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Nellie Melba

Dame Nellie Melba GBE (born Helen Porter Mitchell; 19 May 1861 – 23 February 1931) was an Australian operatic lyric coloratura soprano. She became one of the most famous singers of the late Victorian era and the early 20th century, and was the first Australian to achieve international recognition as a classical musician. She took the pseudonym "Melba" from Melbourne, her home town.

Melba, c. 1907

Melba studied singing in Melbourne and made a modest success in performances there. After a brief and unsuccessful marriage, she moved to Europe in search of a singing career. Failing to find engagements in London in 1886, she studied in Paris and soon made a great success there and in Brussels. Returning to London she quickly established herself as the leading lyric soprano at Covent Garden from 1888. She soon achieved further success in Paris and elsewhere in Europe, and later at the Metropolitan Opera in New York, debuting there in 1893. Her repertoire was small; in her whole career she sang no more than 25 roles and was closely identified with only ten. She was known for her performances in French and Italian opera, but sang little German opera.

During the First World War, Melba raised large sums for war charities. She returned to Australia frequently during the 20th century, singing in opera and concerts, and had a house built for her near Melbourne. She was active in the teaching of singing at the Melbourne Conservatorium. Melba continued to sing until the last months of her life and made a large number of "farewell" appearances. Her death, in Australia, was news across the English-speaking world, and her funeral was a major national event. The Australian $100 note features her image.

Life and career

Early years

 
Melba, drawn by Frank Haviland

Melba was born in Richmond, Victoria, the eldest of seven children of the builder David Mitchell and his wife Isabella Ann née Dow.[1][n 1] Mitchell, a Scot, had emigrated to Australia in 1852, becoming a successful builder. Melba was taught to play the piano and first sang in public around age six.[n 2] She was educated at a local boarding school and then at the Presbyterian Ladies' College.[1] She studied singing with Mary Ellen Christian (a former pupil of Manuel García) and Pietro Cecchi, an Italian tenor, who was a respected teacher in Melbourne.[3] In her teens, Melba continued to perform in amateur concerts in and around Melbourne, and she played the organ at church. Her father encouraged her in her musical studies, but he strongly disapproved of her taking up singing as a career.[4] Melba's mother died suddenly in 1881 at Richmond.[5]

Melba's father moved the family to Mackay, Queensland, where he built a new sugar mill. Melba soon became popular in Mackay society for her singing and piano-playing.[6] On 22 December 1882 in Brisbane, she married Charles Nesbitt Frederick Armstrong (1858–1948), the youngest son of Sir Andrew Armstrong.[7] They had one child, a son, George, born on 16 October 1883.[8] The marriage was not a success; Charles reportedly beat his wife more than once.[4] The couple separated after just over a year,[3] and Melba returned to Melbourne determined to pursue a singing career, debuting professionally in concerts in 1884.[4] She was often accompanied in concert, and some of her concerts were organised, at times throughout her career by the flautist John Lemmone, who became a "lifelong friend and counsellor".[9] On the strength of local success, she travelled to London in search of an opportunity.[n 3] Her debut at the Princes' Hall in 1886 made little impression, and she sought work unsuccessfully from Sir Arthur Sullivan, Carl Rosa and Augustus Harris.[2][10] She then went to Paris to study with the leading teacher Mathilde Marchesi, who instantly recognised the young singer's potential: she exclaimed, "J'ai enfin une étoile! ("I have a star at last!"). Melba made such rapid progress that she was allowed to sing the "Mad Scene" from Ambroise Thomas's Hamlet at a matinée musicale in Marchesi's house in December the same year, in the presence of the composer.[2]

The young singer's talent was so evident that, after less than a year with Marchesi, the impresario Maurice Strakosch gave her a ten-year contract at 1000 francs annually. After she had signed, she received a far better offer of 3000 francs per month from the Théâtre de la Monnaie, Brussels, but Strakosch would not release her and obtained an injunction preventing her from accepting it.[11] She was in despair when the matter was resolved by Strakosch's sudden death.[12] She made her operatic debut four days later as Gilda in Rigoletto at La Monnaie on 12 October 1887.[2][11] The critic Herman Klein described her Gilda as "an instant triumph of the most emphatic kind ... followed ... a few nights later with an equal success as Violetta in La traviata."[2] It was at this time, on Marchesi's advice, that she adopted the stage name of "Melba", a contraction of the name of her home city.[13][n 4]

London, Paris and New York debuts

 
Melba in costume for Lucia di Lammermoor, 1888 (photo by Nadar)

Melba made her Covent Garden début in May 1888, in the title role in Lucia di Lammermoor. She received a friendly but not excited reception. The Musical Times wrote, "Madame Melba is a fluent vocalist, and a quite respectable representative of light soprano parts; but she lacks the personal charm necessary to a great figure on the lyric stage."[14] She was offended when Augustus Harris, then in charge at Covent Garden, offered her only the small role of the page Oscar in Un ballo in maschera for the next season.[15] She left England vowing never to return. The following year, she performed at the Opéra in Paris, in the role of Ophélie in Hamlet; The Times described this as "a brilliant success", and said, "Madame Melba has a voice of great flexibility ... her acting is expressive and striking."[16]

Melba had a strong supporter in London, Lady de Grey, whose views carried weight at Covent Garden. Melba was persuaded to return, and Harris cast her in Roméo et Juliette (June 1889) co-starring with Jean de Reszke. She later recalled, "I date my success in London quite distinctly from the great night of 15 June 1889."[1] After this, she returned to Paris as Ophélie, Lucia in Lucia di Lammermoor, Gilda in Rigoletto, Marguerite in Faust, and Juliette.[3] In French operas her pronunciation was poor,[2] but the composer Delibes said that he did not care whether she sang in French, Italian, German, English or Chinese, as long as she sang.[n 5]

 
Philippe, Duke of Orléans

In the early 1890s, Melba embarked on an affair with Prince Philippe, Duke of Orléans. They were seen frequently together in London, which excited some gossip, but far more suspicion arose when Melba travelled across Europe to St Petersburg to sing for Tsar Nicholas II: the Duke followed closely behind her, and they were spotted together in Paris, Brussels, Vienna and St Petersburg. Armstrong filed divorce proceedings on the grounds of Melba's adultery, naming the Duke as co-respondent; he was eventually persuaded to drop the case, but the Duke decided that a two-year African safari (without Melba) would be appropriate. He and Melba did not resume their relationship.[1][18] In the first years of the decade, Melba appeared in the leading European opera houses, including Milan, Berlin and Vienna.[3]

Melba sang the role of Nedda in Pagliacci at Covent Garden in 1893, soon after its Italian premiere. The composer was present, and said that the role had never been so well played before.[19] In December of that year, Melba sang at the Metropolitan Opera in New York for the first time. As at her Covent Garden debut, she appeared as Lucia di Lammermoor, and as at Covent Garden, it was less than a triumph. The New York Times praised her performance – "one of the loveliest voices that ever issued from a human throat ... simply delicious in its fullness, richness and purity" – but the work was out of fashion, and the performances were poorly attended.[20] Her performance in Roméo et Juliette, later in the season, was a triumph and established her as the leading prima donna of the time in succession to Adelina Patti.[3] She had at first been nonplussed by the impenetrable snobbery at the Metropolitan; the author Peter Conrad has written, "In London she hobnobbed with royalty; in New York she was a singing menial." Assured of critical success, she set herself to achieve social recognition, and succeeded.[21]

 
Melba as Marguerite in Faust

From the 1890s, Melba played a wide range of parts at Covent Garden, mostly in the lyric soprano repertoire, but with some heavier roles also. She sang the title roles in Herman Bemberg's Elaine[22] and Arthur Goring Thomas's Esmeralda.[23] Her Italian parts included Gilda in Rigoletto,[24] the title role in Aida,[25] Desdemona in Otello,[26] Luisa in Mascagni's I Rantzau,[27] Nedda in Pagliacci,[28] Rosina in The Barber of Seville,[29] Violetta in La traviata,[30] and Mimì in La bohème.[31] In the French repertoire, she sang Juliette in Roméo et Juliette,[32] Marguerite in Faust,[33] Marguerite de Valois in Les Huguenots,[34] the title role in Saint-Saëns's Hélène, which was written for her,[3] and Micaëla in Carmen.[35]

Some writers expressed surprise at Melba's playing the last of these roles, since it was merely a supporting part in the opera. She played it on many occasions, saying in her memoirs, "Why on earth a prima donna should not sing secondary rôles I could not see then and am no nearer seeing to-day. I hate the artistic snobbery of it."[15] She sang the role opposite the Carmens of Emma Calvé,[2] Zélie de Lussan[35] and Maria Gay.[36] Marguerite de Valois, too, is not the leading female role in Les Huguenots, but Melba was willing to undertake it as seconda donna to Emma Albani.[2] She was generous in support of singers who did not rival her in her favoured roles, but was, as her biographer J. B. Steane put it, "pathologically critical" of other lyric sopranos.[3]

Melba was not known as a Wagner singer,[citation needed] although she occasionally sang Elsa in Lohengrin and Elisabeth in Tannhäuser. She received a certain amount of praise in these roles, although Klein found her unsuited to them,[2] and Bernard Shaw thought she sang with great skill but played artificially and without sensibility.[37] In 1896 at the Metropolitan, she attempted the role of Brünnhilde in Siegfried, in which she was not a success.[3] Her most frequent role in that house was Marguerite in Gounod's Faust, which she had studied under the supervision of the composer.[3] She never essayed any of Mozart's operas, for which some thought her voice ideally suited.[17] Her repertoire across her entire career amounted to no more than 25 roles, of which, The Times obituarist wrote, "only some 10 parts are those which will be remembered as her own."[17]

Melba's marriage to Armstrong was finally terminated when, having emigrated to the United States with their son, he divorced her in Texas in 1900.[8]

Twentieth century

 
Melba in 1904

By now established as a leading star in Britain and America, Melba made her first return visit to Australia in 1902–03 for a concert tour, also touring in New Zealand.[1][n 6] The profits were unprecedented; she returned for four more tours during her career.[41] In Britain, Melba campaigned on behalf of Puccini's La bohème. She had first sung the part of Mimì in 1899, having studied it with the composer. She argued strongly for further productions of the work in the face of the distaste expressed by the Covent Garden management at this "new and plebeian opera".[3] She was vindicated by the public enthusiasm for the piece, which was bolstered in 1902 when Enrico Caruso joined her in the first of many Covent Garden performances together.[2] She sang Mimì for Oscar Hammerstein I at his opera house in New York, in 1907, giving the enterprise a needed boost.[3] After her initial successes in Brussels and Paris in the 1880s, Melba sang infrequently on the European continent; only the English-speaking countries welcomed her wholeheartedly.[42]

She performed 26 times at the Royal Albert Hall in London between 1898 and 1926.[43] Although she called Covent Garden "my artistic home", her appearances there became less frequent in the 20th century. One reason for this was that she did not get on well with Sir Thomas Beecham, who was in control of the opera house for much of the period from 1910 until her retirement. She said, "I dislike Beecham and his methods",[44] and he thought that while she had "nearly all the attributes inseparable from great artistry ... she was wanting in a genuine spiritual refinement."[45] Another factor in her reduced appearances at Covent Garden was the appearance on the scene of Luisa Tetrazzini, a soprano ten years her junior, who became a great success in London and later in New York in roles previously associated with Melba.[1] A third reason was her decision to spend more time in Australia. In 1909 she undertook what she called a "sentimental tour" of Australia, covering 10,000 miles (16,000 km) and including many remote towns.[1] In 1911 in partnership with the J. C. Williamson company, she appeared in an operatic season.[41] Her attitude to her tour concerts and the audiences attending was summed up in the advice that Clara Butt said Melba gave her apropos of a planned Australian tour: "Sing 'em muck; it's all they can understand."[n 7] To another colleague and compatriot, Peter Dawson, she described his home city of Adelaide as "that city of the three P's – Parsons, Pubs and Prostitutes."[47]

In 1909, Melba bought property at Coldstream, a small town near Melbourne, and in 1912 she had a home built there (extending an existing cottage) that she named Coombe Cottage after a house she had rented near London.[48] She also set up a music school in Richmond, which she later merged into the Melbourne Conservatorium. She was in Australia when the First World War broke out, and she threw herself into fund-raising for war charities, raising £100,000.[3][n 8] In recognition of this, she was created a Dame Commander of the Order of the British Empire (DBE) in March 1918, "for services in organising patriotic work".[n 9]

After the war, Melba made a triumphant return to the Royal Opera House, in a performance of La bohème conducted by Beecham, which re-opened the house after four years of closure. The Times wrote, "Probably no season at Covent Garden has ever started with quite the thrill of enthusiasm which passed through the house."[51] In her many concerts, however, her repertoire was regarded as trite and predictable. After one of them The Musical Times wrote:

The real musical interest of the afternoon, however, was supposed to centre in the "Jewel Song" from Faust, Puccini's "Addio", Lieurance's "By the waters of Minnetonka", and Tosti's "Good-bye", and in the encores, thoughtfully announced beforehand – "Home, sweet Home" and "Annie Laurie." Look again at the last batch of head-lines. "The Diva to go home." By all means. Why not? As the Diva has melodiously declared (only too often), there's no place like it. "And teach 100 girls herself." If the Dame can give those hundred girls her own beautiful voice, well and good, but for heaven's sake let a musician be called in to attend to their repertoire. We cannot lightly face the prospect of a hundred débutantes let loose on us a year hence full to the epiglottis with "Minnetonkas", "Jewel Songs", and "Home, sweet Homes".[52]

 
Melba in 1913

In 1922, Melba returned to Australia, where she sang at the immensely successful "Concerts for the People" in Melbourne and Sydney, with low ticket prices, attracting 70,000 people.[1] In 1924 for another Williamson opera season, she caused resentment among local singers by importing an entire chorus from Naples.[53] In 1926 she made her farewell appearance at Covent Garden, singing in scenes from Roméo et Juliette, Otello, and La bohème.[3] She is well remembered in Australia for her seemingly endless series of "farewell" appearances, including stage performances in the mid-1920s and concerts in Sydney on 7 August 1928, Melbourne on 27 September 1928 and Geelong in November 1928.[1] From this, she is remembered in the vernacular Australian expression "more farewells than Dame Nellie Melba".[1]

In 1929 she returned for the last time to Europe and then visited Egypt, where she contracted a fever that she never entirely shook off.[1] Her last performance was in London at a charity concert on 10 June 1930.[54] She returned to Australia but died in St Vincent's Hospital, Sydney, in 1931, aged 69, of septicaemia which had developed after facial surgery in Europe some time before.[1] She was given an elaborate funeral from Scots' Church, Melbourne, which her father had built and where as a teenager she had sung in the choir.[1][55] The funeral motorcade was over a kilometre long, and her death made front-page headlines in Australia, the United Kingdom, New Zealand, and Europe. Billboards in many countries said simply "Melba is dead". Part of the event was filmed for posterity. Melba was buried in the cemetery at Lilydale, near Coldstream. Her headstone, designed by Sir Edwin Lutyens,[56] bears the farewell words of Mimì in La bohème: "Addio, senza rancor" (Farewell, without bitterness).[57]

 
Melba with the Metropolitan Opera

Teacher and patron

Despite the antipathy Melba inspired in some of her peers, she helped the careers of younger singers. She taught for many years at the Conservatorium in Melbourne and looked for a "new Melba". She published a book about her methods, which were based on those of Marchesi. The book opens:

It is easy to sing well, and very difficult to sing badly! How many students are really prepared to accept that statement? Few, if any. They smile, and say: "It may be easy for you, but not for me." And they seem to think that there the matter ends. But if they only knew it, on their understanding and acceptance of that axiom depends half their success. Let me say the same in other words: In order to sing well, it is necessary to sing easily.[58]

Others also benefited from Melba's praise and interest. She passed her own cadenzas on to a young Gertrude Johnson, a valuable professional asset. In 1924, Melba brought the new star Toti Dal Monte, fresh from triumphs in Milan and Paris but still unheard in England or the United States, to Australia as a principal of the Melba-Williamson Grand Opera Company. After sharing the Covent Garden stage in a 1923 night of operatic extracts with another Australian soprano, Florence Austral (who, as a dramatic soprano, posed no threat to Melba, a lyric soprano), Melba was effusive with her praise, describing the younger woman as "one of the wonder-voices of the world".[59] She similarly described the American contralto Louise Homer as possessing "the world's most beautiful voice". She gave financial assistance to the Australian painter Hugh Ramsay, living in poverty in Paris[60] and also helped him to forge connections in the artistic world.[57] The Australian baritone John Brownlee and tenor Browning Mummery were both protégés: both sang with her in her 1926 Covent Garden farewell (recorded by HMV), and Brownlee sang with her on two of her last commercial recordings later that year (a session arranged by her in part to promote Brownlee).

Recordings and broadcasts

 
Newspaper advertisement

Melba's first recordings were made around 1895, recorded on cylinders at the Bettini Phonograph Lab in New York. A reporter from Phonoscope magazine was impressed: "The next cylinder was labelled 'Melba' and was truly wonderful, the phonograph reproducing her wonderful voice in a marvellous manner, especially the high notes which soared away above the staff and were rich and clear." Melba was less impressed: "'Never again,' I said to myself as I listened to the scratching, screeching result. 'Don't tell me I sing like that, or I shall go away and live on a desert island.'" The recordings never reached the general public – destroyed on Melba's orders, it is suspected – and Melba would not venture into a recording studio for another eight years.[61] Melba can be heard singing on several Mapleson Cylinders, early attempts at live recording, made by the Metropolitan Opera House librarian Lionel Mapleson in the auditorium there during performances. These cylinders are often poor in quality, but they preserve something of the quality of the young Melba's voice and performance that is sometimes lacking from her commercial recordings.[n 10]

Melba made numerous gramophone (phonograph) records of her voice in England and America between 1904 (when she was in her 40s) and 1926 for the Gramophone & Typewriter Company[63] and the Victor Talking Machine Company. Most of these recordings, consisting of operatic arias, duets and ensemble pieces and songs, have been re-released on CD.[64] The poor audio fidelity of the Melba recordings reflects the limitations of the early days of commercial sound recording. Melba's acoustical recordings (especially those made after her initial 1904 session) fail to capture vital overtones to the voice, leaving it without the body and warmth it possessed – albeit to a limited degree – in life. Despite this, they still reveal Melba to have had an almost seamlessly pure lyric soprano voice with effortless coloratura, a smooth legato and accurate intonation.[64] Melba had perfect pitch; the critic Michael Aspinall says of her complete London recordings issued on LP, that there are only two lapses from pitch in the entire set.[65] Like Patti, and unlike the more vibrant-voiced Tetrazzini, Melba's exceptional purity of tone was probably one of the principal reasons why British audiences, with their strong choral and sacred music traditions, idolised her.[66]

 
HMV advertisement for Melba recordings (1904)

Melba's farewell to Covent Garden on 8 June 1926 was recorded by HMV, as well as broadcast. The programme included Act 2 of Roméo et Juliette (not recorded because the tenor Charles Hackett was not under contract to HMV), followed by the opening of Act 4 of Otello (Desdemona's "Willow Song" and "Ave Maria") and Acts 3 and 4 of La bohème (with Aurora Rettore, Browning Mummery, John Brownlee and others). The conductor was Vincenzo Bellezza. At the conclusion Lord Stanley of Alderley made a formal address and Melba gave an emotional farewell speech. In a pioneering venture, eleven sides (78rpm) were recorded via a landline to Gloucester House (London), though in the event only three of these were published. The full series (including both speeches) was included in a 1976 HMV reissue.[65]

As was the case in many of her performances, most of Melba's recordings were made at "French Pitch" (A=435 Hz), rather than the British early 20th century standard of A=452 Hz, or the modern standard of A=440 Hz. This, and the technical inadequacies of the early recording process (discs were frequently recorded faster or slower than the supposed standard of 78rpm, whilst the conditions of the cramped recording studios – kept very warm to keep the wax at the necessary softness when cutting – would wreak havoc with instrumental tuning during recording sessions), means that playing her recordings back in the speed and pitch she made them at is not always a simple matter.

On 15 June 1920, Melba was heard in a pioneering radio broadcast from Guglielmo Marconi's New Street Works factory in Chelmsford, singing two arias and her famous trill. She was the first artist of international renown to participate in direct radio broadcasts. Radio enthusiasts across the country heard her, and the broadcast was reportedly heard from as far away as New York. People listening on the radio barely heard a few scratches of the trill and two arias she sang. Further radio broadcasts would include her Covent Garden farewell performance, and a 1927 "Empire Broadcast" (broadcast throughout the British Empire, by radio stations AWA and 2FC, Sydney, on Monday 5 September 1927; it was relayed by the BBC London on Sunday 4 September).[67][68]

Honours, memorials and legacy

 
Statue of Melba at Waterfront City, Melbourne Docklands

Melba was appointed Dame Commander of the Order of the British Empire in the 1918 New Year Honours, along with May Whitty the first stage performer to receive this order, for her charity work during World War I, and was elevated to Dame Grand Cross of the Order of the British Empire in 1927.[1] She was the first Australian to appear on the cover of Time magazine, in April 1927.[69] A stained glass window commemorating Melba was erected in 1962 in the Musicians' Memorial Chapel of the church of St Sepulchre-without-Newgate, London.[70] She is one of only two singers – the other being Adelina Patti – with a marble bust on the grand staircase of the Royal Opera House, Covent Garden.[71]

A blue plaque commemorates Melba at Coombe House, Devey Close in Coombe, Kingston upon Thames, where she lived in 1906.[72] She was inducted onto the Victorian Honour Roll of Women in 2001.[73] Melba was closely associated with the Melbourne Conservatorium, and this institution was renamed the Melba Memorial Conservatorium of Music in her honour in 1956. The music hall at the University of Melbourne is known as Melba Hall. The Canberra suburb of Melba is named after her.

The Australian $100 note features the image of her face,[74][75] and her likeness has also appeared on an Australian stamp.[4] Sydney Town Hall has a marble relief bearing the inscription "Remember Melba", unveiled during a World War II charity concert in memory of Melba and her First World War charity work and patriotic concerts.[76] A tunnel on Melbourne's EastLink freeway is named in her honour.[77] Streets named after her include Melba Avenue in San Francisco[78] and Avenue Nellie Melba / Nellie Melbalaan in the Brussels municipality of Anderlecht.[79]

Melba's home in Marian, Queensland, during her brief cohabitation with her husband was relocated from the Marian Mill (where it was due to be demolished) to a riverbank setting along the main Eungella Road in Edward Lloyd Park, where, under the name Melba House, it was restored and now operates as a Melba museum and the Pioneer Valley Visitor Information Centre.[80] Her home Coombe Cottage in Coldstream, Victoria, passed to her granddaughter Pamela, Lady Vestey (1918–2011). It is now owned by Lady Vestey's sons, Sam (3rd Baron Vestey) and Mark, who reside in the United Kingdom.[48] The house was designed by John Harry Grainger, father of the composer Percy Grainger, and a close friend of Melba's father David Mitchell.[81]

Melba's name is associated with four foods, all of which were created in her honour by the French chef Auguste Escoffier:

  • Peach Melba, a dessert made of peaches, raspberry sauce, and vanilla ice cream[82]
  • Melba sauce, a sweet purée of raspberries and red currant
  • Melba toast, a crisp dry toast
  • Melba Garniture, chicken, truffles and mushrooms stuffed into tomatoes with velouté sauce.[83]

Melba planted a variety of poplar tree known as Populus × canadensis "Aurea", or golden poplar, on the Central Lawn in Melbourne Botanic Gardens on 11 April 1903, which has become known as "Melba's poplar".[84] On 19 May 2011 Google celebrated her 150th birthday with a Google Doodle.[85]

Coat of arms of Nellie Melba
 
Notes
Centre portion of Melba's arms. Arms granted in 1920 (College of Arms, MS Grants 87, p. 200)[86]
Escutcheon
Azure on a Plate between in chief two Mascles and in base a Nightingale Or, with a Cross Gules at centre.

Books, films and television

Melba's autobiography, Melodies and Memories, was published in 1925, largely ghost-written by her secretary Beverley Nichols.[3] Nichols later complained that Melba did not cooperate in the process of writing or by reviewing what he wrote.[87] Full-length biographies devoted to her include those by Agnes G. Murphy (1909), John Hetherington (1967), Thérèse Radic (1986) and Ann Blainey (2009).

A novel Evensong by Nichols (1932) was based on aspects of Melba's life, drawing an unflattering portrait.[3] The 1934 motion picture adaptation of Evensong, starring Evelyn Laye as the character based on Melba, was for a time banned in Australia.[88] Melba appears in the 1946 novel Lucinda Brayford by Martin Boyd. She is depicted as singing at a garden party thrown by the mother of the eponymous heroine, when she is described as having the "loveliest voice in the world".[89]

In 1946–1947 Crawford Productions produced a popular radio series on Melba starring Glenda Raymond, who became one of the foundation singers of the Australian Opera (later Opera Australia) in 1956.[90] In 1953 a biopic titled Melba was released by Horizon Pictures and directed by Lewis Milestone. Melba was played by the soprano Patrice Munsel.[91] In 1987 the Australian Broadcasting Corporation produced a mini-series, Melba, starring Linda Cropper miming to the singing voice of Yvonne Kenny. Melba was portrayed by Kiri Te Kanawa in episode 3 of season 4 of the British ITV television show Downton Abbey (2013), performing at the abbey as a guest of Lord and Lady Grantham. Rupert Christiansen, writing in The Telegraph, bemoaned the casting and the fact checking.[92]

Melba appears in a pivotal scene in the 2014 novel Tell by Frances Itani.[93]

Notes and references

Notes

  1. ^ The Oxford Dictionary of National Biography incorrectly gives Melba's mother the maiden name of Dorn. "Dow" is confirmed in Blainey 2008, p. 5, and Hetherington 1967, p. 17
  2. ^ In her memoirs, Melba gives her age at her debut as six, but her statements about her age were not always accurate.[2]
  3. ^ Melba travelled to London with her father, and her husband moved to Europe for a time and was in periodic, though often unwelcome, contact with his wife and child.[1][4]
  4. ^ A similar course was followed by some other Australian singers: Florence Mary Wilson took the stage name Florence Austral, and Elsie Mary Fischer renamed herself Elsa Stralia – both after Australia; June Mary Gough adopted the name June Bronhill after Broken Hill, New South Wales.
  5. ^ "Qu'elle chante Lakmé en français, en italien, en allemande, en anglais ou en chinois, cela m'est égal, mais qu'elle la chante."[17]
  6. ^ Melba visited New Zealand in February 1903 after her tour of Australia. She arrived in Invercargill from Hobart and was welcomed by Sir Joseph Ward (who was later the Prime Minister of New Zealand) and Lady Ward.[38] After giving one concert in Dunedin she travelled to Christchurch[39] and gave a concert in Wellington.[40]
  7. ^ Melba later denied giving this advice and was horrified when Butt printed it in her memoirs.[46]
  8. ^ Equivalent in 2008 values to £3,630,000 using the UK retail price index or £17,900,000 using average UK earnings. See Williamson, Samuel H. "Five Ways to Compute the Relative Value of a UK Pound Amount, 1830 to Present", MeasuringWorth, 2008
  9. ^ The appointment was announced on 5 March 1918, but The London Gazette stated, "The appointments to date from the 1st January, 1918". It is therefore correctly stated that Melba was, with May Whitty, the first stage performer to be made a DBE, although Whitty had received the honour in January.[49][50]
  10. ^ The cylinder Melba is most renowned for, Queen Marguerite's cabaletta from Les Huguenots, may not in fact feature her, but rather her contemporary Suzanne Adams: the sonics of the recording do not match others of the same year, and the paper evidence points to Adams; but the singer sounds more like the Melba rather than the Adams both known from their commercial recordings[62]

References

  1. ^ a b c d e f g h i j k l m n o Davidson, Jim. "Melba, Dame Nellie (1861–1931)", Australian Dictionary of Biography, accessed 11 December 2012
  2. ^ a b c d e f g h i j Klein, Herman. "Melba: An Appreciation", The Musical Times, April 1931, pp. 305–308 (subscription required)
  3. ^ a b c d e f g h i j k l m n o Steane, J. B. "Melba, Dame Nellie (1861–1931)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, January 2011, accessed 24 May 2011. (subscription or UK public library membership required)
  4. ^ a b c d e Sadauskas, Andrew. "Melba Bashed by Cowardly Husband", 7 July 2011 at the Wayback Machine Australian Stamps Professional, accessed 23 May 2011
  5. ^ "Family Notices". The Argus. Melbourne: National Library of Australia. 22 October 1881. p. 1. Retrieved 21 February 2014.
  6. ^ O'Brien, Sheilagh. "The Dame in the tropics: Nellie Melba". Queensland Historical Atlas.
  7. ^ "Family Notices". The Argus. Melbourne: National Library of Australia. 29 December 1882. p. 1. Retrieved 21 February 2014.
  8. ^ a b "Divorce of Madame Melba", The Morning Bulletin, 14 April 1900, p. 5
  9. ^ Skinner, Graeme. "Lemmone, John", Dictionary of Sydney, 2008, accessed 19 January 2015
  10. ^ Scott, 1977, p. 28[incomplete short citation]
  11. ^ a b Gubler 2012, p. 192
  12. ^ "Melodies and Memories", The Times Literary Supplement, 5 November 1925, p. 738
  13. ^ "Melba – The Voice of Silver". The Australian Women's Weekly. National Library of Australia. 24 February 1971. p. 12. Retrieved 25 September 2014.
  14. ^ "Royal Italian Opera", The Musical Times, July 1888, p. 411 (subscription required)
  15. ^ a b "A Prima Donna – Madame Melba's Memories", The Times, 23 October 1925, p. 8
  16. ^ "France", The Times, 10 May 1889, p. 5
  17. ^ a b c "Obituary – Dame Nellie Melba – A great prima donna", The Times, 24 February 1931, p. 9
  18. ^ The Times, 5 November 1891, p. 5; 6 November 1891, p. 9; 20 February 1892, p. 5; 17 February 1892, p. 13; 12 March 1892, p. 16; 14 March 1892, p. 3; and 24 March 1892, p. 3
  19. ^ "A week's musical topics", The New York Times, 4 June 1893
  20. ^ "'Lucia' at the Opera", The New York Times, 5 December 1893
  21. ^ Conrad 1987, p. 249.
  22. ^ "The Opera", The Times, 6 July 1892, p. 9
  23. ^ "Royal Opera", The Times, 4 January 1908, p. 7
  24. ^ "Royal Italian Opera", The Times, 10 June 1889, p. 8
  25. ^ "Covent Garden Opera", The Times, 7 November 1892, p. 12
  26. ^ "Royal Opera – Otello", The Times, 2 July 1908, p. 13
  27. ^ "The Opera", The Times, 10 July 1893, p. 8
  28. ^ "The Opera", The Times, 20 May 1893, p. 8
  29. ^ "Royal Opera", The Times, 9 July 1898, p. 10
  30. ^ "Royal Opera", The Times, 26 July 1898, p. 8
  31. ^ "Royal Opera", The Times, 3 July 1899, p. 10
  32. ^ "Royal Italian Opera", The Times, 4 June 1890, p. 8
  33. ^ "Royal Opera", The Times, 4 June 1894, p. 11
  34. ^ "Royal Opera", The Times, 1 July 1895, p. 8
  35. ^ a b "Royal Italian Opera", The Times, 6 July 1891, p. 8
  36. ^ "Royal Opera", The Times, 26 November 1906, p. 10
  37. ^ Shaw 1981, p. 95.
  38. ^ Otago Daily Times, 17 February 1903, p. 6
  39. ^ The Press, 20 February, p. 5
  40. ^ Evening Post, 24 February 1903, p. 5
  41. ^ a b Shawe-Taylor, Desmond. "Melba, Dame Nellie", Grove Music Online. Oxford Music Online, accessed 25 May 2011 (subscription required)
  42. ^ Jefferson 1979, p. 143.
  43. ^ Search results: Nellie Melba, Performance archive, Royal Albert Hall, accessed 29 March 2016
  44. ^ Lucas 2008, p. 153.
  45. ^ Beecham 1959, pp. 170–171.
  46. ^ "Dame Nellie Melba Indignant", The Manchester Guardian, 6 August 1928, p. 7
  47. ^ Gaisberg, Fred. "Peter Dawson", Gramophone, January 1949, p. 3
  48. ^ a b "Our Story: Nellie Melba", Coombe Yarra Valley, accessed 4 February 2016
  49. ^ Supplement to the London Gazette, 5 March 1918
  50. ^ "War Honours", The Times, 8 January 1918, p. 7
  51. ^ "First Night of the Opera – The King and Queen Present", The Times, 13 May 1919, p. 14
  52. ^ "Feste". "Ad Libitum", The Musical Times, June 1921, pp. 409–411 (subscription required)
  53. ^ "Grand Opera – Italian Male Chorus – Engagement Resented, Hint of Strike", The Argus, 5 January 1924, p. 19
  54. ^ "Court Circular", The Times 11 June 1930, p. 17
  55. ^ "Church History" 23 August 2010 at the Wayback Machine, Scots' Church website, accessed 7 June 2010
  56. ^ "Memorials and Monuments to Individuals", "Ten Years on Exhibition", Lutyens Trust, accessed 14 September 2018
  57. ^ a b Bassett, Peter. "Melba and La bohème – Addio, senza rancore". Peterbassett.com, accessed 19 May 2011
  58. ^ Quoted in "Book review", The Musical Times, May 1926, p. 427 (subscription required)
  59. ^ "Florence Austral" 20 February 2011 at the Wayback Machine, Bikwill, accessed 27 May 2011
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  65. ^ a b Aspinall, Michael. "Nellie Melba: The London Recordings 1904–1926", Insert booklet to HMV LP set RLS, EMI, London, 1976
  66. ^ Riding, Alan. "Recordings: From a Vault in Paris, Sounds of Opera 1907", The New York Times, 16 February 2009
  67. ^ Given, Jock. "Another Kind of Empire: The Voice of Australia, 1931–1939", Historical Journal of Film, Radio and Television 2009, vol. 29, issue 1, p. 42
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Sources

  • Beecham, Thomas (1959). A Mingled Chime. London: Hutchinson. OCLC 470511334.
  • Blainey, Ann (2008). I am Melba. Melbourne: Black Inc. ISBN 978-1-86395-183-8. (US edition (2009) published as Marvelous Melba: The Extraordinary Life of a Great Diva. Chicago: Ivan R. Dee. ISBN 978-1-56663-809-8)
  • Conrad, Peter (1987). A Song of Love and Death – The Meaning of Opera. London: Chatto and Windus. ISBN 0-7011-3274-4.
  • Gubler, Franz (2012). Great, Grand & Famous Opera Houses. Crows Nest: Arbon. ISBN 978-0-987-28202-6.
  • Hetherington, John (1967). Melba, a Biography. London: Faber and Faber. OCLC 7389273.
  • Jefferson, Alan (1979). Sir Thomas Beecham – A Centenary Tribute. London: Macdonald and Jane's. ISBN 035404205X.
  • Lucas, John (2008). Thomas Beecham – An Obsession with Music. Woodbridge: Boydell Press. ISBN 978-1-84383-402-1.
  • Shaw, Bernard (1981). Dan H. Laurence (ed.). Shaw's Music – The Complete Musical Criticism of Bernard Shaw. Vol. 2. London: The Bodley Head. ISBN 0-370-31271-6.

Further reading

  • Melba, Nellie (1926). Melba Method. London & Sydney: Chappell. OCLC 5309485.
  • Melba, Nellie (1925). Melodies and Memories. London: Butterworth. OCLC 556835777.
  • Murphy, Agnes (1909). Melba: A Biography. London: Chatto & Windus. OCLC 563034777.
  • Radic, Thérèse (1986). Melba: The Voice of Australia. Basingstoke: Macmillan. ISBN 0-333-41478-0.
  • Wainwright, Robert (2021). Nellie – The Life and Loves of Dame Nellie Melba. Allen & Unwin. ISBN 9781760878252.

External links

  • Works by or about Nellie Melba at Internet Archive
  • Nellie Melba at IMDb
  • Links to recordings, images and information about Melba
  • – link to 1906 recording of the aubade from the opera Le roi d'Ys
  • 1902 portrait Madame Melba, painted by Rupert Bunny
  • Photo of Melba, her father and niece (1903), Library of Congress
  • Biography; photo of dress worn by Melba
  • Melba in Queensland – John Oxley Library blog, State Library of Queensland
  • Melba, Nellie at The Encyclopedia of Women and Leadership in Twentieth-Century Australia
  • Nellie Melba Collection at the Performing Arts Collection, Arts Centre Melbourne
  • Marconi's experimental radio broadcast with Melba 1920

nellie, melba, dame, born, helen, porter, mitchell, 1861, february, 1931, australian, operatic, lyric, coloratura, soprano, became, most, famous, singers, late, victorian, early, 20th, century, first, australian, achieve, international, recognition, classical,. Dame Nellie Melba GBE born Helen Porter Mitchell 19 May 1861 23 February 1931 was an Australian operatic lyric coloratura soprano She became one of the most famous singers of the late Victorian era and the early 20th century and was the first Australian to achieve international recognition as a classical musician She took the pseudonym Melba from Melbourne her home town Melba c 1907 Melba studied singing in Melbourne and made a modest success in performances there After a brief and unsuccessful marriage she moved to Europe in search of a singing career Failing to find engagements in London in 1886 she studied in Paris and soon made a great success there and in Brussels Returning to London she quickly established herself as the leading lyric soprano at Covent Garden from 1888 She soon achieved further success in Paris and elsewhere in Europe and later at the Metropolitan Opera in New York debuting there in 1893 Her repertoire was small in her whole career she sang no more than 25 roles and was closely identified with only ten She was known for her performances in French and Italian opera but sang little German opera During the First World War Melba raised large sums for war charities She returned to Australia frequently during the 20th century singing in opera and concerts and had a house built for her near Melbourne She was active in the teaching of singing at the Melbourne Conservatorium Melba continued to sing until the last months of her life and made a large number of farewell appearances Her death in Australia was news across the English speaking world and her funeral was a major national event The Australian 100 note features her image Contents 1 Life and career 1 1 Early years 1 2 London Paris and New York debuts 1 3 Twentieth century 2 Teacher and patron 3 Recordings and broadcasts 4 Honours memorials and legacy 5 Books films and television 6 Notes and references 6 1 Notes 6 2 References 6 3 Sources 7 Further reading 8 External linksLife and career EditEarly years Edit Melba drawn by Frank Haviland Melba was born in Richmond Victoria the eldest of seven children of the builder David Mitchell and his wife Isabella Ann nee Dow 1 n 1 Mitchell a Scot had emigrated to Australia in 1852 becoming a successful builder Melba was taught to play the piano and first sang in public around age six n 2 She was educated at a local boarding school and then at the Presbyterian Ladies College 1 She studied singing with Mary Ellen Christian a former pupil of Manuel Garcia and Pietro Cecchi an Italian tenor who was a respected teacher in Melbourne 3 In her teens Melba continued to perform in amateur concerts in and around Melbourne and she played the organ at church Her father encouraged her in her musical studies but he strongly disapproved of her taking up singing as a career 4 Melba s mother died suddenly in 1881 at Richmond 5 Melba s father moved the family to Mackay Queensland where he built a new sugar mill Melba soon became popular in Mackay society for her singing and piano playing 6 On 22 December 1882 in Brisbane she married Charles Nesbitt Frederick Armstrong 1858 1948 the youngest son of Sir Andrew Armstrong 7 They had one child a son George born on 16 October 1883 8 The marriage was not a success Charles reportedly beat his wife more than once 4 The couple separated after just over a year 3 and Melba returned to Melbourne determined to pursue a singing career debuting professionally in concerts in 1884 4 She was often accompanied in concert and some of her concerts were organised at times throughout her career by the flautist John Lemmone who became a lifelong friend and counsellor 9 On the strength of local success she travelled to London in search of an opportunity n 3 Her debut at the Princes Hall in 1886 made little impression and she sought work unsuccessfully from Sir Arthur Sullivan Carl Rosa and Augustus Harris 2 10 She then went to Paris to study with the leading teacher Mathilde Marchesi who instantly recognised the young singer s potential she exclaimed J ai enfin une etoile I have a star at last Melba made such rapid progress that she was allowed to sing the Mad Scene from Ambroise Thomas s Hamlet at a matinee musicale in Marchesi s house in December the same year in the presence of the composer 2 The young singer s talent was so evident that after less than a year with Marchesi the impresario Maurice Strakosch gave her a ten year contract at 1000 francs annually After she had signed she received a far better offer of 3000 francs per month from the Theatre de la Monnaie Brussels but Strakosch would not release her and obtained an injunction preventing her from accepting it 11 She was in despair when the matter was resolved by Strakosch s sudden death 12 She made her operatic debut four days later as Gilda in Rigoletto at La Monnaie on 12 October 1887 2 11 The critic Herman Klein described her Gilda as an instant triumph of the most emphatic kind followed a few nights later with an equal success as Violetta in La traviata 2 It was at this time on Marchesi s advice that she adopted the stage name of Melba a contraction of the name of her home city 13 n 4 London Paris and New York debuts Edit Melba in costume for Lucia di Lammermoor 1888 photo by Nadar Del ciel clemente un riso source source from Il dolce suono Mad Scene Lucia di Lammermoor Problems playing this file See media help Melba made her Covent Garden debut in May 1888 in the title role in Lucia di Lammermoor She received a friendly but not excited reception The Musical Times wrote Madame Melba is a fluent vocalist and a quite respectable representative of light soprano parts but she lacks the personal charm necessary to a great figure on the lyric stage 14 She was offended when Augustus Harris then in charge at Covent Garden offered her only the small role of the page Oscar in Un ballo in maschera for the next season 15 She left England vowing never to return The following year she performed at the Opera in Paris in the role of Ophelie in Hamlet The Times described this as a brilliant success and said Madame Melba has a voice of great flexibility her acting is expressive and striking 16 Melba had a strong supporter in London Lady de Grey whose views carried weight at Covent Garden Melba was persuaded to return and Harris cast her in Romeo et Juliette June 1889 co starring with Jean de Reszke She later recalled I date my success in London quite distinctly from the great night of 15 June 1889 1 After this she returned to Paris as Ophelie Lucia in Lucia di Lammermoor Gilda in Rigoletto Marguerite in Faust and Juliette 3 In French operas her pronunciation was poor 2 but the composer Delibes said that he did not care whether she sang in French Italian German English or Chinese as long as she sang n 5 Philippe Duke of Orleans In the early 1890s Melba embarked on an affair with Prince Philippe Duke of Orleans They were seen frequently together in London which excited some gossip but far more suspicion arose when Melba travelled across Europe to St Petersburg to sing for Tsar Nicholas II the Duke followed closely behind her and they were spotted together in Paris Brussels Vienna and St Petersburg Armstrong filed divorce proceedings on the grounds of Melba s adultery naming the Duke as co respondent he was eventually persuaded to drop the case but the Duke decided that a two year African safari without Melba would be appropriate He and Melba did not resume their relationship 1 18 In the first years of the decade Melba appeared in the leading European opera houses including Milan Berlin and Vienna 3 Melba sang the role of Nedda in Pagliacci at Covent Garden in 1893 soon after its Italian premiere The composer was present and said that the role had never been so well played before 19 In December of that year Melba sang at the Metropolitan Opera in New York for the first time As at her Covent Garden debut she appeared as Lucia di Lammermoor and as at Covent Garden it was less than a triumph The New York Times praised her performance one of the loveliest voices that ever issued from a human throat simply delicious in its fullness richness and purity but the work was out of fashion and the performances were poorly attended 20 Her performance in Romeo et Juliette later in the season was a triumph and established her as the leading prima donna of the time in succession to Adelina Patti 3 She had at first been nonplussed by the impenetrable snobbery at the Metropolitan the author Peter Conrad has written In London she hobnobbed with royalty in New York she was a singing menial Assured of critical success she set herself to achieve social recognition and succeeded 21 Air des bijoux source source From Faust 1910 Problems playing this file See media help Melba as Marguerite in Faust From the 1890s Melba played a wide range of parts at Covent Garden mostly in the lyric soprano repertoire but with some heavier roles also She sang the title roles in Herman Bemberg s Elaine 22 and Arthur Goring Thomas s Esmeralda 23 Her Italian parts included Gilda in Rigoletto 24 the title role in Aida 25 Desdemona in Otello 26 Luisa in Mascagni s I Rantzau 27 Nedda in Pagliacci 28 Rosina in The Barber of Seville 29 Violetta in La traviata 30 and Mimi in La boheme 31 In the French repertoire she sang Juliette in Romeo et Juliette 32 Marguerite in Faust 33 Marguerite de Valois in Les Huguenots 34 the title role in Saint Saens s Helene which was written for her 3 and Micaela in Carmen 35 Some writers expressed surprise at Melba s playing the last of these roles since it was merely a supporting part in the opera She played it on many occasions saying in her memoirs Why on earth a prima donna should not sing secondary roles I could not see then and am no nearer seeing to day I hate the artistic snobbery of it 15 She sang the role opposite the Carmens of Emma Calve 2 Zelie de Lussan 35 and Maria Gay 36 Marguerite de Valois too is not the leading female role in Les Huguenots but Melba was willing to undertake it as seconda donna to Emma Albani 2 She was generous in support of singers who did not rival her in her favoured roles but was as her biographer J B Steane put it pathologically critical of other lyric sopranos 3 Melba was not known as a Wagner singer citation needed although she occasionally sang Elsa in Lohengrin and Elisabeth in Tannhauser She received a certain amount of praise in these roles although Klein found her unsuited to them 2 and Bernard Shaw thought she sang with great skill but played artificially and without sensibility 37 In 1896 at the Metropolitan she attempted the role of Brunnhilde in Siegfried in which she was not a success 3 Her most frequent role in that house was Marguerite in Gounod s Faust which she had studied under the supervision of the composer 3 She never essayed any of Mozart s operas for which some thought her voice ideally suited 17 Her repertoire across her entire career amounted to no more than 25 roles of which The Times obituarist wrote only some 10 parts are those which will be remembered as her own 17 Melba s marriage to Armstrong was finally terminated when having emigrated to the United States with their son he divorced her in Texas in 1900 8 Twentieth century Edit Melba in 1904 By now established as a leading star in Britain and America Melba made her first return visit to Australia in 1902 03 for a concert tour also touring in New Zealand 1 n 6 The profits were unprecedented she returned for four more tours during her career 41 In Britain Melba campaigned on behalf of Puccini s La boheme She had first sung the part of Mimi in 1899 having studied it with the composer She argued strongly for further productions of the work in the face of the distaste expressed by the Covent Garden management at this new and plebeian opera 3 She was vindicated by the public enthusiasm for the piece which was bolstered in 1902 when Enrico Caruso joined her in the first of many Covent Garden performances together 2 She sang Mimi for Oscar Hammerstein I at his opera house in New York in 1907 giving the enterprise a needed boost 3 After her initial successes in Brussels and Paris in the 1880s Melba sang infrequently on the European continent only the English speaking countries welcomed her wholeheartedly 42 She performed 26 times at the Royal Albert Hall in London between 1898 and 1926 43 Although she called Covent Garden my artistic home her appearances there became less frequent in the 20th century One reason for this was that she did not get on well with Sir Thomas Beecham who was in control of the opera house for much of the period from 1910 until her retirement She said I dislike Beecham and his methods 44 and he thought that while she had nearly all the attributes inseparable from great artistry she was wanting in a genuine spiritual refinement 45 Another factor in her reduced appearances at Covent Garden was the appearance on the scene of Luisa Tetrazzini a soprano ten years her junior who became a great success in London and later in New York in roles previously associated with Melba 1 A third reason was her decision to spend more time in Australia In 1909 she undertook what she called a sentimental tour of Australia covering 10 000 miles 16 000 km and including many remote towns 1 In 1911 in partnership with the J C Williamson company she appeared in an operatic season 41 Her attitude to her tour concerts and the audiences attending was summed up in the advice that Clara Butt said Melba gave her apropos of a planned Australian tour Sing em muck it s all they can understand n 7 To another colleague and compatriot Peter Dawson she described his home city of Adelaide as that city of the three P s Parsons Pubs and Prostitutes 47 Sempre libera source source From La traviata 1904 Ah fors e lui source source From La traviata 1907 Problems playing these files See media help In 1909 Melba bought property at Coldstream a small town near Melbourne and in 1912 she had a home built there extending an existing cottage that she named Coombe Cottage after a house she had rented near London 48 She also set up a music school in Richmond which she later merged into the Melbourne Conservatorium She was in Australia when the First World War broke out and she threw herself into fund raising for war charities raising 100 000 3 n 8 In recognition of this she was created a Dame Commander of the Order of the British Empire DBE in March 1918 for services in organising patriotic work n 9 After the war Melba made a triumphant return to the Royal Opera House in a performance of La boheme conducted by Beecham which re opened the house after four years of closure The Times wrote Probably no season at Covent Garden has ever started with quite the thrill of enthusiasm which passed through the house 51 In her many concerts however her repertoire was regarded as trite and predictable After one of them The Musical Times wrote The real musical interest of the afternoon however was supposed to centre in the Jewel Song from Faust Puccini s Addio Lieurance s By the waters of Minnetonka and Tosti s Good bye and in the encores thoughtfully announced beforehand Home sweet Home and Annie Laurie Look again at the last batch of head lines The Diva to go home By all means Why not As the Diva has melodiously declared only too often there s no place like it And teach 100 girls herself If the Dame can give those hundred girls her own beautiful voice well and good but for heaven s sake let a musician be called in to attend to their repertoire We cannot lightly face the prospect of a hundred debutantes let loose on us a year hence full to the epiglottis with Minnetonkas Jewel Songs and Home sweet Homes 52 Melba in 1913 In 1922 Melba returned to Australia where she sang at the immensely successful Concerts for the People in Melbourne and Sydney with low ticket prices attracting 70 000 people 1 In 1924 for another Williamson opera season she caused resentment among local singers by importing an entire chorus from Naples 53 In 1926 she made her farewell appearance at Covent Garden singing in scenes from Romeo et Juliette Otello and La boheme 3 She is well remembered in Australia for her seemingly endless series of farewell appearances including stage performances in the mid 1920s and concerts in Sydney on 7 August 1928 Melbourne on 27 September 1928 and Geelong in November 1928 1 From this she is remembered in the vernacular Australian expression more farewells than Dame Nellie Melba 1 In 1929 she returned for the last time to Europe and then visited Egypt where she contracted a fever that she never entirely shook off 1 Her last performance was in London at a charity concert on 10 June 1930 54 She returned to Australia but died in St Vincent s Hospital Sydney in 1931 aged 69 of septicaemia which had developed after facial surgery in Europe some time before 1 She was given an elaborate funeral from Scots Church Melbourne which her father had built and where as a teenager she had sung in the choir 1 55 The funeral motorcade was over a kilometre long and her death made front page headlines in Australia the United Kingdom New Zealand and Europe Billboards in many countries said simply Melba is dead Part of the event was filmed for posterity Melba was buried in the cemetery at Lilydale near Coldstream Her headstone designed by Sir Edwin Lutyens 56 bears the farewell words of Mimi in La boheme Addio senza rancor Farewell without bitterness 57 Melba with the Metropolitan OperaTeacher and patron EditDespite the antipathy Melba inspired in some of her peers she helped the careers of younger singers She taught for many years at the Conservatorium in Melbourne and looked for a new Melba She published a book about her methods which were based on those of Marchesi The book opens It is easy to sing well and very difficult to sing badly How many students are really prepared to accept that statement Few if any They smile and say It may be easy for you but not for me And they seem to think that there the matter ends But if they only knew it on their understanding and acceptance of that axiom depends half their success Let me say the same in other words In order to sing well it is necessary to sing easily 58 O soave fanciulla source source from Puccini s La boheme sung by Enrico Caruso and Melba in 1906 Problems playing this file See media help Others also benefited from Melba s praise and interest She passed her own cadenzas on to a young Gertrude Johnson a valuable professional asset In 1924 Melba brought the new star Toti Dal Monte fresh from triumphs in Milan and Paris but still unheard in England or the United States to Australia as a principal of the Melba Williamson Grand Opera Company After sharing the Covent Garden stage in a 1923 night of operatic extracts with another Australian soprano Florence Austral who as a dramatic soprano posed no threat to Melba a lyric soprano Melba was effusive with her praise describing the younger woman as one of the wonder voices of the world 59 She similarly described the American contralto Louise Homer as possessing the world s most beautiful voice She gave financial assistance to the Australian painter Hugh Ramsay living in poverty in Paris 60 and also helped him to forge connections in the artistic world 57 The Australian baritone John Brownlee and tenor Browning Mummery were both proteges both sang with her in her 1926 Covent Garden farewell recorded by HMV and Brownlee sang with her on two of her last commercial recordings later that year a session arranged by her in part to promote Brownlee Recordings and broadcasts Edit Newspaper advertisement Melba s first recordings were made around 1895 recorded on cylinders at the Bettini Phonograph Lab in New York A reporter from Phonoscope magazine was impressed The next cylinder was labelled Melba and was truly wonderful the phonograph reproducing her wonderful voice in a marvellous manner especially the high notes which soared away above the staff and were rich and clear Melba was less impressed Never again I said to myself as I listened to the scratching screeching result Don t tell me I sing like that or I shall go away and live on a desert island The recordings never reached the general public destroyed on Melba s orders it is suspected and Melba would not venture into a recording studio for another eight years 61 Melba can be heard singing on several Mapleson Cylinders early attempts at live recording made by the Metropolitan Opera House librarian Lionel Mapleson in the auditorium there during performances These cylinders are often poor in quality but they preserve something of the quality of the young Melba s voice and performance that is sometimes lacking from her commercial recordings n 10 Melba made numerous gramophone phonograph records of her voice in England and America between 1904 when she was in her 40s and 1926 for the Gramophone amp Typewriter Company 63 and the Victor Talking Machine Company Most of these recordings consisting of operatic arias duets and ensemble pieces and songs have been re released on CD 64 The poor audio fidelity of the Melba recordings reflects the limitations of the early days of commercial sound recording Melba s acoustical recordings especially those made after her initial 1904 session fail to capture vital overtones to the voice leaving it without the body and warmth it possessed albeit to a limited degree in life Despite this they still reveal Melba to have had an almost seamlessly pure lyric soprano voice with effortless coloratura a smooth legato and accurate intonation 64 Melba had perfect pitch the critic Michael Aspinall says of her complete London recordings issued on LP that there are only two lapses from pitch in the entire set 65 Like Patti and unlike the more vibrant voiced Tetrazzini Melba s exceptional purity of tone was probably one of the principal reasons why British audiences with their strong choral and sacred music traditions idolised her 66 HMV advertisement for Melba recordings 1904 Melba s farewell to Covent Garden on 8 June 1926 was recorded by HMV as well as broadcast The programme included Act 2 of Romeo et Juliette not recorded because the tenor Charles Hackett was not under contract to HMV followed by the opening of Act 4 of Otello Desdemona s Willow Song and Ave Maria and Acts 3 and 4 of La boheme with Aurora Rettore Browning Mummery John Brownlee and others The conductor was Vincenzo Bellezza At the conclusion Lord Stanley of Alderley made a formal address and Melba gave an emotional farewell speech In a pioneering venture eleven sides 78rpm were recorded via a landline to Gloucester House London though in the event only three of these were published The full series including both speeches was included in a 1976 HMV reissue 65 As was the case in many of her performances most of Melba s recordings were made at French Pitch A 435 Hz rather than the British early 20th century standard of A 452 Hz or the modern standard of A 440 Hz This and the technical inadequacies of the early recording process discs were frequently recorded faster or slower than the supposed standard of 78rpm whilst the conditions of the cramped recording studios kept very warm to keep the wax at the necessary softness when cutting would wreak havoc with instrumental tuning during recording sessions means that playing her recordings back in the speed and pitch she made them at is not always a simple matter On 15 June 1920 Melba was heard in a pioneering radio broadcast from Guglielmo Marconi s New Street Works factory in Chelmsford singing two arias and her famous trill She was the first artist of international renown to participate in direct radio broadcasts Radio enthusiasts across the country heard her and the broadcast was reportedly heard from as far away as New York People listening on the radio barely heard a few scratches of the trill and two arias she sang Further radio broadcasts would include her Covent Garden farewell performance and a 1927 Empire Broadcast broadcast throughout the British Empire by radio stations AWA and 2FC Sydney on Monday 5 September 1927 it was relayed by the BBC London on Sunday 4 September 67 68 Honours memorials and legacy Edit Statue of Melba at Waterfront City Melbourne Docklands Melba was appointed Dame Commander of the Order of the British Empire in the 1918 New Year Honours along with May Whitty the first stage performer to receive this order for her charity work during World War I and was elevated to Dame Grand Cross of the Order of the British Empire in 1927 1 She was the first Australian to appear on the cover of Time magazine in April 1927 69 A stained glass window commemorating Melba was erected in 1962 in the Musicians Memorial Chapel of the church of St Sepulchre without Newgate London 70 She is one of only two singers the other being Adelina Patti with a marble bust on the grand staircase of the Royal Opera House Covent Garden 71 A blue plaque commemorates Melba at Coombe House Devey Close in Coombe Kingston upon Thames where she lived in 1906 72 She was inducted onto the Victorian Honour Roll of Women in 2001 73 Melba was closely associated with the Melbourne Conservatorium and this institution was renamed the Melba Memorial Conservatorium of Music in her honour in 1956 The music hall at the University of Melbourne is known as Melba Hall The Canberra suburb of Melba is named after her The Australian 100 note features the image of her face 74 75 and her likeness has also appeared on an Australian stamp 4 Sydney Town Hall has a marble relief bearing the inscription Remember Melba unveiled during a World War II charity concert in memory of Melba and her First World War charity work and patriotic concerts 76 A tunnel on Melbourne s EastLink freeway is named in her honour 77 Streets named after her include Melba Avenue in San Francisco 78 and Avenue Nellie Melba Nellie Melbalaan in the Brussels municipality of Anderlecht 79 Melba s home in Marian Queensland during her brief cohabitation with her husband was relocated from the Marian Mill where it was due to be demolished to a riverbank setting along the main Eungella Road in Edward Lloyd Park where under the name Melba House it was restored and now operates as a Melba museum and the Pioneer Valley Visitor Information Centre 80 Her home Coombe Cottage in Coldstream Victoria passed to her granddaughter Pamela Lady Vestey 1918 2011 It is now owned by Lady Vestey s sons Sam 3rd Baron Vestey and Mark who reside in the United Kingdom 48 The house was designed by John Harry Grainger father of the composer Percy Grainger and a close friend of Melba s father David Mitchell 81 Melba s name is associated with four foods all of which were created in her honour by the French chef Auguste Escoffier Peach Melba a dessert made of peaches raspberry sauce and vanilla ice cream 82 Melba sauce a sweet puree of raspberries and red currant Melba toast a crisp dry toast Melba Garniture chicken truffles and mushrooms stuffed into tomatoes with veloute sauce 83 Melba planted a variety of poplar tree known as Populus canadensis Aurea or golden poplar on the Central Lawn in Melbourne Botanic Gardens on 11 April 1903 which has become known as Melba s poplar 84 On 19 May 2011 Google celebrated her 150th birthday with a Google Doodle 85 Coat of arms of Nellie Melba Notes Centre portion of Melba s arms Arms granted in 1920 College of Arms MS Grants 87 p 200 86 Escutcheon Azure on a Plate between in chief two Mascles and in base a Nightingale Or with a Cross Gules at centre Books films and television EditMelba s autobiography Melodies and Memories was published in 1925 largely ghost written by her secretary Beverley Nichols 3 Nichols later complained that Melba did not cooperate in the process of writing or by reviewing what he wrote 87 Full length biographies devoted to her include those by Agnes G Murphy 1909 John Hetherington 1967 Therese Radic 1986 and Ann Blainey 2009 A novel Evensong by Nichols 1932 was based on aspects of Melba s life drawing an unflattering portrait 3 The 1934 motion picture adaptation of Evensong starring Evelyn Laye as the character based on Melba was for a time banned in Australia 88 Melba appears in the 1946 novel Lucinda Brayford by Martin Boyd She is depicted as singing at a garden party thrown by the mother of the eponymous heroine when she is described as having the loveliest voice in the world 89 In 1946 1947 Crawford Productions produced a popular radio series on Melba starring Glenda Raymond who became one of the foundation singers of the Australian Opera later Opera Australia in 1956 90 In 1953 a biopic titled Melba was released by Horizon Pictures and directed by Lewis Milestone Melba was played by the soprano Patrice Munsel 91 In 1987 the Australian Broadcasting Corporation produced a mini series Melba starring Linda Cropper miming to the singing voice of Yvonne Kenny Melba was portrayed by Kiri Te Kanawa in episode 3 of season 4 of the British ITV television show Downton Abbey 2013 performing at the abbey as a guest of Lord and Lady Grantham Rupert Christiansen writing in The Telegraph bemoaned the casting and the fact checking 92 Melba appears in a pivotal scene in the 2014 novel Tell by Frances Itani 93 Notes and references EditNotes Edit The Oxford Dictionary of National Biography incorrectly gives Melba s mother the maiden name of Dorn Dow is confirmed in Blainey 2008 p 5 and Hetherington 1967 p 17 In her memoirs Melba gives her age at her debut as six but her statements about her age were not always accurate 2 Melba travelled to London with her father and her husband moved to Europe for a time and was in periodic though often unwelcome contact with his wife and child 1 4 A similar course was followed by some other Australian singers Florence Mary Wilson took the stage name Florence Austral and Elsie Mary Fischer renamed herself Elsa Stralia both after Australia June Mary Gough adopted the name June Bronhill after Broken Hill New South Wales Qu elle chante Lakme en francais en italien en allemande en anglais ou en chinois cela m est egal mais qu elle la chante 17 Melba visited New Zealand in February 1903 after her tour of Australia She arrived in Invercargill from Hobart and was welcomed by Sir Joseph Ward who was later the Prime Minister of New Zealand and Lady Ward 38 After giving one concert in Dunedin she travelled to Christchurch 39 and gave a concert in Wellington 40 Melba later denied giving this advice and was horrified when Butt printed it in her memoirs 46 Equivalent in 2008 values to 3 630 000 using the UK retail price index or 17 900 000 using average UK earnings See Williamson Samuel H Five Ways to Compute the Relative Value of a UK Pound Amount 1830 to Present MeasuringWorth 2008 The appointment was announced on 5 March 1918 but The London Gazette stated The appointments to date from the 1st January 1918 It is therefore correctly stated that Melba was with May Whitty the first stage performer to be made a DBE although Whitty had received the honour in January 49 50 The cylinder Melba is most renowned for Queen Marguerite s cabaletta from Les Huguenots may not in fact feature her but rather her contemporary Suzanne Adams the sonics of the recording do not match others of the same year and the paper evidence points to Adams but the singer sounds more like the Melba rather than the Adams both known from their commercial recordings 62 References Edit a b c d e f g h i j k l m n o Davidson Jim Melba Dame Nellie 1861 1931 Australian Dictionary of Biography accessed 11 December 2012 a b c d e f g h i j Klein Herman Melba An Appreciation The Musical Times April 1931 pp 305 308 subscription required a b c d e f g h i j k l m n o Steane J B Melba Dame Nellie 1861 1931 Oxford Dictionary of National Biography Oxford University Press 2004 online edition January 2011 accessed 24 May 2011 subscription or UK public library membership required a b c d e Sadauskas Andrew Melba Bashed by Cowardly Husband Archived 7 July 2011 at the Wayback Machine Australian Stamps Professional accessed 23 May 2011 Family Notices The Argus Melbourne National Library of Australia 22 October 1881 p 1 Retrieved 21 February 2014 O Brien Sheilagh The Dame in the tropics Nellie Melba Queensland Historical Atlas Family Notices The Argus Melbourne National Library of Australia 29 December 1882 p 1 Retrieved 21 February 2014 a b Divorce of Madame Melba The Morning Bulletin 14 April 1900 p 5 Skinner Graeme Lemmone John Dictionary of Sydney 2008 accessed 19 January 2015 Scott 1977 p 28 incomplete short citation a b Gubler 2012 p 192 Melodies and Memories The Times Literary Supplement 5 November 1925 p 738 Melba The Voice of Silver The Australian Women s Weekly National Library of Australia 24 February 1971 p 12 Retrieved 25 September 2014 Royal Italian Opera The Musical Times July 1888 p 411 subscription required a b A Prima Donna Madame Melba s Memories The Times 23 October 1925 p 8 France The Times 10 May 1889 p 5 a b c Obituary Dame Nellie Melba A great prima donna The Times 24 February 1931 p 9 The Times 5 November 1891 p 5 6 November 1891 p 9 20 February 1892 p 5 17 February 1892 p 13 12 March 1892 p 16 14 March 1892 p 3 and 24 March 1892 p 3 A week s musical topics The New York Times 4 June 1893 Lucia at the Opera The New York Times 5 December 1893 Conrad 1987 p 249 The Opera The Times 6 July 1892 p 9 Royal Opera The Times 4 January 1908 p 7 Royal Italian Opera The Times 10 June 1889 p 8 Covent Garden Opera The Times 7 November 1892 p 12 Royal Opera Otello The Times 2 July 1908 p 13 The Opera The Times 10 July 1893 p 8 The Opera The Times 20 May 1893 p 8 Royal Opera The Times 9 July 1898 p 10 Royal Opera The Times 26 July 1898 p 8 Royal Opera The Times 3 July 1899 p 10 Royal Italian Opera The Times 4 June 1890 p 8 Royal Opera The Times 4 June 1894 p 11 Royal Opera The Times 1 July 1895 p 8 a b Royal Italian Opera The Times 6 July 1891 p 8 Royal Opera The Times 26 November 1906 p 10 Shaw 1981 p 95 Otago Daily Times 17 February 1903 p 6 The Press 20 February p 5 Evening Post 24 February 1903 p 5 a b Shawe Taylor Desmond Melba Dame Nellie Grove Music Online Oxford Music Online accessed 25 May 2011 subscription required Jefferson 1979 p 143 Search results Nellie Melba Performance archive Royal Albert Hall accessed 29 March 2016 Lucas 2008 p 153 Beecham 1959 pp 170 171 Dame Nellie Melba Indignant The Manchester Guardian 6 August 1928 p 7 Gaisberg Fred Peter Dawson Gramophone January 1949 p 3 a b Our Story Nellie Melba Coombe Yarra Valley accessed 4 February 2016 Supplement to the London Gazette 5 March 1918 War Honours The Times 8 January 1918 p 7 First Night of the Opera The King and Queen Present The Times 13 May 1919 p 14 Feste Ad Libitum The Musical Times June 1921 pp 409 411 subscription required Grand Opera Italian Male Chorus Engagement Resented Hint of Strike The Argus 5 January 1924 p 19 Court Circular The Times 11 June 1930 p 17 Church History Archived 23 August 2010 at the Wayback Machine Scots Church website accessed 7 June 2010 Memorials and Monuments to Individuals Ten Years on Exhibition Lutyens Trust accessed 14 September 2018 a b Bassett Peter Melba and La boheme Addio senza rancore Peterbassett com accessed 19 May 2011 Quoted in Book review The Musical Times May 1926 p 427 subscription required Florence Austral Archived 20 February 2011 at the Wayback Machine Bikwill accessed 27 May 2011 Clark Christine Ramsay Hugh Grove Art Online Oxford Art Online accessed 27 May 2011 subscription required Nellie Melba s First Recordings Historic Masters accessed 27 May 2011 Still More on the Mapleson Cylinder The Opera Quarterly Volume 5 Issue 4 pp 37 45 subscription required Chant Venitien National Film and Sound Archive australianscreen online accessed 27 May 2011 a b Steane John Nellie Melba Gramophone May 2003 p 17 a b Aspinall Michael Nellie Melba The London Recordings 1904 1926 Insert booklet to HMV LP set RLS EMI London 1976 Riding Alan Recordings From a Vault in Paris Sounds of Opera 1907 The New York Times 16 February 2009 Given Jock Another Kind of Empire The Voice of Australia 1931 1939 Historical Journal of Film Radio and Television 2009 vol 29 issue 1 p 42 First Empire Broadcast held by the National Library of Australia Cover Nellie Melba Time 18 April 1927 Memorial Window to Melba The Times 12 March 1962 p 7 Things to do in London on a rainy day Royal Opera House accessed 11 December 2012 Melba Dame Nellie English Heritage accessed 4 August 2012 Victorian Honour Roll of Women PDF The Australian 100 Banknote Archived 10 June 2011 at the Wayback Machine The Reserve Bank of Australia accessed 27 May 2011 A Complete Series of Polymer Banknotes 1992 1996 Reserve Bank of Australia Museum Reserve Bank of Australia Archived from the original on 15 February 2016 Retrieved 31 December 2015 Music and drama The Mercury Hobart 19 May 1941 p 4 accessed 11 December 2012 Pilcher Georgie East Link Twin Tunnels named as Melba and Mullum Mullum Herald Sun 24 March 2008 The Chronicle San Francisco 12 April 1987 p 6 L avenue Nellie Melba 1070 Anderlecht eBru be Melba House Mackay Regional Council Archived from the original on 23 February 2014 Retrieved 21 February 2014 Dreyfus Kay Grainger George Percy 1882 1961 Australian Dictionary of Biography vol 9 1983 Retrieved 4 February 2016 Avey Tori Opera Escoffier and Peaches The Story Behind the Peach Melba 22 August 2012 accessed 9 April 2015 Drummond Hay Lily Famous Foodies Nellie Melba The Observer 13 July 2003 Golden Poplar National Trust Australia Retrieved 31 May 2019 Nellie Melba s 150th Birthday Google 19 May 2011 The Order of the British Empire The College of Arms Retrieved 3 March 2023 Falk Bernard Bouquets for Fleet Street London Hutchinson amp Co 1951 p 125 Banned Film The Mercury 5 December 1934 Boyd p 96 The Melba Story RadioEchoes com accessed 1 March 2019 Melba at IMDb Christiansen Rupert How Downton Abbey got Nellie Melba all wrong The Daily Telegraph 7 October 2013 Music that inspired the Scotiabank Giller Prize finalists CBC Books 7 November 2014 accessed 19 July 2015 Sources Edit Beecham Thomas 1959 A Mingled Chime London Hutchinson OCLC 470511334 Blainey Ann 2008 I am Melba Melbourne Black Inc ISBN 978 1 86395 183 8 US edition 2009 published as Marvelous Melba The Extraordinary Life of a Great Diva Chicago Ivan R Dee ISBN 978 1 56663 809 8 Conrad Peter 1987 A Song of Love and Death The Meaning of Opera London Chatto and Windus ISBN 0 7011 3274 4 Gubler Franz 2012 Great Grand amp Famous Opera Houses Crows Nest Arbon ISBN 978 0 987 28202 6 Hetherington John 1967 Melba a Biography London Faber and Faber OCLC 7389273 Jefferson Alan 1979 Sir Thomas Beecham A Centenary Tribute London Macdonald and Jane s ISBN 035404205X Lucas John 2008 Thomas Beecham An Obsession with Music Woodbridge Boydell Press ISBN 978 1 84383 402 1 Shaw Bernard 1981 Dan H Laurence ed Shaw s Music The Complete Musical Criticism of Bernard Shaw Vol 2 London The Bodley Head ISBN 0 370 31271 6 Further reading EditMelba Nellie 1926 Melba Method London amp Sydney Chappell OCLC 5309485 Melba Nellie 1925 Melodies and Memories London Butterworth OCLC 556835777 Murphy Agnes 1909 Melba A Biography London Chatto amp Windus OCLC 563034777 Radic Therese 1986 Melba The Voice of Australia Basingstoke Macmillan ISBN 0 333 41478 0 Wainwright Robert 2021 Nellie The Life and Loves of Dame Nellie Melba Allen amp Unwin ISBN 9781760878252 External links Edit Wikimedia Commons has media related to Nellie Melba Works by or about Nellie Melba at Internet Archive Nellie Melba at IMDb Links to recordings images and information about Melba Melba link to 1906 recording of the aubade from the opera Le roi d Ys 1902 portrait Madame Melba painted by Rupert Bunny Photo of Melba her father and niece 1903 Library of Congress Biography photo of dress worn by Melba Melba in Queensland John Oxley Library blog State Library of Queensland Melba Nellie at The Encyclopedia of Women and Leadership in Twentieth Century Australia Nellie Melba Collection at the Performing Arts Collection Arts Centre Melbourne Marconi s experimental radio broadcast with Melba 1920Portals Biography Opera Retrieved from https en wikipedia org w index php title Nellie Melba amp oldid 1142941359, wikipedia, wiki, book, books, library,

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