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<a href="http://www.accessmylibrary.com/coms2/summary_0286-6132736_ITM" title="Facts and information about The Podles principles: she's made her reputation as a concert singer, but lately Ewa Podles has been taking on more and more opera roles. This month, she sings Eboli in Philadelphia; in March, she's Ulrica at Carnegie Hall. David J. Baker finds her at once the most tough-minded and the most generous of singers.(Cover Story)">The Podles principles: she's made her reputation as a concert singer, but lately Ewa Podles has been taking on more and more opera roles. This month, she sings Eboli in Philadelphia; in March, she's Ulrica at Carnegie Hall. David J. Baker finds her at once the most tough-minded and the most generous of singers.(Cover Story)</a>
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The Podles principles: she's made her reputation as a concert singer, but lately Ewa Podles has been taking on more and more opera roles. This month, she sings Eboli in Philadelphia; in March, she's Ulrica at Carnegie Hall. David J. Baker finds her at once the most tough-minded and the most generous of singers.(Cover Story)
"Why did this happen to me?" says Ewa Podles, contralto assoluto, at the start of the current season. "I asked myself always."
What happened to her, last May in Albuquerque, was a serious automobile accident that left the singer with a shattered shoulder bone and multiple wounds from glass shards. The fracture had to be reset back in Poland after a bumpy trip home, and the glass wounds required more surgery and a blood transfusion. Her convalescence was long and slow.
Worst of all, she recalls, "I couldn't sing at home. When I started, after three months, looking for my voice, it was like this--" She utters a harsh staccato growl. "I said, 'I am ...
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