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110334 rr RomMelba1EU 22/10/2004 04:16pm Page 1 CMYK N 8.110334 Nellie Melba Playing AXOS Historical ADD The Complete American Recordings, Vol. 1 Time h broadcasting and copying of this compact disc prohibited. translaations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and 69:39 & 1907 8.110334 g 2004 Naxos Rights International Ltd. 1 VERDI: Rigoletto: Caro nome Helen Porter Mitchell adopted the 2 PUCCINI: La bohème: Sì, mi chiamano Mimì 3 PUCCINI: La bohème: O soave fanciulla * professional name, Melba, to 4 PUCCINI: Tosca: Vissi d’arte acknowledge her Australian birthplace, Melbourne. In 1887 she 5 GOUNOD: Faust: Ah! Je ris de me voir si belle 1 Vol. American Recordings, The Complete MELBA: [Air des bijoux] made her operatic début in Brussels 6 VERDI: La traviata: Ah! fors’ è lui... Sempre libera as Gilda, eventually winning acclaim 7 PUCCINI: La bohème: Donde lieta uscì al tuo grido at Covent Garden, the Metropolitan d’amore Opera and most of the leading opera 8 TOSTI: Good-bye houses of the world. This volume is the 9 TOSTI: La Serenata † first of a series of three Naxos discs 0 BLANGINI: Per valli, per boschi ‡ containing all the known recordings ! BEMBERG: Un ange est venu ‡ Melba made for the Victor Talking @ HAHN: Si mes vers avaient des ailes † # MOZART: Le nozze di Figaro: Voi che sapete Machine in Camden, New Jersey, and $ THOMAS: Hamlet: A vos jeux, mes amis, New York. The 1907 recordings permettez-moi de grâce [Mad Scene part 1] document some of Melba’s greatest % THOMAS: Hamlet: Pâle et blonde, dort sous l’eau hits with audiences of the period. profonde [Mad Scene part 2] Although the voice is recorded ^ ARDITI: Se saran rose somewhat distantly, there is a & DONIZETTI: Lucia di Lammermoor: Alfin son tua naturalness of sound which allows [Mad Scene] ° Melba’s clean attacks, steadiness of * BISHOP: Lo! Here the gentle lark ° tone and the bloom in her voice as it ( HANDEL: Il penseroso: Sweet Bird ° rises in a climactic phrase, to be heard ) TOSTI: Mattinata without the edgy, strident quality that MELBA: The Complete American Recordings, Vol. 1 Vol. American Recordings, The Complete MELBA: * with Enrico Caruso, Tenor † with Ada Sassoli, Harp characterises some of the more MADE IN ‡ with Charles Gilibert, Baritone powerful and brilliant recordings THE EU ° with Charles K. North, Flute made after 1909. Producer and Audio Restoration Engineer: Ward Marston Special thanks to Neil Forster, Harry Glaze, Lawrence Holdridge, 8.110334 Peter Lack and Jim Peters • Previously released on Romophone www.naxos.com A complete track list can be found in the booklet AXOS Historical Cover image: Nellie Melba’s début at the Théâtre de la Monnaie, N Brussels, 1887, as Gilda. (Lebrecht Music & Arts).

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110780 bk Melba4 US 23/03/2004 13:20 Page 5 Ward Marston Hayes, Middlesex 12th May 1921 ! Addio dolce svegliare alla mattina (Act 3) 4:29 ADD Mat. CR 413; unpublished on 78rpm GREAT SINGERS • MELBA In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on RIMSKY-KORSAKOV: Sadko: @ Gavotta, Minuetto (Act 4) 3:36 8.110780 1 Les diamants chez-nous sont innombrables BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender 3:01 Mat. CR 414; unpublished on 78rpm [Chanson hindoue] # Sono andati? (Act 4) 4:40 loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Mat. Cc 147; Cat. 03759 Mat. CR 415; unpublished on 78rpm ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, $ Io Musetta…Oh come è bello e morbido 4:06 honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also RONALD: (Act 4) served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov 2 Away on the hill there runs a stream 1:43 Mat. CR 416; unpublished on 78rpm Nellie recordings, both winners of the Best Historical Album Grammy. Mat. Cc 148; unpublished on 78rpm Tracks 11-14: Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four with Aurora Rettore (Mezzo-soprano), decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer RONALD: Browning Mummery (Tenor), MELBA in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932.
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Money - Recognising the Australian $100 Note Dame Nellie Melba (1861-1931) Sir John Monash is Dame Nellie Melba was an opera singer who on the flip side of the became world renown. $100 note. He was a civil engineer and Born Helen “Nellie” Mitchell, she changed her military general in name to Melba after her home town of WWI. There is a Melbourne. She left Australia and studied opera university named after in Europe, becoming famous worldwide. Melba him. performed in many operas in London, Paris and New York. She returned to Australia in 1902 and in later years for tours and concerts. She took opera to many small towns throughout the country. She held Concerts for the People with low ticket prices, attracting huge crowds. During WWI she became a very successful fundraiser for war charities for which she was awarded the MBE, and later she was awarded the OBE. Melba taught for many years in the Conservatorium of Melbourne, inspiring many young singers. There is a lyre bird in the transparent window on the $100 note. Answer these questions: Who is on the $100 note? _______________________________________________________ What is she famous for? ________________________________________________________ Name what you can see in on the $100 note: Colour the picture to match the real $100 note. N.B. Teacher: display a real note or photo if possible as a guide. www.profepete.com ANSWERS Money - Recognising the Australian $100 Note Dame Nellie Melba (1861-1931) Sir John Monash is Dame Nellie Melba was an opera singer who on the flip side of the became world renown.
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Edition 15 Summer 2016 FROM THE SCHOLARS’ REHEARSAL ROOM LESSONS IN MAKEUP AND STYLING OUR BEST AUDITION TIPS WELCOMING BACK OUR ALUMNI Siobhán Stagg, performing in Brisbane while touring with Roberto Alagna. Photo by Joseph Byford. CONTENTS A NOTE FROM THE PAGE 2 • A Note from the Managing Director MANAGING DIRECTOR • A Change of Cast: Thanking Our Man on a Mission quantity and quality of applicants daughter Charlotte.) scholars looms large as competition are gratifying, and once again we finalists and cast members in Olivia’s exceptional skills and depth PAGE 3 have been presented with a national every Australian professional opera of experience has sustained the pool of talented singers. company. Internationally, our alumni Zoe Drummond – Winner – 2016 Lady Fairfax New York Scholarship • Melbas Conquer Sydney Trust’s momentum during Amy’s are successfully competing and Nicholas with his patrons Elizabeth and John Wright-Smith Nicolas Tolputt - Credit: WinkiPop Media The Opera Foundation for young Australians - Photograph: David Otott While this ‘changing of the guard’ absence. As the newest member of • Season’s Greetings performing on the stages of Europe, has become the norm for our scholar the management team, the fresh North America and Asia. PAGE 4-5 cohorts, this year’s annual ritual is insights that Olivia has brought to • Professional Polish : complemented by two significant the role are some of the dividends We look forward to announcing early • Etiquette and Elegance transitions in the Trust’s ‘engine of the parental leave system. in the New Year the 2017 cohort of MELBAS CONQUER SYDNEY room’. Firstly, the leadership of our Amy has recently returned and is Melba Opera Trust scholars and to • Face First governing Council is changing, as working with Olivia to complete the rolling out the program with another • A Word from the Scholars Peter Garnick Chair Rob Logie-Smith hands the transition.
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THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)
PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, BIOGRAPHIES; RECORD CATALOGUES & SUPPLEMENTS Books are all in good, used condition (no damage unless described). DJ = includes Paper Dust Jacket This year’s book list includes a number of important and desirable items. The minimum bids have been kept very low, considering the scarcity of some items and the cost of others which still might be in print. While bargains are indeed possible, I’d suggest, as usual, to bid realistically for those items of particular interest. Bids of any amount are, of course, welcomed. MUSICIAN BIOGRAPHIES/AUTOBIOGRAPHIES 3574. [FRANCES ALDA]. MEN, WOMEN AND TENORS. Autobiography. Riverside Press, Cambridge, MA. 1937. 307 pp. Illustrated. Quite candid jottings for the period. Fun and informative reading. Blank front page removed. Cons. 2. $7.00. 3622. MARIAN ANDERSON – A PORTRAIT (Kosti Vehanen). Whittlesey House, NY. 1941. 270 pp. Blank book plate on inside cover. Just about 1-2. $10.00. 3535. [MARIAN ANDERSON]. MY LORD, WHAT A MORNING. Autobiography. Viking Press, NY. 1956. DJ. Illustrated. 312 pp. Light DJ wear. Book gen. 1-2. $7.00. 3581. MARIAN ANDERSON – A SINGER’S JOURNEY (Allan Keiler). Scribner, NY. 2000. 447 pp. DJ. Just about 1-2. $10.00. 3542. [Sir THOMAS] BEECHAM – A CENTENARY DISCOGRAPHY (Michael Gray). Duckworth, Norwich. 1979. DJ. 129 pp. Light signs of use on DJ. Book is just about 1-2 except for numerous pencil check marks. $6.00. 3550. THE ACCOMPANIST – AN AUTOBIOGRAPHY OF ANDRÉ BENOIST (ed. John Anthony Maltese). Paganiniana Pub., Neptune City, NJ. 1978. 383 pp. Profusely illustrated. A fascinating and extremely candid look at dozens of the vocal and instrumental celebrities with whom Benoist was associated.
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Thomas Quinlan and the 'All Red' Ring: Australia, 1913 Kerry Murphy
2015 © Kerry Murphy, Context 39 (2014): 79–88. Thomas Quinlan and the ‘All Red’ Ring: Australia, 1913 Kerry Murphy Algernon S. Rose in an address to the Annual Conference of the Society of Musicians, held in Dublin in 1893 spoke of Britain’s need to spread her wings: Even as a parent should care for his child, so ought the British Musician look ahead to protect the welfare of his musical descendants … Should not Englishmen … endeavour, not merely to protect their territorial interests but to strengthen those ties of blood relationship which exist between the Mother Country and her offspring, by nourishing a healthy circulation of sympathetic intercommunication? … a Migratory class, if drawn into its ranks would furnish an ambassadorial element for Greater Britain which is now lacking. Such travellers possess exceptional facilities wherever they go for making known to resident performers the power for mutual dignity and advantage, which a Union of English–Speaking musicians throughout the world might effect.1 Rose’s plea was vigorously taken up by English entrepreneur Thomas Quinlan (1881–1951) some fifteen years later when he embarked with his opera company in 1912 on the first of two extraordinary tours of ‘Greater Britain,’ singing ‘in English to English speaking peoples all the time, never leaving the red portions of the geographical map.’2 Quinlan’s first ‘All Red’ tour began in South Africa in 1912 and then moved to Melbourne and Sydney; this part of the tour was presented in conjunction with the Australian impresario J.C. Williamson. On his second 1 Algernon Rose, ‘Greater Britain Musically Considered.
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