an illustrious career and was considered the last diva of the twentieth century having performed 72 roles primarily in Europe. She never sang at the Met.


Deh, non volerli vittime", from Bellini's Norma, in a performance from 1965.

Singer of the Day: Gundela Janowitz, 1937-

Strauss' Frühling, In dämmrigen Grüften träumte ich lang von deine...


Ach ich fühl's from Mozart, Die Zauberflöte


Ich will dir mein Herze schenken Bach's St Matthew Passion

Singer of the Day: Shirley Verret

At 59, Shirley Verret sings Voi lo sapete from Cavelleria Rusticana HERE

Singer of the Day: Rolando Panerai

Singer of the Day: Marian Anderson, 1897- 1993

"A voice like hers is heard only once in a hundred years." Arturo Toscanini


Handel, He shall feed his flock


Brahms Alto Rhapsody Part 1


Brahms Alto Rhapsody Part 2

Singer of the Day: Richard Tauber, 1891-1948

Austrian tenor, Richard Tauber was one of the most beloved singers of his time. He made his operatic debut as Tamino in Mozart's Die Zauberflöte. He became best known for his performances of operetta and song.

This performance of Schubert's Ständchen- Leise Flehen is delightful, surprising and rendered in a most personal manner that certainly challenges 20th century performance practices. I was thrilled to come across it.

Singer of the Day: Eula Beal, 1919-2008

I have to admit that I was completely unfamiliar with this remarkable singer until several weeks ago. The natural beauty of her instrument combined with her natural delivery is spellbinding. Eula Beal had a relatively short lived career, opting to spend her energies raising her family. One can only imagine what her contributions would have been had she continued. Luckily, there are recordings and the footage from the television program Concert Magic. Listen for yourselves!


Schubert's Erlkönig



Singing Erbarme dich/ Have Mercy, Lord from Bach's St. Matthew Passion with Yehudi Menuhin playing the violin solos.

Singer of the Day: Mark Reizen-1895-1992

The great Ukrainian bass Mark Reizen sings Tchaikovsky's "Sred' shumnovo bala" ("Amidst the din of the ball"), Op.38, No.3 (text by Aleksei Tolstoi)at 79!

In the midst of the noisy ball,
amid the anxious bustle of life,
I caught sight of you,
your face, an enigma.

Only your eyes gazed sadly.
Your divine voice
Sounded like pipes from afar,
Like the dancing waves of the sea.

Your delicate form entranced me,
and your pensiveness,
your sad yet merry laughter,
has permeated my heart since then.

And in the lonely hours of the night,
when I do lie down to rest,
I see your pensive eyes,
hear your merry laugh...

And wistfully drifting
into mysterious reveries,
I wonder if I love you,
but it seems that I do!

Singer of the Day:Imgard Seefried, 1919-1988

Irmgard Seefried is one of the all time greats! This remarkable performance of Mahler's Ich bin der Welt abhanden gekommen speaks for itself.

Poem:Friedrich Rückert (1788-1866)

I am lost to the world
with which I used to waste so much time,
It has heard nothing from me for so long
that it may very well believe that I am dead!

It is of no consequence to me
Whether it thinks me dead;
I cannot deny it,
for I really am dead to the world.

I am dead to the world's tumult,
And I rest in a quiet realm!
I live alone in my heaven,
In my love and in my song!

Singer of the Day: George Thill, 1897-1984

It seems only natural to follow Ninon Vallin with George Thill, who is considered by many to be the greatest French tenor of the twentieth century. He was singing at the same time as Vallin in France. Thill began his studies in Paris and later went to Naples for further training. He returned to Paris and made his Paris Opéra debut in 1924. He would dominate the scene for the next two decades singing over fifty leading roles.

Singer of the Day: Ninon Vallin-1886-1961

A rare artist! An extremely versatile singer--she sang opera, mélodie and Lieder (in French.) Her secure technique and superb musicianship made her one of the most sought after singers of her generation. Debussy said her voice shimmered like silver. He chose her for the première of his "Trois poèmes de Stéphane Mallarmé." In addition to Debussy, Ninon Vallin collaborated with a number of important composers, including Albert Roussel, Reynaldo Hahn, Xavier Leroux, Louis Beyot, Marguerite Béclard D’Harcourt and Joaquín Nin.

Here she sings L'Heure Exquise by Reynaldo Hahn

The white moon
shines in the woods.
From each branch
springs a voice
beneath the arbor.
Oh my beloved…

Like a deep mirror
the pond reflects
the silhouette
of the black willow
where the wind weeps.
Let us dream! It is the hour…

A vast and tender
calm
seems to descend
from a sky
made iridescent by the moon.
It is the exquisite hour!

Singer of the Day: Paul Robeson 1898- 1976

Since Febrauary is Black History month, I thought it fitting to start with the great American bass-baritone, actor, lawyer, social activist and athelete, Paul Robeson.

Robeson was a twentieth century Renaissance man. His talent, intellect and political activism made him one of the most powerful figures of his time and American history.


"All men all brothers because of their music."

"No pretty songs, no pretty songs, gentlemen. Time for some full citizenship."




Mephistopheles' Song in Auerbach's Cellar (Song of the Flea) Pesnya Mefistofelya o blokhe by Mussorgsky 1879 1879 It is based on Faust: The First Part of the Tragedy (1808) by Goethe, translated by Strugovshchikov

English translation:

There once was a king
who had a large flea
whom he loved not a bit less
than his very own son.
He called his tailor
and the tailor came directly;
"Here - make clothing for this knight,
and cut him trousers too!"

In silk and satin
was the flea now made up;
he had ribbons on his clothing,
and he had also a cross there,
and had soon become a minister
and had a large star.
Then his siblings became
great lords and ladies of the court as well.

And the lords and ladies of the court
were greatly plagued;
the queen and her ladies-in-waiting
were pricked and bitten,
and they dared not flick
or scratch them away.
But we flick and crush them
as soon as one bites!



Here is another example of the rare and beautiful instrument of this remarkable man.

February 2010 is "Singer of the Day" month

I've decided to begin a new tradition. For the month of February, I'm going to start a series of posts called "Singer of the Day." Each day will feature a great singer from the past. So stay tuned. It may be someone completely familiar to you music mavens, but it may also be someone who has fallen off your radar for some reason. Or these may be artists who you are not at all familiar with. I hope the choices will interest you.

Sills Sillsiana--Opera Mashup!

Mashups seem to be everywhere these days! This is Beverly Sills doing her famous Sillsillana piece: a pastiche of every famous coloratura piece mashed together to make this hysterically fun piece. I have it as an MP3, and never thought I'd find it at Youtube, but there it was.

It was arranged by her coach and for those of you who know some of these pieces, you will hear the following excerpts:

Piano intro -Una voce poco fa – Barber of Seville

Grossmächtige prinzessin – Ariadne auf Naxos

Je suis Titania – Mignon

Shemahka’s aria - Coq d’or

Holle Rache -  Magic Flute

Richard Strauss: Amor

Je suis encore tout étourdie –Manon (with Una voce “ma” at end)

Vien delitto – Puritani  (with Una voce poco fa "ma" at end)

Schubert: Shepherd on the Rock

Vocalize on Chopin’s Etude in A-flat, Op. 25, no. 1

Spargi d’amaro (Mad Scene) - Lucia

Vocalise on Chopin Nocturne in E Flat Major, Op. 9, no.2 

 Les oiseaux (Olympia)– Tales of Hoffmann

Sempre libera - Traviata –with Gagnon as tenor

Sills’ cadenza used for O luce di quest’anima – Linda di Chamounix

Sempre libera – the final “pensier”

ENJOY!

Mercedes Sosa, 1935- 2009

The great Argentinian Folk Singer, Mercedes Sosa who gave voice to South American political protest, died yesterday. She was 74. You can read more about her here.

She formed part of the New Song movement in Latin America, which combined folk song traditions with contemporary music that often featured political messages in its lyrics. She was known throughout Latin America and Europe, with one of her most popular songs titled "Gracias a la Vida," heard in the performance above.
Rest in peace.

TEXT

Gracias a la vida que me ha dado tanto

Me dio dos luceros que cuando los abro

Perfecto distingo lo negro del blanco

Y en el alto cielo su fondo estrellado

Y en las multitudes el hombre que yo amo

Translated into English:

Thanks to life, which has given me so much

It gave me two bright stars that when I open them,

I perfectly distinguish the black from white

And in the sky above, her starry backdrop

And within the multitudes the man I love

Jan DeGaetani Remembered

Today marks the 20th anniversary of the death of my teacher Jan DeGaetani. I find it difficult to believe that these twenty years have passed, perhaps because it’s difficult still to imagine a world without Jan in it.

Jan taught many students who would later go on to have successful careers. All were inspired by her gift: an uncanny ability to sound spontaneous, simple, unpretentious and yet sophisticated and profound. She taught by creating an environment in which questions stimulated the imagination.

Jan DeGaetani died at age 56, a tragically young death for her family, students and the musical world. She was among the most respected musicians of her generation, and considered one of the most eloquent and extraordinary song recitalists the United States has ever produced. Jan devoted her musical life to art song and music of every genre, and her longtime collaboration with pianist Gilbert Kalish produced many unforgettable performances. Theirs was a true partnership between, not only a singer and pianist, but between two very special musicians. And in their recordings, they left an important legacy for future generations.

I miss her today and every day.

(August 1989-the last time I saw Jan)

Additional Links:
NY TImes Obituary
New Yorker Magazine, Tribute Concerts

From a 1981 New York Times Review, Donald Henahan

"With the pianist Gilbert Kalish, she went straight to the heart of every song she sang, and never more directly and affectingly than in the world premiere of George Crumb's song cycle, ''Apparition.''