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Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
From "Regina" to "Juno" Indeed They Also Are in the Weill- Brecht Operas
82 MID-MONTH RECORDINGS villainy. Also, through the Kurt Weill- Bert Brecht operas, its preoccupation with verbal values. Nevertheless, Puccini is around, and Montemezzi and Alfano and Wolf-Ferrari too, as From "Regina" to "Juno" indeed they also are in the Weill- Brecht operas. They show up here in the wide By VIRGIL THOMSON and thoroughly (quite relentlessly, ranges of the vocal lines and in their indeed) Irish of cast. But for all their way of constantly working all over AEC BLITZSTEIN, a maj or con stylistic adherence to the play's back those ranges. There is little of the tributor to the English-singing ground they sound to this listener metrical cantilena in arias and still M stage (American branch), is more earth-bound than earthy. Their less of the psalm-like patter in reci both composer and word-author of performance, moreover, both by the tative that English texts invite. There two recent Columbia releases. These actors who do not really sing, like is indeed almost no recitative or aria consist of the musical numbers that Shirley Booth and Melvyn Douglas, writing in the classical sense. There framed and ornamented a play-with- and by those who do (though not in is chiefly a treatment of the text's music version of Sean O'Casey's the Irish manner) like Jack Mac- rhymed prose through a special spe "Juno and the Paycock," recently Gowran, Monte Amundsen, and Loren cies of arioso, a declamatory setting visible on Broa^vay under the title Driscoll, is nowhere air-borne by any of words and phrases that moves, in of "Juno," (Cclu5n.>ia mono OL 5380, Hibernian afflatus. -
Lavender Hill "Serious Competition for 'GUYS AND
On Wifely Constancy The Passing Show Miss Cornell Poetic Speaks Playwrights Of Those She Go on Plays Right Writing Star of Maugham Revival Sees Lesson in Classic Hits Way Is Hard and Rewards Fewer, By Mark Barron But, Like Anouilh, They Work On NEW YORK. [sake, just because it was a great A veteran from in the * By Jay Carmody trouper coast play past. to coast, Miss Katharine Cornell “It is just as Maugham writes The is that so sensitive surprise many humans go on writing in ‘The Constant Wife’ when I for the theater. was still traveling the other eve- am fighting to hold my husband The insensitive ones, no. are ning after her They gamblers, betting that their Broadway premiere from a beautiful blond who is al- literal reports on life or their broad jokes about will catch the it, in W. Somerset Maugham’s artful most stealing him from me.’’ she public fancy and make them rich. They know the odds and the comedy, "The Constant Wife.” said. consequences involved in failure and nature armed them with the This “As the wife in Maugham’s toughness to both. These are time, however, Miss Cor- play, accept the addicts and there is I am faced with nell took only a hop-skip-and- the realization little need to give them a second thought. that Jump from National every marriage needs a great It is different with the other, smaller group. They are crea- Broadway’s Theater to her deal more thought than most tive, artistic and idealistic. They write plays because they want long-established home on Manhattan’s East wives devote to it. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN JANUARY-FEBRUARY, 1970 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORR1GAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL EL1HU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MELLEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Hartt College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDROP Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois We are delighted to announce the appointment of Dr. Jan Popper (UCLA) and Mr. -
Boston Symphony Orchestra Concert Programs, Season 124, 2004-2005, Subscription, Volume 01
Invite the entire string section for cocktails. With floor plans from 2,300 to over Phase One of this 5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied. Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,725,000. acre gated community atop prestigious Call Hammond at (617) 731-4644, Fisher Hill ext. 410. LONGYEAR ai Jisner Jfill BROOKLINE lh CORTLAND SOTHEBY'S PROPERTIES INC. International Realty ial service 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean Hospital is the largest psychiatric facility of Harvard Medical School, an affiliate of Massachusetts General Hospital and a member of Partners HealthCare REASON #16 the better to see you with There are several reasons to consider Beth Israel Deaconess Medical Center for your major medical care. Like innovative radiology services that lead to more accurate diagnosis. From advancements in cardiology and gastroenterology, to organ transplantion and cancer care, see for yourself how we're advancing the art of healing. Visit www.bidmc.harvard.edu or call 800-667-5356. Beth Israel Deaconess A teaching hospital of Harvard Medical School Medical Center Sox | Hospital of the Boston Red Affiliated with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center Official James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005 Trustees of the Boston Symphony Orchestra, Inc. -
Hifole1110 Review
of Europe's finest, although he is not quite Von Karajan's reading of this staple of the gently dramatic libretto by the American as impressive on this disc as he was when contemporary repertoire seems to me, for all writer Kenward Elmslee. Elmslee's libretto Iheard him in concert. A few top notes its musicianship, to be a little somber, a lit- is, interestingly enough, rooted quite as much emerge pinched, and some of the Bach tle heavy, a little inclined to miss the point. in Freudian case history as it is in the Lizzie sounds a little like a run-through; overall, He does well enough by the more "serious" Borden legend itself. According to Elmslee, however,Holliger'ssensitivityandtech- aspects of the work. but the orchestral vir- Lizzie did it all right-did it up brown. And nique are beyond question. tuosity is toned down until the finale, and also, according tothelibrettist,she very The orchestralplayingisbrightand the wryly amusing fourth movement is a little definitely had her reasons-rooted in sexual alert, and the recording, except for a some- dead -pan. If the Schwann Catalog were not frustration and the most complex, neurotic, what reticent harpsichordintheLeclair, already over -rich in recordings of this work, and introverted family relationships-even is well managed. I. K. von Karajan's performance might bere- though she went about it in fairly high state garded as an impressive one. As it stands, of operatic derangement. RECORDING OF SPECIAL MERIT there are several others available (by Bern- The setting may be New England, but the stein, Szell, or Ormandy) that I personally human impulses are not far removed from ® J. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Weisgall Linernts 9425.Indd
Cover Art WEISGALL A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. -
Instrumental Works 4420
LP – VOCAL WORKS: Complete and Highlights / INSTRUMENTAL WORKS 4420. LA TRAVIATA (Verdi). Eleanor Steber, Giuseppe Di Stefano, Robert Merrill, Alessio De Paolis, Lawrence Davidson, etc. Met. Orch. dir. Giuseppe Antonicelli. 22 Jan. 1949. 3-LP Boxed Melodram MEL-308-3. Cover signed by Steber, Di Stefano, Robert Merrill, Osie Hawkins, one other. Signatures are black on black, visible but they don’t stand out. $10.00. 4398. TROILUS AND CRESSIDA (Walton). Janet Baker, Richard Cassilly, Bennjamin Luxon, Elizabeth Bambridge, Robert Lloyd, etc. Lawrence Foster dir. Royal Op. House Orch. 3-LP boxed Set EMI Stereo SLS 997. Cover signed by Baker, Cassilly, Luxon, Rivers, Van Allan, two others. $15.00. 4412. TROUBLE IN TAHITI (Bernstein). Beverly Wolff, David Atkinson, Earl Rogers, Robert Bollinger Miriam Workman. Arthur Winograd dir. MGM Orch. MGM E3646. $7.00. 4272. TURANDOT (Puccini). Inge Borkh, Renata Tebaldi, Mario Del Monaco, Fernando Corena, etc. Santa Cecilia Orch. dir. Alberto Erede. Cover signed by Erede, Corena and one other. 3 LP London Stereo Set OSA 1308. $10.00. 4347. IL TURCO IN ITALIA (Rossini). Maria Callas, Nicolai Gedda, Nicola Rossi-Lemeni, Mariano Stabile, Piero De Palma, etc. Gianandrea Gavazzeni dir La Scala Orch. 3- LP boxed Odeon OCX10153/4/5 [Italian issue of the Angel set]. Cover signed by Gedda, DiPalma, Rossi-Lemeni and Gavazzeni. $15.00. 4368. DIE WALKÜRE: Highlights (Wagner). Marianne Schech, Margaret Harshaw, Blanche Thebom, Sandra Warfield, Martha Lipton, Rosalind Elias, Belen Amparan, Ramon Vinay, Hermann Uhde, Norman Scott, etc. Dmitri Mitropolous dir. Met Orch. Minor writing inside right panel. $10.00. 4268. WERTHER (Massenet). -
Mahler Booklet
WENDY DIXON SOPRANO 472 225-2 JOHN PRINGLE BARITONE MARINA MARSDEN VIOLIN DAVID MILLER PIANO THE SONGS OF HORACE KEATS 3 Horace Keats (1895-1945) ᖇ Yellow Bracken 1’30 ᖑᖞ Columbine 2’05 ᖈ In What Other Places ᖑᖟ The Point Of Noon 3’19 Do You Live? 2’57 ᖑᖠ Moonlit Apples 3’20 ᖉ We Sat Entwined 5’08 ᖑᖡ Spring Breezes 2’16 ᖊ The Orange Tree 5’05 ᖑᖢ Fear 1’44 ᖋ Sea-Wraith 2’48 ᖑᖣ Heaven Haven 2’35 ᖒᖤ ᖌ Galleons 1’44 Versicle 1’10 ᖒᖛ ᖍ Love’s Secret 2’20 Over The Quiet Waters 2’51 ᖒᖜ ᖎ Sun After Rain 3’43 Goldfish 2’50 ᖒᖝ ᖏ I Am Shut Out Of Mine Plucking The Rushes 2’13 ᖒᖞ Own Heart 5’29 The Fishing Pools 2’24 ᖒᖟ Once I Could Sit By ᖑᖤ White Heather 2’14 The Fire Hour Long 3’12 ᖑᖛ Of Old, On Her Terrace ᖒᖠ The Roads Beside The Sea 2’27 At Evening 3’45 ᖒᖡ Drake’s Call 2’50 ᖑᖜ The Trespass 2’21 ᖑᖝ Echo 4’07 Total Playing Time 78’27 Wendy Dixon, soprano ᖇ-ᖊ, ᖍ-ᖑᖤ, ᖑᖝ-ᖑᖡ, ᖑᖣ, ᖒᖛ, ᖒᖝ, ᖒᖟ John Pringle, baritone ᖋ, ᖌ, ᖑᖛ, ᖑᖜ, ᖑᖢ, ᖒᖤ, ᖒᖜ, ᖒᖞ, ᖒᖠ, ᖒᖡ Marina Marsden, violin ᖑᖝ David Miller, pianist 2 3 Horace Keats from Perth to New Zealand, sometimes singing and broadcasting career, she adopted the ABC’s Sydney Orchestra …” recruiting, training and conducting small her professional name, Barbara Russell (the Some years later, whilst in Perth with want to say in music what the poet orchestras, at other times, playing the names of their first two children). -
High Tribunal Upholds 'Heart' of Rights
1 4 ,1 5 1 Member of Hm Audit Bureun of drenlutiou TOL. LXXXIV, NO. «8 (TWENTY PAGES) Reserves Events ;er of In State High Tribunal Upholds Meets New Protests Husband Held WASHINGTON (AP)__ ♦yearly by abollsWnc units whlch<^«erve and National Guard au- On 1st Degree ‘Heart’ of Rights +V,- the defense secretary says are thorities.- President Johnson says the no longer needed — faces some Some congressional criticism Murder Charge plan to abolish the Army stiff opposition on Capitol Hill. on the Reserve plan has been sharp and two congressional Reserves is “ prudent and Congress has control over such NORTH STONINGTON proposals at least to the extent inquiries have already been Charges Set wise.” of providing money to carry promised in the wake of Satur' (AP) — A 31 - year - old The Reserve Officers Associa* them out. day's announcement by McNa' North Stonington man was ticm dimgrees and demands a Plana involving Army Nation mara. thorough investigation of Secre presented in Circuit Court, Before Law al Guard changes also are un Chairman F. Eldward Hebert, New London, today on a tary of Defense Robert S. Mc der discussion. Secretary of the' D-La., of the House Armed Namara's plan to do away with A n r ^ Steimen Alles said Sun- Services subcommittee on the first degree murder charge Are Inva lid the Reserves by merging sopie daV night that current planning; Reserves and National Guard, lodged in the death of his units' into the National Oi •eohcepts call for , the six high said McNamara "demonstrated and placing the rest on inactive wife. -
Discography Section 2: a (PDF)
1 ABERDEEN FISHER GIRLS’ CHOIR Conducted by Baillie Dan Allenby Recorded The Ballroom of the Music Hall, Union Street, Aberdeen, Tuesday, 29th. November 1932 M-14536- Caller herrin’ (Lady Caroline Nairne; Niel Gow, arr. J.Bell) Bel 1943 M-14537-1 Danny Boy (Frederick W. Weatherly; anon) Bel 1942 M-14538- Flora MacDonald’s lament (James Hogg, Niel Gow) Bel 1943 M-14539- Caillie Ou (Dr. John Gray; trad) Bel 1934 M-14540-1 I’ve got a robe (trad. arr. H. E. Pether) Bel 1917 M-14541-1 Steal away (trad. arr. E. Newman) Bel 1917 M-14542- Three fishers went a-sailing (John P. Hullan; Charles Kingsley) Bel 1934 NOTE: Some pressings and re-pressings are credited to the Aberdeen Fisher Lassies Choir. ABERDEEN STRATHSPEY AND REEL SOCIETY ORCHESTRA (formed 1928). Alec Sim, conductor, fiddles, piano (probably Annie Shand), double basses. Recorded The Ballroom of the Music Hall, Union Street, Aberdeen, Tuesday, 29th. November 1932 M-14556- Wind on the heath (trad. arr. A. Sim) Bel 1914 M-14557-2 Marquess of Huntly (William Marshall); Marchioness of Huntly (William Marshall); Speed the plough (trad), etc. Bel 1931 M-14558- The laverock’s nest (trad); The smith’s a gallant fireman (trad); The fairy reel (Nathaniel Gow) (all arr. A. Sim) Bel 1914 M-14559- Mrs. Ferguson of Raith; Miss Robertson of Crawhillock (all trad) Bel 1932 M-14560- March – Sir William Noble (trad); Forbes Morrison (J. Scott Skinner); Laird o’ Drumblair (J. Scott Skinner); Mrs. MacLeod (trad) (all arr. A. Sim) Bel 1931 M-14561- Lassie, look before you leap (trad); Duncan Davidson (Nathaniel Gow), Glen Ogie (trad) Bel 1932 LADY ABERDEEN (Ishbel Maria Gordon, née Marjoribanks) (1857 – Aberdeen, 1939).