Tag: Sunday Opera

  • Korngold’s Die Kathrin on WWFM Sunday Opera

    Korngold’s Die Kathrin on WWFM Sunday Opera

    If you’re a fan of Erich Wolfgang Korngold, as I most definitely am, you might want to consider tuning in for “Die Kathrin” on today’s WWFM Sunday Opera.

    Korngold’s final work for the stage, it is also the one closest to the language of his film scores. He had already been to Hollywood to supply the music for “Captain Blood,” among others, and the opening of his opera, set outside a cinema, sounds all the world like a dry run for “The Adventures of Robin Hood.” Equally, the work draws on the legacy of Viennese operetta. Melodic, melancholy, and hopelessly romantic, “Die Kathrin” is a delightful confection for anyone with a musical sweet tooth, and a nice extension of the sentimental spirit of so many of the Strauss waltzes imbibed on New Year’s.

    Unfortunately, Korngold’s opera had been scheduled for a 1938 premiere. With the Anschluss, the occasion had to be postponed until five years after Germany’s defeat, by which time much of Vienna was a post-war ruin, and the work’s brand of ingratiating Old World naiveté had passed into irrelevance. A pity, since it is a most agreeable piece. This treacly tale of love postponed may not scale the same heights as Korngold’s “Die tote Stadt” (his most successful piece) or “Das Wunder der Heliane” (his most ambitious), but for the dreamers among us, it definitely has its rewards.

    Michael Kownacky is your host for the Sunday Opera. Following the performance, enjoy more Korngold, including the precocious ballet-pantomime “Der Schneemann,” or “The Snowman” (written at the tender age of 11), and the Symphonic Serenade.

    “Die Kathrin” begins at 3:00 pm EST, on WWFM – The Classical Network and wwfm.org.


    An interview with Korngold from 1937, the year he completed work on his opera:

    http://thompsonian.info/korngold-etude-Jan-1937.html

  • WWFM Mozart Campaign Thanks & Figaro Sunday!

    WWFM Mozart Campaign Thanks & Figaro Sunday!

    Thank you to all of you who contributed to yesterday’s Mozart campaign. It’s because of listeners just like you that we at WWFM are privileged to be able to do what we love to do – share great music with the community. And that community is huge! Yesterday, someone called in all the way from Nikiski, Alaska.

    Unfortunately, we still came up considerably short of our projected goal, which means that we’ll have to come back and do it again sooner than we had hoped. If you had been meaning to contribute and did not have an opportunity to do so, you may still donate online at wwfm.org.

    Tomorrow (Mozart’s actual birthday), the “Sunday Opera” will be devoted to a special presentation of “The Marriage of Figaro,” hosted by Michael Kownacky and David Osenberg. The performance, captured at the 1962 Glyndebourne Festival, will feature Heinz Blackenburg as Figaro and Mirella Freni as Susanna. Silvio Varviso will conduct. If you find you like it, the recording is still available as one of our thank you gifts. Search for it under the thank you gift drop-down box, when you make your online contribution.

    There are also options to obtain all of the offered Mozart recordings as a bundle, with or without the handsome and durable WWFM tote bag.

    Again, thank you for all that you do to help keep great music on the air on WWFM – The Classical Network.


    As a token of my gratitude, please enjoy this duet from “The Magic Flute” rendered by actual birds:

  • Remembering Wayne Conner Philadelphia’s Opera Voice

    Remembering Wayne Conner Philadelphia’s Opera Voice

    Anyone else miss Wayne Conner?

    Philadelphia area opera lovers may recollect Conner as the alternative voice of opera on the airwaves. While the Met had Peter Allen for its live opera broadcasts from New York City – and Allen was marvelous at what he did – I much preferred the lovingly curated shows put together by Conner for WHYY FM. For 30 years, Conner was host and producer of “Singers World” and “Collector’s Corner,” both of which were syndicated on National Public Radio. Then he presented “Sunday Opera” for 12 years, into the mid-‘90s.

    “Sunday Opera” was like a balm to me. I myself hosted weekend mornings on WWFM for 19 years. For much of that time, I would be up at 4:00, or even 3:00 in the morning. I would get home on Sundays just in time to dissolve into whatever world of operatic bliss Conner would devise.

    Conner introduced recordings from his own extensive collection, bringing to bear his broad historical knowledge. He particularly loved French opera, and I looked forward to discovering all of the rare Massenet and Bizet he would share with his loyal listeners. He offered these on what I perceived as a “one for me, one for you” basis, with one week a historically significant recording of Verdi’s “La forza del destino,” and the next Chausson’s “Le roi Arthus.” In those days before the prominence of online shopping, “Le roi Arthus” moved me to place a special order at my local record dealer, and how I anticipated its arrival!

    What I didn’t realize until well into Conner’s tenure was that he also had a firm foundation as an experienced singer. Born Jesse Wayne Conner in Dallas, TX, on January 5, 1929, Conner started out as an accountant and was working toward a law degree when he was convinced to pursue singing. He was accepted into the Curtis Institute of Music in Philadelphia, and earned a graduate degree from the Peabody Conservatory of John Hopkins University. He would later teach at both institutions – for well over four decades commuting to Baltimore twice a week from his home in Philadelphia – as well as at the Mannes School of Music in New York and Philadelphia’s Academy of Vocal Arts.

    As a professional singer, he appeared with the Philadelphia Orchestra, the Chamber Orchestra of Philadelphia, the Philadelphia Lyric Opera Company, the Baltimore Bach Society, the Bach Choir of Bethlehem, and the Zagreb Philharmonic Orchestra. He performed recitals at the Phillips Collection in Washington, DC, the Philadelphia Museum of Art, and the Palace of Fine Art in San Francisco. He also lent his tenor voice to performances at Congregation Keneseth Israel in Elkins Park and First Baptist Church in Philadelphia.

    At the time not realizing the full extent of his career, I was excited nonetheless to run into Conner once at my neighborhood grocery store. It allowed me to tell him just how much I enjoyed his work on “Sunday Opera.” I think he must have been surprised to hear this from a listener then in his 20s, who had no obvious connection to any of his teaching positions. How I recognized him, I don’t recall, but I am glad I had the chance to tell him.

    “Sunday Opera” was pulled from the WHYY roster shortly after I contributed to the station’s pledge drive. I didn’t have a lot of disposable income, but I made it a point to donate for the past few years out of my love for the show. To my knowledge, it would be Conner’s last regular program, although he would be called in from time to time to host special opera broadcasts, and he continued to lecture.

    Conner died of liver cancer on May 9, 2008. He was 79 years-old. At some point, I was elated to discover he had recorded Brahms’ “Liebeslieder Waltzes” with a starry ensemble of musicians he had known through his association with the Marlboro Music Festival. Conner appears with soprano Benita Valente, alto Marlena Kleinman, bass Martial Singher, and pianists Rudolf Serkin and Leon Fleisher. I’ll share that recording on the next “Music from Marlboro,” this Wednesday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

    Marlboro School of Music and Festival: Official Page

  • Happy Birthday Haydn Classical Music Legend

    Happy Birthday Haydn Classical Music Legend

    Happy birthday, Papa Haydn. Father of the Classical Symphony. Father of the String Quartet. You set the standards against which all subsequent composers have had to measure.

    Two years ago, our colleagues across the pond, Classic FM, commissioned one of its hapless employees to rank Haydn’s 104 numbered symphonies. Of course, this involved actually having to listen to them. Here are the assessments of his overworked ears:

    http://www.classicfm.com/composers/haydn/guides/definitive-ranking-haydn-symphonies/

    Closer to home, tomorrow afternoon on The Classical Network, as a convenient antidote to everyone’s anxiety about falling space junk, Michael Kownacky will present Haydn’s comic opera “Il mondo della luna” (“The World on the Moon”), on this week’s “Sunday Opera.” Based on the play by Carlo Goldoni, the scenario pits the clever Ecclitico against the foolish Buonafede. Ecclitico wins both love and fortune, the results of a ruse involving an alleged trip to the moon. (It will be April Fool’s Day, after all.)

    The 1993 recording features Luigi Alva, Domenico Trimarchi, Edith Mathis, Arlene Auger, Frederica von Stade, and Anthony Rolfe Johnson. Listen in, this Sunday at 3 p.m. EDT, on WWFM – The Classical Network and wwfm.org.

    Thank you, Haydn, for your unflagging invention and reliable good humor. Even during Holy Week, your music lifts my spirits.


    Composite artwork to promote tomorrow’s broadcast of “Il mondo della luna” courtesy of Michael Kownacky

  • New WPRB Show Sunday Mornings Feedback Wanted

    New WPRB Show Sunday Mornings Feedback Wanted

    Now that I’ve attended to all my end-of-week obligations (and replaced the faulty router I complained about two Saturdays ago), I am again footloose and fancy free in the cyber universe. I just wanted to take a moment to thank all of you who expressed disappointment that my Thursday morning show on WPRB was coming to an end, gratitude for what I managed to achieve there, and anticipation for what may lie in the near future. I intend to respond to all of your comments personally – I was both too busy and too wiped out to do so on Thursday and Friday – so don’t think that I did not appreciate them!

    I want to remind you that the plan is for me to create a new show on WPRB, which will air on Sunday mornings, beginning on February 11 (next week). I am asking you again for your suggestions and your feedback. There are a couple of ideas I would like to bounce off of you, and I’d like to know if they hold any appeal. It took a few weeks, when I first started on Thursdays, to settle into a format, and I expect the same will be the case for Sundays. Nothing is etched in stone!

    One possibility I have been entertaining is to resurrect the dormant tradition of playing a Sunday opera. The strength and also the limitation of my doing so would be that if I were to draw on my personal collection (which is what I always do), the show would definitely be skewed toward unusual and neglected repertoire – which is great if you love English music, Slavic opera, Scandinavian stuff, and forgotten American fare, and horrible if you love Verdi. Also, with opera, if you are in for a penny, you are in for a pound. That means that if you tune in and imagine that you aren’t going to like what I am playing, I’ve lost you for the entire show.

    Another idea is to present a show of light classics. This could involve some degree of music for the stage, including operetta and zarzuela, or selections there from. These would appear in a format that would also allow for a fair amount of British Light Music, light classical, and generally cheery stuff – not “pops” fare, necessarily, but beautiful, tuneful music that has basically dropped off everyone’s radar. I think that could make for a great Sunday morning. But I am also open to other suggestions.

    Of course, I could always just do what I’ve been doing for the past few years, but you’d only get it for three hours (as opposed to five), and I can’t always guarantee that it will be “light.”

    The program would occupy a 7-to-10 slot immediately prior to Jeannie Becker’s “Sunday Jazz.” If I were to tackle a particularly mammoth opera, I could start earlier on a given week, though my preference is to start at 7. Remember, the program will launch next Sunday, so get me your thoughts as soon as you can. Again, thank you for all your words of support, and thank you for following Classic Ross Amico.

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