The Sound Of The Hound

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#13 Emma Calve

Season 2, Ep. 4

Diva alert! In episode four, Holley and Hall tell the story of the recording of one of opera’s greatest characters, Emma Calvé. Basking in the glory of having captured the voice of the mighty Enrico Caruso in Milan (as outlined in Series One of The Sound of the Hound), Fred goes on something of a recording spree back in London. But he gets more than he bargained for with Calvé, who proves to be something of a handful.


Calvé, who is today seen as one of the greatest opera singers of the Belle Epoque era, had made her name playing the lead role in Carmen when Fred records her (indeed, her interpretation of the role is still widely used today). But Fred and his team discover that the character’s feistiness is not confined to the stage when they try to coax Calvé into their Covent Garden studio. Holley and Hall tell the tale of this complex French diva, and play some of her famous – or as Fred would no doubt have it – infamous recordings. Her dissatisfaction with one of her tracks was caught on disc, and we play it here.


We are joined in this episode for the first time by our new regular guest Michael Volpe, the founder and former general director of Opera Holland Park. Michael brilliantly dissects Calvé’s voice and gives us an insight into her career. He also tells us if, to put it bluntly, she was really any good.

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6/8/2021

#14 Feodor Chaliapin

Season 2, Ep. 5
In this episode we look at the epic – and we mean epic – story of Russian bass singer Feodor Chaliapin. The singer’s relationship with Fred spanned decades, continents, wars and revolutions. It is a tale about music but it is also a tale about the extraordinary power of friendship. And spats. It’s a story about spats. And potatoes. And backstage punch-ups. This episode really does have it all. Chaliapin was a big beast of a man with one of the deepest and most expressive voices you can imagine. He was born in the same year as Fred, 1873, but on the other side of the world, in Kazan in Russia, and into poverty. He took to singing as a youngster and, shortly after his 20thbirthday, was performing at the Imperial Opera in St Petersburg. Fred first heard him in 1900 when he was in the city scouting for talent. He immediately made moves to record this “enormous young bass” singer, but Chaliapin would not respond to his overtures. Again and again Fred tried but, despite becoming friends, it wasn’t until 1910 that they signed a contract (with steep terms dictated by the Russian). The recordings were tricky. The thin-skinned Chaliapin would only record at certain times of the day and was partial to raucous vodka-fuelled parties, which one imagines Fred only mildly resisted. A strong bond was formed. Chaliapin sung in front of the British royal family in London but not before the burly bass got involved in a backstage fist fight. He was on the cusp of global fame and untold riches when the First World War broke out. Back in Russia with his family, Chaliapin was thrust back into poverty. He was paid in potatoes and lived in rags. It took a daring and covert mission by Fred to get him out of Russia (with the help of author H.G. Wells) and smuggle him back to England. Here, Chaliapin indulged in his love for fine tailoring and shoes and, of course, singing. Sell-out crowds treated this great, bruised singer as something of a hero. He and Fred went to America (eventful, inevitably) and stayed close until Chaliapin’s death in Paris in 1938. This story has to be heard to be believed. We are joined in this episode once again by Michael Volpe.
5/18/2021

#11 To India

Season 2, Ep. 2
It’s late summer 1902. Fred heads to Tilbury Docks to board the steamer SS Coromandel and set sail for India. His objective? “To open up new markets, establish agencies, and acquire a catalogue of native records,” as he puts it in his diary. And what a trip it is. Accompanied by an assistant called George Dilnutt and a few others, Gaisberg engages in some of his most daring ever recordings and kick-starts the recorded music industry on the subcontinent.The voyage itself takes weeks. On the last night, as the Coromandel lists on the mudflats of the great Hooghly River at the entrance to Calcutta (as Kolkata was then known), the boat’s guests hold a raucous fancy dress ball. As you do. But once he disembarks, Fred soon ditches the trappings of colonial life after he discovers that Brits in India might as well “be living on another planet for all the interest they took in Indian music”. They live in walled compounds, throw tea parties and play tennis, he finds. Not what he’s come to India for. So Fred goes renegade to find his own musicians.Visiting the theatres on Calcutta’s notorious Harrison Road – the city’s equivalent of Covent Garden – he meets a wealthy businessman who invites him to a dinner party. It’s at this party where Fred encounters one of the most fascinating voices he’ll ever hear. Gauhar Jaan is a courtesan with a huge entourage and an even bigger voice. Fred is entranced. And he ends up recording her. She goes on to become one of India’s biggest stars. Using Fred’s diaries and other historical documents, Holley and Hall retell the story, playing some of Jaan’s recordings along the way.