Kindred Spirits: Further Conversation with Susan Narucki
Stephen Rodgers
25 April 2023
Part II of a conversation with soprano Susan Narucki about her new album of art songs by early 20th-century women composers.
There is no historical or geographical limit on what can be covered. There is no restriction on the style or genre of song or singing.
Part II of a conversation with soprano Susan Narucki about her new album of art songs by early 20th-century women composers.
Carrie Jacobs-Bond’s song, “His Lullaby,” routinely moved entire audiences to tears, especially when sung by Ernestine Schumann-Heink. I offer some thoughts on why this happened.
A conversation with soprano Susan Narucki about her new album of art songs by early 20th-century women composers.
Ivana Lang’s Nokturno (Nocturne), one of the most beautiful of her many songs, spurs a look at her life and work.
As European art music began to be challenged by jazz, musically influential women devised ways to cultivate “a taste for ‘good’ music in children.”
In the Japanese-Chinese film Eternity (1943), Yoshiko Yamaguchi sang two songs that made her a star in China. But the film backfired.
Four exceptional women composers underwent mid-career conversions. Having favored male poets for the first decades of their careers, they began in their 40s to favor women poets.
In the decades before and after 1900, did it matter to women composers whether the poems they set were written by a man or a woman?
By 1914 the NACWC had 50,000 members. Their motto, “Lifting as We Climb,” was worked into songs performed regularly at meetings. It reverberates to this day.
Did nuns in Medieval Europe sing anything other than chants and sacred songs? Mary Caldwell discusses one example, a song performed during the Christmas season.