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Now retired from singing opera, when Madame Lotte Lehmann is not traveling around Europe, she teaches, what she says, are the best students she has encountered, at Northwestern University. Lehmann explains her hope is to not only teach but to inspire singers to be larger than life and to bring out their own personalities in a song.
Being a Pisces, Pavarotti says he's always looking for perfection. He admits the biggest critic of his work is himself. Pavarotti said that he loves the charm of the French language and he likes to learn new languages. He talks of recording some music in Russian. Being able to reach those high C notes, Pavarotti says, is the most athletic part of his voice.
Pavarotti recalls his meeting with the Pope was very special. Singing "Ave Maria" for him was like God lit up, explained Pavarotti. There are more younger people in the audience, said Pavarotti. They're very surprised that opera's so beautiful, as they believed it was an old fashioned thing.
Instead of being called "The King of the High C's," Pavarotti would rather be known as "The King of the Bel Canto". Pavarotti said he didn't have the greatest of enthusiasm prior to performing his first concert. However, it ended up being a phenomenal experience, he said. A great singer, Pavarotti added, is very human and romantic. One needs to feel what one's singing and lastly, one must be a beautiful person inside.
In a nightclub in Chicago, at two in the morning and after a performance, Louis Armstrong talks about his music stylings. Notes are good to learn the tune, says Armstrong, but it's all about the phrasing. Armstrong explained, it's up to you to express yourself. Armstrong shared the one piece of advice that had always stuck with him. King Oliver told Armstrong not to worry about the notes but rather to put some lead into the song.
Interviewing Madame Lotte Lehmann about her opera roles and how the genre of opera has changed.
Licia Albanese discusses her performance preparations, advice to young new opera singers, the conductor techniques from Fausto Cleva, and the late Arturo Toscanini.
Studs Terkel interviews Lawrence "Bud" Freeman about his career in jazz.
Laurie Anderson discusses her album "Big Science" and talks about he creative process. Talks briefly about her transition from plastic arts to performance artist and her perspective of the world after World War II and her collection of short stories and songs called "United States"
The opening song is a rebroadcast from a previous recording with Studs Terkel. John Prine talks about his family history in Paradise, Kentucky and when he was born and raised in Maywood, Illinois (Chicago Greater Area). Prine is known for humorous lyrics about love, life, and current events, as well as serious songs with social commentary, or which recollect melancholy tales from his life. All the songs are played in the studio from his albums "John Prine" and "Diamonds in the Rough"
Janis Ian discusses her career, life, and her songs. The songs she talks about are "Society's Child", "Janey's Blues", "Honey D'Ya Think", "There Are Times", "Shady Acres", and "Lonely One". Janis Ian also discusses society, race relations, and responsibility. Includes Studs Terkel reading Janis Ian's poem "Poem One". Includes Janis Ian reading her poem.
Jan Eaglen, British soprano, discusses her career as an opera singer and trends in opera music.
Studs Terkel interviews Rachel Barton, Wendy Warner and Peggy Wise during the preparation for a benefit concert at the James R. Thompson Center. The benefit concert will be held on March 22, 1997.
Interviewing ragtime pianist-composer Eubie Blake, Bill Bolcolm and Bob Kimball. They discuss the musical "Shuffle Along." Songs include "Gee I'm Glad I'm From Dixie," "Dream Rag," "Brittwood Rag," "He May Be Your Man," "Brass Knuckles," and "Memories of You."