DOCSLIB.ORG

Australian Ephemera Collection Finding Aid

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Australian Ephemera Collection Finding Aid AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME NELLIE MELBA (1861–1931) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA FEBRUARY 2017 Dame Nellie Melba GBE (19 May 1861 – 23 February 1931), born Helen Porter Mitchell, was an Australian operatic soprano. She became one of the most famous singers of the late Victorian era and the early 20th century. She was the first Australian to achieve international recognition as a classical musician. She took the pseudonym "Melba" from Melbourne, her home town. During the First World War, Melba raised large sums for war charities. She was active in the teaching of singing at the Melbourne Conservatorium, and made a legendary number of "farewell" appearances. Between 1904 and 1926 Melba made some 150 records. Her final performance at Covent Garden was in June 1926, with her last Australian performances in Sydney and Melbourne in 1927. The Nellie Melba files in the Library’s PROMPT collection contain primarily theatre programs with some ephemera and newspaper cuttings which document the opera singer’s Australian and overseas careers from 1891 to 1931. Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. The Melba PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3000975 Programs are listed and arranged in a single chronological sequence and incorporate Melba’s Australian and overseas careers. Programs are listed chronologically by year and then month. All dating is based on evidence in the programs or ephemera. At the end of the listing are several memorial events. Entries for each program are arranged as follows: Year, day/s and month; Venue/Theatre (City, Country) Company name Name of opera (Creator), concert or recital. Nellie Melba’s role (if any) and any other comments. The Melba-JC Williamson Co. programs covering her Australian tours will be found in the JC Williamson Opera files. A holdings list of this series is available on the Library’s website at http://nla.gov.au/nla.cat-vn3666467 This is in chronological order and reflects the arrangement of series. Readers will need to fill in a call slip for JC Williamson Opera and then specify the year(s) required. Anything from one to several boxes may be retrieved. Additional Melba programs some covering her early Australian appearances will be found in the PROMPT Scrapbooks collection particularly nos. 1, 6 and 8. Due to their fragility readers are requested to use the microform copy. Both versions are catalogued individually and are available on the Library’s catalogue through the Special Collections Reading Room. An index to performances, role and other events is provided at the end of this document. There are other sequences in this file which are not included in this aid but which researchers may find useful. These are as follows: Press and magazine clippings (Australian and overseas) Biography Ephemera The National Library’s collection also includes: Oral History recordings and interviews, Scrapbooks, personal papers in Manuscripts (NB: these manuscript collections may include additional programs) Pictures Published works Australian Ephemera Collection Finding Aid (PROMPT): Dame Nellie Melba 2 28 June; Buckingham Palace (London, England) Recital. Program on paper doily 25 June; Buckingham Palace (London, England) Recital. Program on paper doily. 1891 8 July; Covent Garden (London, England) Royal Italian Opera Command performance for German Emperor & Empress Roméo et Juliette (Gounod), Act 4 and others. Nellie Melba as Juliette. Souvenir program. 1895 12 June; Royal Opera House, Covent Garden (London, England) The Royal Opera Faust (Gounod). Nellie Melba as Marguerite. 1899 11 January; Metropolitan Opera House (New York, New York USA) Royal Opera Faust (Gounod). Nellie Melba as Marguerite. 1899? 3 June; Royal Opera House, Covent Garden (London, England) Lucia di Lammermoor (Donizetti). Nellie Melba as Lucia. Fragment of program only, date uncertain, could also be for a performance in 1905 See also Digitised Australian newspaper coverage from the 1900s of Nellie Melba (including promotions and reviews). 1902 11 June, Royal Albert Hall, London Special Sunday Concerts Grand Coronation Concert for King Edward’s Hospital Fund NM with others including Clara Butt. Australian Ephemera Collection Finding Aid (PROMPT): Dame Nellie Melba 3 1902 [no dates or location] Australian concert tour Under the direction of Mr George Musgrove. 1902 27 September. Melbourne; Town Hall First Concert NM with others 1902 27 September. Town Hall. Melbourne First Concert (silk program) NM with others 1902 30 September . Town Hall, Melbourne Second Concert NM with others 1902 11 October Town Hall, Sydney First Concert NM with others 1902 23 October . Town Hall, Sydney Fourth Concert NM with others 1902 5 November. Town Hall, Melbourne Madame Melba’s Concert NM recital 1902 26 November Princess Theatre, Melbourne Lucia di Lammermoor (mad scene) (Donizetti) - NM Lucia La Traviata (Verdi) - NM Violetta Grand Opera Season Souvenir program and two tickets 1903 31 January. Town Hall?, Melbourne Concert d’Adieu (of E.A. Beaumont) NM with others 1904 5 May. Queen’s Hall. London Concert in aid of Queen Charlotte’s Hospital NM with others (+ handbill) 1904 9 June. Buckingham Palace, London Program includes: Monsieur Gilbert, Signor Caruso. Madam Melba, Master Vecsey and Director, Paolo Tosti. (Programme attached to card) 1906 April edition of The Burr McIntosh Monthly (New York: The Burr Publishing Co., 1906) featuring a portrait and bio of Nellie Melba as Marguerite, probably from Gounod ’s Faust. Australian Ephemera Collection Finding Aid (PROMPT): Dame Nellie Melba 4 1907 23 November. Town Hall. Melbourne First Concert NM with others 1907 30 November. Town Hall, Melbourne Second Concert NM with others 1907 10 December; Sydney; Town Hall First Concert NM with others 1907 14 December. Sydney; Town Hall Second Concert Nm with others 1907 17 December. Town Hall, Sydney; Matinee Concert NM with others (Includes newspaper review, undated) 1907 26 December. Exhibition Building, Melbourne Concert NM with others 1908 30 January; Ballarat, Vic. Concert NM with others 1908 25 February. Jubilee Exhibition Building, Adelaide Concert NM with others 1908 21 July. Royal Opera Covent Garden, London The Grand Opera Syndicate Otello (Verdi) NM as Desdemona 1909 9 March. Town Hall, Melbourne Concert NM with others 1909 13 March. Town Hall, Melbourne Concert NM with others Australian Ephemera Collection Finding Aid (PROMPT): Dame Nellie Melba 5 1909 27 March. Town Hall, Melbourne Second Concert NM with others 1909 1 June. Town Hall, Sydney First Concert NM with others 1909 15 November. Exhibition Building, Melbourne Madame Melba’s Charity Concert NM recital 1909 No date or venue Melba Tour, 1909 NM with others Sydney advertisement on back cover 1909 No date or venue Melba Tour, 1909 NM with others 1909 9 & 13 March. Town Hall, Melbourne Australasian Tour, 1909 Melba: In her own Land with her own People. Publicity brochure. 1910 16 July. Pleasure Gardens Theatre, Folkestone, England Grand Melba Matinee in aid of the Military Charities and Institutions of Shorncliffe Camp. NM with others. 1911 July 1911 – Anniversary of …….. Postcard with NM’s port. by Johnston-Ayres Co. Postmarked 29 June 1911. 1911 1 July. Royal Opera Covent Garden, London. La Boheme NM as Mimi 1911 Melba Grand Opera Season – season brochure (booklet of plots and descriptions of all operas to be performed) 1911 23 October . Her Majesty’s Theatre, Sydney The Melba Grand Opera Season Romeo and Juliet (Gounod) NM Juliet 2 copies. Australian Ephemera Collection Finding Aid (PROMPT): Dame Nellie Melba 6 1911 28 October. Her Majesty’s Theatre, Melbourne The Melba Grand Opera Season La Traviata (Verdi) NM Violetta Facsimile of program centrefold 1911 24 November. Her Majesty’s, Melbourne The Melba Grand Opera Season Romeo et Juliette (Gounod) NM Juliette 1911 5 December. Her Majesty’s, Melbourne. The Melba Grand Opera Season Rigoletto (Verdi) NM Gilda Facsimile of program centrefold 1911 7 December. Her Majesty’s, Melbourne The Melba Grand Opera Season Faust (Gounod) NM Marguerite Facsimile of program centrefold. 1911 9 December. Her Majesty’s, Melbourne. The Melba Grand Opera Season La Boheme Act. 1 NM Mimi 1912 1 March. Her Majesty’s Theatre, Melbourne. Charity Concert (for University Conservatorium of Music) Hamlet (Thomas) Act 3 - NM Ophelia with others Otello (Verdi) Act 4 - NM Desdemona with others 1913 4 May. Royal Albert Hall, London. Melba and Kubelik Concert 1913 1 June. Royal Albert Hall, London. Mme. Melba Jubilee Concert In Commemoration of 25th Anniversary of First Appearance in London. Percy Grainger was accompanist. 1913 12 July. Royal Opera Covent Garden, London. Rigoletto NM as Gilda See PROMPT file for Royal Opera (UK) under ‘Rigoletto’ Australian Ephemera Collection Finding Aid (PROMPT): Dame Nellie Melba 7 1913 22 July. Royal Opera Covent Garden, London. Rigoletto NM as Gilda See PROMPT file for Royal Opera (UK) under ‘Rigoletto’ 1913 5 October– 6 December. Melba Tour (of U.K.) Melba Concert NM with others 1914 21 November. Exhibition Building, Adelaide. Patriotic Concert NM with others 1914 20 April – 27 July. Royal Opera House, Covent Garden, London Grand Opera Season 1914 NM with others 1915 3 June. Town Hall, Sydney Melba Special Concert in aid of the Polish Relief Fund 1916 3 August. Her Majesty’s Theatre, Sydney. Melba Russian Appeal Matinee 4 Acts – The Belle of New York, The Boomerang, Grand Opera, The Last Act of Otello, Grand Opera – The Last Act of Faust. Note dated 22 February 1954, from donor, F.T. Riley, Secretary of the Manufacturing Grocers’ Employees’ Federation explaining how he got the program with signature.
Load more

Recommended publications
  • Ryman Healthcare Full Year Result - 31 March 2018 Full Year Highlights
    Ryman Healthcare Full year result - 31 March 2018 Full year highlights . Underlying profit up 14.2% to $203.5 million . Reported profit up 8.8% to $388.2 million . Full year dividend 20.4 cents per share; up 14.6% . $5.8 billion of total assets . 16 new villages in the pipeline Kevin Hickman myRyman Four year certification 70% 60% 60% 50% 39% 40% 35% 32% 33% 30% 27% 20% 15% 13% 10% 0% Note: Percent of villages with 4 year certification. Includes aged care providers with 15 or more villages. Data as at 23 April 2018 Aberfeldie Melbourne Nellie Melba Wheelers Hill, Melbourne Coburg Melbourne Burwood East Melbourne Geelong Victoria Mount Eliza Mornington Peninsula, Melbourne Mount Martha Mornington Peninsula, Melbourne Victoria Logan Campbell Greenlane, Auckland Devonport Lynfield Auckland Auckland Karori Havelock North Wellington, New Zealand Hawkes Bay, New Zealand $100m $150m $200m $250m 16 years of underlying profit growth underlyingprofit 16 years of $50m $0m 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 $100m $200m $300m $400m $500m Reported profit growth profit Reported $0m 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 FY18 investing cash flows $600m $500m $44 $35 $45 $27 $400m $300m $350 $296 $200m $100m $97 $111 $0m Mar-17 Mar-18 Purchase of land New villages Projects Village upgrades $0bn $1bn $2bn $3bn $4bn $5bn $6bn $7bn Total assets Total 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 Bank facilities $700m $600m $500m $400m $300m $200m $100m $0m 1 Year 2 years 3 years 4 years 5 years Gearing Mar-18 Mar-17 (millions) (millions) Net debt $1,060 $838 Net assets $1,941 $1,652 Gearing ratio * 35% 34% * Gearing ratio calculated as net debt / net debt plus equity Development margin 30% Target range 20% 10% 0% 2012 2013 2014 2015 2016 2017 2018 Group development margin Margin excluding Bob Scott Note: 2018 margin restated to exclude Bob Scott.
    [Show full text]
  • Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching
    Hess, Myra Irene Scharrer. However, Myra Hess had to wait for her ultimate breakthrough in her English homeland; for this reason, she initially had to earn her living by teaching. Her first major success abroad was her debut in Amster- dam, where she performed Schumann's Piano Concerto in A minor, Op. 54 with the Concertgebouw Orchestra un- der Willem Mengelberg in 1912. In 1922 followed her de- but in New York, where she was celebrated with equal en- thusiasm. Her career advanced rapidly from that point onwards, and she rose to the position of one of the most successful pianists in her homeland during the ensuing years. During the 1930s, she undertook extended concert tours throughout all of Europe, including the Scandinavi- an countries, Czechoslovakia, Hungary, Rumania, Tur- key, Yugoslavia, Germany, France and Holland. At the be- ginning of the Second World War, when all of London's concert halls were closed, she founded the legendary "Lunchtime Recitals" at the National Gallery, offering the London public a broad spectrum of high-quality pro- grammes with both young and established musicians. She herself performed at the National Gallery 146 times. The concerts were held without interruption until 10 Ap- Die Pianistin Myra Hess ril 1946. In 1941 Myra Hess was honoured with the title "Dame Commander of the Order of the British Empire" Myra Hess for her special efforts on behalf of musical life in her ho- meland. After the Second World War, the meanwhile fa- * 25 February 1890 in Hampstead (im heutigen mous pianist regularly gave concerts in her native count- Londoner Stadtbezirk Camden), England ry and in the USA, where she enjoyed great popularity.
    [Show full text]
  • OPERA, COMIC OPERA, MUSICAL Box 4/1
    Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo
    [Show full text]
  • The Melba Magazine of Melba Opera Trust
    THE MELBA MAGAZINE OF MELBA OPERA TRUST EDITION 24 | Autumn 2021 160 YEARS OF AN AUSTRALIAN ICON Contents From the CEO From the Chief Executive Officer 2 Carrying forward the name of an Australian icon is both a privilege and a great responsibility. This Board announcements 2 year and every year we honour Dame Nellie Melba The enduring synergy of art and music 3 by developing exceptional Australian opera singers and repetiteurs through the Melba program. We New faces of Dame Nellie Melba 3 see her impact in the performances of our alumni throughout Australia and the world. The 2021 Artists on Melba’s legacy and the onward journey 4 Melba was a pioneer in so many ways. A fierce proponent of the arts in Australia, she used her ALUMNI FEATURE celebrity to advance the careers of countless young Stacey Alleaume: On the rise 6 singers, artists, actors and poets. Her generous spirit is as famous as her voice, as is her love for Australia. In conversation with Constantine Costi 8 An ‘influencer’ by today’s standards, Melba was Deborah Cheetham AM on the an ambassador for Cartier and Louis Vuitton Harold Blair Scholarship 9 in Australia. A motoring enthusiast, supporter of the suffragette movement, connoisseur of VR at Nellie Melba Retirement Village 10 fashion, and an astute, financially independent Introducing: Melba Amphora by De Bortoli 10 businesswoman, Melba was a woman ahead of Dame Nellie Melba’s bequest established a her time with values that belong more today, than scholarship ‘in the hope that another Melba Meet the Artists, 2021 11 they did in the early 20th century.
    [Show full text]
  • Many People Think a Peace Treaty Was Signed After the Vibrato Wars of The
    Cover Story Vibrato Wars any people think a peace treaty was signed after the vibrato wars of the M1970s, when the plush string textures of the modern symphony orchestra were challenged by the leaner sound of historical instruments. Eliminating vibrato, along with playing on gut strings, was the most noticeable mark of historically informed performance style. Before it was even called HIP, employing “authentic instruments” set early-music players apart from symphony orchestras, and singing with a pristine, boy-like sound marked a new vocal coloring. Above: A spectrogram shows the pitch D5 on the written vowel “ah” from measure 35 of Mozart’s “Porgi amor” from Le Nozze di Figaro. From left to right, Nellie Melba, Leontyne Price, Renée Fleming, and Maria Callas. According to Ian Howell, “In these one-second clips, note the similar rate of vibrato (the number of peaks per second in the wavy lines) of all four singers. Melba, Price, and Fleming all share a similar extent (how far up and down they move) of a little more than a quarter-step; Callas’s vibrato is differentiated by a wider extent of about a half-step. Despite their similarities visually, Melba, Price, and Fleming’s vibratos sound distinct from one another. This paradox invites a deeper consideration of the manner in which we perceive vibrato on recordings (both historical and modern).” 30 EMAg Summer 2015 x To vibrate or not to vibrate: It’s a question instrumentalists and singers continue to ponder in their search for expressive truth. by Judith Malafronte the fingers, lips, or diaphragm to ripen the sound with this oscillating procedure, and pop singers often employ a wobbling or warbling effect on long notes.
    [Show full text]
  • 'Musical Pitch Ought to Be One from Pole to Pole': Touring Musicians and the Issue of Performing Pitch in Late Nineteenth
    2011 © Simon Purtell, Context 35/36 (2010/2011): 111–25. ‘Musical Pitch ought to be One from Pole to Pole’: Touring Musicians and the Issue of Performing Pitch in Late Nineteenth- and Early Twentieth-century Melbourne Simon Purtell In 1869, English vocal teacher Charles Bishenden complained that the high performing pitch in use in England was ‘ruinous to the voice.’ The high pitch, he reported, was the very reason why many European singers did not perform in Britain.1 ‘For a Continental larynx,’ French soprano Blanche Marchesi (1863–1940) later explained, ‘it is a real torture to sing to different pitches.’ ‘The muscles of a trained larynx act like fine clockwork,’ she wrote, and ‘a change of tone, up or down, alters the precision of their action.’ For this reason, Marchesi believed that ‘musical pitch ought to be one from pole to pole.’2 A standard of performing pitch comprises three fundamental concepts: sound frequency, note-name, and standard. A sound frequency, expressed in Hertz (Hz) or cycles per second (cps), becomes a pitch when assigned to a note in the musical scale, thus determining the pitch of every other note in a particular system of tuning. If, in equal temperament, the A directly above middle C equals 440 Hz, then the C directly above it equals 523.25 Hz. A pitch that is agreed upon, at a given time and place, as the reference point for building and tuning musical instruments to play together, is a pitch standard. Standards of pitch are usually expressed in relation to the note A directly above middle C.
    [Show full text]
  • Variety Timeline: 1900-1999
    AUSTRALIAN VARIETY AND POPULAR CULTURE ENTERTAINMENT: TIMELINE 1900-1999 Symbols Theatres ˟ Works (stage, film and music) ₪ Industry issues • People, troupes and acts ۩ ₣ Film 1900 ₪ Cato and Co: Herbert Cato sets up his own theatrical agency in Sydney. Tivoli Theatre [1] (Adelaide): Harry Rickards converts the Bijou Theatre into the Tivoli. It opens on 20 June ۩ with a company that includes Pope and Sayles, Prof Fred Davys and his Giant Marionettes, Neva Carr-Glynn and Adson, Craydon and Holland.1 .Toowoomba Town Hall [3] (Queensland): Toowoomba's third Town Hall opens on 12 December ۩ ˟ Australia; Or, The City of Zero: (extravaganza) Written especially for Federation by J.C. Williamson and Bernard Espinasse, the story is a fantasy set 100 years in the future - the year 2000. It premieres at Her Majesty's Theatre, Sydney, on 26 December. Australis; Or, The City of Zero (Act 1, Scene 2) From production program. Fryer Library, University of Queensland. • Henry Burton: The veteran circus proprietor dies at the Dramatic Homes, Melbourne, on 9 March. • Harry Clay: Tours Queensland with his wife, Katherine, and daughter, Essie, for Walter Bell's Boer War and London Vaudeville Company. It is to be his last for another manager. • The Dartos: French dancers Francois and Aida Darto (aka Mr and Mrs Chabre) arrived in Australia in December for what will be an 11 month tour of Australasia, initially for George Musgrove and later for Harry Rickards and P.R. Dix (New Zealand). The couple reportedly raised the bar for partner dance acts, with Aida Darto in particular stunning audiences with her flexibility and grace.
    [Show full text]
  • Nellie Melba CMYK
    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.
    [Show full text]
  • La-Boheme-Websites.Pdf
    GIACOMO PUCCINIʼS LA BOHÈME Links to resources and lesson plans related to Pucciniʼs opera, La Bohème. The Aria Database: La Bohème http://www.aria-database.com/search.php?sid=a197d478ca7f11f8dddfcfb675b8cc5a&X=3&individualOpera=5 Information on 5 arias for La Bohème, including roles, voice parts, vocal range, synopsis, with aria libretto and translation. Cambridge Studies in Opera: “The Puccini Problem” http://www.cambridge.org/us/catalogue/catalogue.asp?isbn=9780521856881&ss=exc Excerpt from Alexandra Wilsonʼs book, “The Puccini Problem” with .pdf download. Canadian Opera Company: Study Guide for La Bohème http://files.coc.ca/studyguides/Boheme_StudyGuide_1314.pdf Columbia University: New York City Opera Project: La Bohème http://www.columbia.edu/itc/music/NYCO/laboheme/index.html Multimedia guide for Pucciniʼs opera, La Bohème. IMSLP / Petrucci Music Library: La Bohème http://imslp.org/wiki/La_Boh%C3%A8me_(Puccini,_Giacomo) Read online or download full music scores and vocal scores in French, Italian and English for La Bohème, music by Giacomo Puccini. Internet Archive: Anna Netrebko - Puccini, La Boheme-Quando Men Vo (Musetta's Waltz) https://archive.org/details/AnnaNetrebko-PucciniLaBoheme-quandoMenVomusettasWaltz MP3 of Anna Netrebko singing Quando Men Vo (Musettaʼs Waltz). Internet Archive: Canadian Opera Company's Synopsis of La Boheme https://archive.org/details/CanadianOperaCompanyCanadianOperaCompany_sSynopsisofLaBoheme An audio reading of the Canadian Opera Company's La Boheme synopsis. Internet Archive: Carlos Kleiber La Boheme Act 1 https://archive.org/details/CanadianOperaCompanyCanadianOperaCompany_sSynopsisofLaBoheme MP3 of Act 1 of La Boheme at La Scala, recorded on March 30, 1979, featuring Luciano Pavarotti and Ileana Cotrubas, conducted by Carlos Kleiber. Internet Archive: Canadian Opera Company's Synopsis of La Boheme https://archive.org/details/CanadianOperaCompanyCanadianOperaCompany_sSynopsisofLaBoheme An audio reading of the Canadian Opera Company's La Boheme synopsis.
    [Show full text]
  • Dame Nellie Melba: Celebrity and the Portrait
    2016 © Rachel M. Campbell, Context 40 (2015): 69–79. Dame Nellie Melba: Celebrity and the Portrait Rachel M. Campbell At her death on 23 February 1931, the outpouring of grief in Australia and around the world provided an insight into the depth of regard felt for Dame Nellie Melba, ‘Australia’s most gifted daughter.’1 This was no more evident than in the full-page collage of photographs in The Argus, just one of the newspapers that commemorated her passing. This suggests that her visual image and her celebrity were linked both during her lifetime, and into the twenty-first century.2 This relationship between image and celebrity manifested itself both in how she was perceived as a celebrity in the early twentieth century and in the way image-making helped create that celebrity in the first place. A link between visual representation and celebrity is not new in the twentieth century, but certainly accelerated rapidly through the nineteenth century, during which ‘the commodification of art, the mass-production (and reproduction) of texts and images, [and] an increasingly de-personalised relationship between musician and audience’ all took place, as audience numbers grew in the transition from salon to opera house.3 1 Melba was often referred to as ‘Australia’s Gifted Daughter.’ For example, upon her return to Lilydale at the height of her fame in 1902, she was greeted with a banner printed with these words. An image of the procession and the banner can be viewed online: ‘The Arrival of Dame Nellie Melba in Processional Drive at Lilydale,’ National Library of Australia Digital Collections, accessed 25 Mar.
    [Show full text]
  • J. C. Williamson
    J. C. WILLIAMSON J. C. Williamson started out his career as an actor in the USA and first toured Australia in 1874 with his wife, Maggie Moore. He returned in 1879 and the following year joined George Musgrove and Arthur Garner in partnership that a decade. He and Musgrove later formed a new firm before Williamson and George Tallis founded J.C. Williamson's Ltd in the late 1890s. The "The Firm" went on to become one of Australia's greatest theatrical organisations. James Cassius Williamson was the third child of James Hezlep Williamson, physician, and his wife, Salina (nee Campbell). They were a family of Scots-Irish Presbyterian descent. The family moved from Pennsylvania to Milwaukee, Wisconsin, around 1856, where Williamson was educated and made a clandestine theatrical debut in 1857. Attendance at a performance of The Merchant of Venice in that year led to a lifelong infatuation with the theatre. After working for various theatrical companies, he moved to New York, where he became known as a dialect comedian. His most famous roles (John Stofel in Struck Oil, Myles na Coppallen in The Colleen Bawn, and Kerry in Kerry) were all roles heavily dependent on dialect. Williamson made his name in character and low comedy roles at Wallack's Theatre in New York, where he also learnt the skills of play production and stage management. In 1871, Williamson joined the California Theatre in San Francisco, replacing the enormously popular comedian John T. Raymond. He soon won over the critics and on 2 February 1873 married Margaret Virginia Sullivan (1851-1926), a talented young actress who joined him at the California Theatre.
    [Show full text]
  • Download Booklet
    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.
    [Show full text]