Kindred Spirits, Part 2: A Bonds-Millay Song Cycle
Guest Blog
27 May 2021
John Michael Cooper returns to Margaret Bonds and Edna St. Vincent Millay to discuss a song cycle about the rebirth of female identity.
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.
John Michael Cooper returns to Margaret Bonds and Edna St. Vincent Millay to discuss a song cycle about the rebirth of female identity.
Two members of the WSF Team explore the context and power of Liza Lehmann’s “Evensong.”
Doris Akers was one of Black gospel’s most prolific composers. This is a cross-racial account of her most famous song, “Sweet, Sweet Spirit.”
Eva Stachniak memorializes Ewa Demarczyk, a legend of her time. No one sang like her. Not in Poland, not in the world.
This month Stephen Rodgers is guest host for Thomas Hampson’s weekly program, Song and Beyond. Here are two conversations with members of the WSF team.
In this post Verica Grmusa, Nicole Panizza, and Stephen Rodgers bring to life an unpublished Hensel song from 1826, and reflect on the meaning of domestic spaces then and now.
When I first encountered Frances-Hoad’s cycle “One Life Stand,” my relationship to Schumann’s “Frauenliebe und Leben” was altered forever. This audioblog explains why.
Women’s singing, in extremis, has frequently been associated with the non-verbal. Linda Perhacs’s “Parallelograms” (1970) is an example that is grounded in words.
Katherine Vaz extols the slow steady pulled-from-the-deep sounds of Amália Rodrigues, Césaria Évora and other fado singers.