ODE TO NELLIE MELBA

Saturday Thursday Friday 10 March 7.30pm 16 March 7.30pm 17 March 7.30pm LAUNCESTON 1/REGIONAL Federation Concert Hall Albert Hall Burnie Town Hall Hobart Launceston HOBART SPECIAL 1 MASTER 2 Marko Letonja conductor BIZET Elena Schwarz assistant conductor L’Arlesienne Suite No 2: Farandole Lorina Gore soprano BIZET Christopher Lawrence compere The Pearl Fishers, “Comme autrefois la VERDI nuit” La forza del destino – Overture MASSENET GOUNOD Le Cid – Navarraise Roméo et Juliette, “Je veux vivre” GOUNOD (Waltz Song) Mireille, “Heureux petit berger” VERDI MASSENET Rigoletto, “Caro nome” Don César de Bazan, “A Seville, belles GOUNOD Señoras” (Sevillana) Faust – Ballet Music (Nos 1 and 2) GOUNOD GOUNOD Faust – Ballet Music (Nos 3, 5 and 7) Faust, “Ah! Je ris de me voir” (Jewel DUPARC Song) “Chanson triste” BIZET VERDI L’Arlesienne Suite No 1: Adagietto La traviata, “Sempre libera” THOMAS This concert will end at approximately Mignon, “Je suis Titiana” 9.35pm.

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12 13 Marko Letonja Elena Schwarz Lorina Gore Christopher Lawrence

Marko Letonja is Chief Conductor Australian and Swiss conductor Elena Lorina Gore completed postgraduate Christopher Lawrence has long been one of and Artistic Director of the Tasmanian Schwarz studied at the Geneva University voice studies at the Australian National the nation’s best-loved radio personalities Symphony Orchestra and Music Director of Music in the class of Laurent Gay, University in Canberra and at the National with a career in broadcasting that spans of the Orchestre Philharmonique de subsequently specialising in contemporary Opera Studio in London. She is a regular more than three decades. He is currently performance with Arturo Tamayo at the Strasbourg. Born in Slovenia, he studied at principal artist with Opera Australia, where presenter of Drive on ABC Classic FM. His Conservatorio della Svizzera Italiana. She the Academy of Music in Ljubljana and the she has sung numerous roles such as recording work has earned him three ARIA has benefited from the advice of Bernard Vienna Academy of Music. He was Music Violetta (La traviata), Musetta (La bohème), Haitink, Neeme Järvi, Peter Eötvös and (Australian Record Industry Association) Director of the Slovenian Philharmonic Queen of the Night (Die Zauberflöte), Matthias Pintscher. A member of Symphony Awards, a Churchill Fellowship, and an Orchestra from 1991 to 2003 and Music Amina (La sonnambula), Leila (Les pêcheurs Services International’s Conductor International Emmy from the US television Director and Chief Conductor of both the de perles), Tytania (A Midsummer Night’s Development Program since 2013, she has industry. Among his many talents, Symphony Orchestra and the Opera in participated in conducting courses with Dream), Honey B (Bliss), Yum-Yum (The Christopher has written and produced Basel from 2003 to 2006. He was Principal Mikado), Nanetta (Falstaff), and Woglinde Christopher Seaman, Asher Fisch, Johannes numerous radio features and been a guest Guest Conductor of Orchestra Victoria in (Der Ring des Nibelungen). International Fritzsch and Giordano Bellincampi, and conductor for several Australian symphony 2008 and made his debut with the TSO performances have included the title role with the Tasmanian and West Australian orchestras. He is the mastermind behind the following year. He took up the post in Lucia di Lammermoor for Iford Arts, Symphony Orchestras and the Auckland the Swoon CD collection, which evolved out of Chief Conductor and Artistic Director Philharmonia. Elena Schwarz won first prize Fiakermilli (Arabella) for Garsington Opera, of his ABC Classic FM breakfast program of the Tasmanian Symphony Orchestra at the Princess Astrid Competition with the and Violetta (La traviata) and Norina (Don and went on to become the highest-selling at the start of 2012. He has worked with Trondheim Symphony Orchestra (Norway) Pasquale) for New Zealand Opera. Lorina classical compilations ever released in many orchestras in Europe including the and second prize at the 2015 Jorma Panula received a Helpmann Award nomination for Australia (more than 500,000 units). He Munich Philharmonic, Vienna Symphony, competition in Vaasa, Finland. In 2016 Pip in Moby-Dick with the State Opera of has also written several best-selling books Berlin Radio Orchestra, Mozarteum she was selected as one of three young South Australia, and has also won numerous including Swooning – A Classical Music Orchestra and the Orchestra Filarmonica conductors supported by Adami, the opera awards such as the Dame Joan della Scala, Milan. He has also worked in French Performers’ Association. Recent Sutherland Scholarship (AOAC), the Opera Guide to Life, Love, Lust and other Follies, engagements include the Martha Argerich many renowned opera houses such as the Awards (Music & Opera Singers Trust), and and Swing Symphony. Christopher has Festival in Lugano, where she conducted Vienna State Opera, Berlin State Opera, the Covent Garden National Opera Studio been based in Tasmania since 2007 and has Alban Berg’s Chamber Concerto with La Scala Milan, Semper Oper Dresden, Scholarship (Opera Foundation). Recordings compered many TSO concerts, including soloists Renaud Capuçon and Nicholas and the Grand Théâtre de Genève. for ABC Classics include Waltzes and Arias the Family Classics series, RACT Symphony Angelich, and a portrait concert of Olga under the Stars and the ABC-Symphony Additionally, he has conducted at the Arena Neuwirth’s music with the Lucerne Festival with the Tasmanian Symphony Orchestra Australia Young Performers Awards. di Verona. Future engagements include Academy. In 2017, in addition to the joint and Marko Letonja, selections from Handel’s the Mozarteum Orchestra Salzburg, Berlin assistantship between the Tasmanian and Rodelinda with Richard Bonynge, highlights He is married to baroque violinist Julia Radio Orchestra, Bavarian State Opera West Australian Symphony Orchestras, from Strauss’ Der Rosenkavalier with Yvonne Fredersdorff and they have two daughters, in Munich and Wagner’s Der Ring des Elena Schwarz will assist Mikko Franck at Kenny, and Bliss with Opera Australia. She Mina and Belle. In 1999 he received an Nibelungen for the Royal Swedish Opera the Orchestre Philharmonique de Radio performs Roxana in Król Roger and Violetta Honorary Doctorate in Communications with Nina Stemme as Brünnhilde. France in Paris. in La traviata for Opera Australia in 2017. from the University of Central Queensland.

14 15 Nellie Melba: Australian Superstar

and assume an alias that is altogether more original and memorable. Thus, in honour of the city of her birth, Nellie Melba was born. IN THE LIMELIGHT Melba was not an overnight star. Rather, she built her career one step at a time. Her debut as an opera singer, as opposed to a recitalist, took place at the Théâtre Royal de la Monnaie in Brussels in October 1887, when she sang Gilda in Verdi’s Rigoletto. She subsequently appeared at La Monnaie in Verdi’s La traviata and Donizetti’s Lucia di Lammermoor. At Covent Garden the following year she sang Lucia and Gilda but failed to make a strong impression so returned to Brussels. Her career received a boost with her debut at the Paris Opéra as Ophélie in Thomas’s Hamlet in May 1889 and took flight at Covent Garden the following month in Gounod’s Roméo et Juliette. “I date my success in London made a return visit to Australia in 1902 quite distinctly from that great night of – the collection of disparate colonies 15 June 1889,” she later recalled. Melba had become a Federation while she was became such a regular at Covent Garden away – for a concert tour that started in she was given a dressing room to which she Melbourne and took in country Victoria, alone had the key. For the remainder of her Sydney, Brisbane, Adelaide, Perth and New professional life, she considered Covent Zealand. A true celebrity, she experienced Garden her artistic home. Melbamania Australian-style (upon arriving The diva on the hundred dollar note, Dame until she was in her early 20s. Unhappily in Melbourne, she was greeted by a Nellie Melba (1861-1931), was one of married at the time and living near the MELBAMANIA loud cry of “cooee” from the students of the most famous Australians of her time. Queensland town of Mackay, Melba (or, Mrs Following her success at Covent Garden Presbyterian Ladies’ College, her former Idolised in the theatre, mobbed on the Charles Armstrong, as she was then known) in 1889, Melba conquered one stage after school). Melba was supposed to give a street and known by name in even the returned to Melbourne, applied herself to another, including the Imperial Opera in St single concert in Tasmania, in Launceston in most remote corners of the country, Nellie vocal studies with teacher Pietro Cecchi Petersburg in 1891, La Scala Milan in 1893 February 1903, but endured a particularly Melba was born Helen Porter Mitchell, and made her public debut in Melbourne and New York’s Metropolitan Opera, also in rough crossing and arrived in poor health. the oldest child of Scottish-born builder, Town Hall on 17 May 1884, a few days 1893. While touring North America in the She could barely speak, let alone sing, and contractor and businessman David Mitchell shy of her 23rd birthday. In March 1886 mid-1890s, Melba encountered adulation was forced to cancel on doctor’s orders. and his wife Isabella. From her hometown she travelled with her father on a business wherever she went. Indeed, the American The good citizens of Launceston felt of Melbourne, Nellie Melba conquered the trip to London where she gave a single, press coined the term “Melbamania” to aggrieved and Melba endured a barrage stages of the world, notably Covent Garden moderately successful concert. Crucially, describe the euphoria that surrounded her. of negative commentary. To make matters in London and the Metropolitan Opera in Melba auditioned for renowned Paris-based Crowds gathered on the streets, cheers of worse, concert-goers from all around New York. She had a dessert named in her singing teacher Mathilde Marchesi, who acclamation rang out, bouquets were thrust Tasmania were planning on travelling to honour, a Melba doll was created in her took her under her wing, consolidated her in her hand and children were held up to Launceston to hear the diva – additional image and she was the first Australian to technique, arranged private performances catch a glimpse of the celebrated diva. trains had been scheduled especially – and appear on the cover of Time magazine. in Parisian salons and introduced her Melba was a star. word of the cancellation reached some of to leading French composers, such as them en route. The governor of Tasmania, EARLY YEARS HOMECOMING Gounod, Delibes and Massenet. Mme for example, was travelling north for the Although she sang from a young age, Marchesi also delivered a key piece of Having travelled throughout Europe and concert and Melba was travelling south to Melba did not pursue singing seriously advice: jettison the name Helen Armstrong crossed the Atlantic many times, Melba

16 17 meet the ship that was to take her to New Town Hall (on 7 and 8 April). Melba always Tasmania featured in Melba’s “Farewell Zealand. They exchanged pleasantries over toured with associate artists: the flautist Tour” of Australia in 1927, with concerts a cup of tea at Parattah railway station. John Lemmoné (who was also her business once again in Albert Hall and Hobart manager), an accompanist, a piano soloist City Hall (10 and 15 March respectively). LATER CAREER and male vocal soloist. Melba was the star Melba’s repertoire included excerpts Melba lived at a time when opera was a of the show but not the only performer. from La bohème and Otello, and songs thriving business. Works which we now In addition to Melba’s numbers, concerts by Richard Strauss, Rimsky-Korsakov and think of as classics were new (or relatively would include piano and flute solos, and Liza Lehmann. Once again, her encores new) and Melba had the opportunity to songs sung by the male associate artist. included “Coming Thro’ the Rye” and sing for and be coached by the composers Melba never toured with orchestra. On her “Home, Sweet Home”. In addition to her who wrote them. The role for which she 1909 tour, her repertoire included excerpts concert engagements, Melba opened an was most famous was Mimì, the heroine from La traviata, Lucia di Lammermoor and art exhibition in Launceston, attended a of Puccini’s La bohème, which she studied Verdi’s Otello. regatta at Sandy Bay and popped into with the composer and performed a total Tattersall’s office in Hobart on 16 March to of 92 times at Covent Garden alone. She draw the horses in the St Patrick’s Handicap. created the title role in Saint-Saëns’ Hélène, which was premièred in Monte Carlo in DID MELBA PERFORM IN ZEEHAN? 1904. That same year, Melba made the first It would seem that Melba never sang in of approximately 150 recordings. Listening person in Zeehan. According to a historic to the recordings today, we are able to poster still on display at the Gaiety Theatre, hear the vocal qualities for which she was Melba’s three Zeehan “appearances” renowned: a pure, even sound across in October 1904 consisted of projected the range, incandescent tone, faultless images of the diva accompanied by intonation, strong attack and perfectly gramophone recordings. Thus, Melba’s executed trills and ornaments. voice was heard in the Gaiety Theatre but was not good and she was admitted to St she never actually set foot in the venue. Melba’s career remained as strong as ever Vincent’s Hospital in Sydney where she died But it is indicative of Melba’s celebrity that in the years leading up to the First World on 23 February 1931. Melba’s funeral, which her name was known in the Zeehan district War and beyond, with performances in was at the Scots Church in Melbourne, many years prior to the Gaiety “concerts” the United Kingdom and North America was a huge public occasion. Five thousand of 1904. There was a local mine called as well as occasional seasons with the mourners filed past her coffin from the the Madame Melba and a public house at Melba-Williamson company in Australia. evening before the funeral to the morning North Dundas, near Zeehan, also called the She bought a house at Lilydale, outside of the service. The flag at Parliament House Madame Melba. The pub burnt down on at Melbourne, in 1909; it was to be her in Melbourne was flown at half mast. least two occasions but would rise from the Australian base for the remainder of her Melba’s mortal remains were laid to rest at ashes, always bearing the name Madame life. She was created a DBE in 1918 and Lilydale Cemetery. An inscription before her Melba. GBE in 1927. From the mid-1920s, Melba grave carries a quotation from La bohème: began a series of farewell performances, “Addio senza rancore” (Farewell without Robert Gibson © 2017 including her Covent Garden farewell in bitterness). Melba’s house in Lilydale Melba and her entourage returned to 1926 and Australia-wide farewell tour of now sits within the Coombe Yarra Valley Tasmania in January 1924, once again 1927. The protracted farewell process and vineyard. performing in Launceston and Hobart the fact that some farewell performances (this time, in City Hall). Her repertoire on were followed by further farewells, gave MELBA IN TASMANIA this occasion was noticeably “lighter”, rise to the expression, still in circulation, As mentioned above, Melba was scheduled consisting of numbers from Gounod’s Faust of “more farewells than Melba”. Her last to perform in Launceston as part of her and songs by Duparc, Rimsky-Korsakov, public performance in Australia was in first Australian tour of 1902-3 but cancelled Dvořák and others. Her many encores Geelong in November 1928. London due to ill health. In 1909 Melba embarked included sentimental favourites such as beckoned once more but, wishing to upon her so-called “sentimental tour” “Coming Thro’ the Rye” and “Home, escape the northern winter, Melba returned of Australia, and this time sang in Albert Sweet Home” (Melba sang the latter while to Australia in November 1930. Her health Hall in Launceston (on 5 April) and Hobart accompanying herself on the piano).

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