Jacques Bouhy Vidéos
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2024-04-25
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Louise Kirkby Lunn Kirkby Lunn Saint Saens Percy Pitt Henry Wood I Sang Herman Klein Greenwood Jacques Bouhy All Saints Church Covent Garden Carl Rosa Opera Company Metropolitan Opera 1890 1895 1896 1899 1900 1901 1902 1906 1909 1912 1914 1930
This is a further title recorded by Kirkby Lunn on 29 June 1909 with orchestra conducted by Percy Pitt. Kirkby Lunn is all but forgotten nowadays, yet no less an authority than Sir Henry Wood praised her as 'a singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver in all the years I worked with her, and who never sang out of tune.' Herman Klein referred to her 'warm rich notes of true contralto quality.' Kirkby Lunn was a stage name, adopted quite early in her career. She was born Louisa Baker, the daughter of Manchester confectioner W. H. Baker and his wife Mary Elizabeth Kirkby. Her cousin was James Baker, who sang professionally and made many popular recordings under the name Stanley Kirkby. From Wikipedia: Kirkby Lunn (pronounced Kirby Lunn) had her early vocal training in her native city of Manchester, at All Saints Church. She sang there in the choir under Dr J. H. Greenwood, the church's organist, and later appeared at concerts in the city. In 1890, she obtained a place at the Royal College of Music in London and studied for three years with Albert Visetti, also training for opera... She also studied for some time with Jacques Bouhy in Paris. In 1895, she appeared in the first season of Promenade concerts for Henry J. Wood. Augustus Harris gave her a five-year contract almost upon first hearing... [In 1896] she joined the Carl Rosa Opera Company, performing as principal mezzo-soprano in London and on tour in the provinces in Carmen, Mignon, Lohengrin, Rigoletto and other works... She remained with the Carl Rosa until 1899, the year in which she married W. J. Pearson. She was particularly active in the 1900–1901 Queen's Hall season with Wood... From 1901 to 1914, Louise Kirkby Lunn appeared regularly at the Covent Garden, and for several of those years also in the United States, especially at the Metropolitan Opera in the seasons of 1902–03, 1906–08 and 1912–14. She was particularly successful in Wagnerian opera parts... Before the outbreak of the Great War in 1914, Kirkby Lunn had been in great demand for oratorio appearances on the European Continent, and she sang frequently as far afield as Budapest. New York also heard her during this period. In 1912, she had made a tour of Australia with William Murdoch, the celebrated pianist who had made his London debut two years earlier.... She died in London on 17 February 1930.
Louise Kirkby Lunn Kirkby Lunn Greenwood Jacques Bouhy Louise Homer Schumann Drury O Brien Massenet Gluck Clara Butt I Sang Henry Wood Carl Rosa Opera Company Covent Garden 1899 1901 1902 1904 1914 1921 1922
From Cantabile-Subito Louise Kirkby Lunn "She was born in Manchester and studied with J.H. Greenwood, afterwards with Alberto Antonio Visetti in London. Further studies with the renowned Jacques Bouhy in Paris (Louise Homer was also a student of him). She made her early debut as Margaretha in Schumann’s Genoveva at the Drury Lane Theatre in London. Later she appeared in Délibes’ Le Roi l’a dit (!). She considered her real debut as Nora in Charles Standford’s opera Shamus O’Brien. She also sang at the Harris Opera Theatre and at the Carl Rosa Opera Company. From the very beginning she loved to sing on the concert platform. After her marriage in 1899 she had planned to terminate her career, but in 1901 she continued singing and signed a contract with Covent Garden. She was an important member at this famous opera house until 1914 (and again in the season 1921/22). She participated in some first opera performances: Massenet’s Hérodiade, Saint-Saëns’ Hélène and Gluck’s Armide. In 1902 she was invited to the Metropolitan where she debuted as Ortrud. Within the next two years she also sang Brangäne and Amneris. She toured America in 1904 where she was heard as Kundry (first performances of the opera in English) and this role was one of her greatest achievements. She created the role of Dalila in Saint-Saëns’ opera Samson et Dalila in the first English performance at Covent Garden. Despite her great success on stage she made many concert appearances and she became even more popular on the concert platform than in opera. She became THE great British oratorio contralto besides Dame Clara Butt. She was not only heard at the festivals of Birmingham, Sheffield and Norwich but also toured widely (USA, Australia and New Zealand). Her last opera appearance (as Amneris) took place in 1922 at Covent Garden. She continued to give concerts and recitals. At the end of her career she became a renowned singing coach." “A singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver all the years I worked with her, and who never sang out of tune. Her Brangäne at Covent Garden, her fine acting and singing as Kundry in America, and a marvellous rendering of Isolde’s Liebestod ... are among my most cherished memories of her” Sir Henry Wood, conductor
Louise Kirkby Lunn Kirkby Lunn Trevalsa Henry Wood I Sang Herman Klein Greenwood Jacques Bouhy All Saints Church Covent Garden Carl Rosa Opera Company Metropolitan Opera 1890 1895 1896 1899 1900 1901 1902 1906 1912 1913 1914 1930
Louise Kirkby Lunn sings 'My Treasure,' recorded on 16 October 1913. Kirkby Lunn is all but forgotten nowadays, yet no less an authority than Sir Henry Wood praised her as 'a singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver in all the years I worked with her, and who never sang out of tune.' Herman Klein referred to her 'warm rich notes of true contralto quality.' Kirkby Lunn was a stage name, adopted quite early in her career. She was born Louisa Baker, the daughter of Manchester confectioner W. H. Baker and his wife Mary Elizabeth Kirkby. Her cousin was James Baker, who sang professionally and made many popular recordings under the name Stanley Kirkby. From Wikipedia: Kirkby Lunn (pronounced Kirby Lunn) had her early vocal training in her native city of Manchester, at All Saints Church. She sang there in the choir under Dr J. H. Greenwood, the church's organist, and later appeared at concerts in the city. In 1890, she obtained a place at the Royal College of Music in London and studied for three years with Albert Visetti, also training for opera... She also studied for some time with Jacques Bouhy in Paris. In 1895, she appeared in the first season of Promenade concerts for Henry J. Wood. Augustus Harris gave her a five-year contract almost upon first hearing... [In 1896] she joined the Carl Rosa Opera Company, performing as principal mezzo-soprano in London and on tour in the provinces in Carmen, Mignon, Lohengrin, Rigoletto and other works... She remained with the Carl Rosa until 1899, the year in which she married W. J. Pearson. She was particularly active in the 1900–1901 Queen's Hall season with Wood... From 1901 to 1914, Louise Kirkby Lunn appeared regularly at the Covent Garden, and for several of those years also in the United States, especially at the Metropolitan Opera in the seasons of 1902–03, 1906–08 and 1912–14. She was particularly successful in Wagnerian opera parts... Before the outbreak of the Great War in 1914, Kirkby Lunn had been in great demand for oratorio appearances on the European Continent, and she sang frequently as far afield as Budapest. New York also heard her during this period. In 1912, she had made a tour of Australia with William Murdoch, the celebrated pianist who had made his London debut two years earlier.... She died in London on 17 February 1930.
Elwes Roger Quilter Cary Jacques Bouhy Henry Russell Agnes Nicholls Engelbert Humperdinck Handel Westmorland Charles Villiers Stanford Villiers Hubert Parry Kruse Edward Elgar Beethoven Harry Plunket Greene Greene Johannes Brahms Freed Ralph Vaughan Williams Thomas Dunhill Frank Bridge 1866 1885 1901 1903 1904 1912 1916 1921
The fine English tenor Gervase Elwes sings 'Cuckoo Song,' recorded c. June 1916. From Wikipedia:Gervase Henry Cary-Elwes, DL (15 November 1866 – 12 January 1921), better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career. Elwes was born in Billing Hall, Northampton... Of the Northamptonshire and Lincolnshire landed gentry, he was educated at The Oratory School (a Roman Catholic school) and Woburn School, Weybridge, where he arrived in 1885, and finally at Christ Church, Oxford, where he was active as a cricketer and violinist. At the age of 22 he married Lady Winifride Mary Elizabeth Feilding... After Oxford he trained as a lawyer and diplomat, spending some years in Brussels, where he began his first formal singing lessons at the age of 28. However, he had to overcome a social convention which resisted a member of the upper classes becoming a professional singer, and it was not until the early 1900s, in his late thirties, that he gave his first professional performances in London. His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert, and he chose the latter. His first professional appearance in London was opposite Agnes Nicholls, in Wallfahrt nach Kevlaar by Engelbert Humperdinck at the St James's Hall, with the Handel Society under J. S. Liddle in late April 1903, and immediately afterwards he appeared at the Westmorland Festival. In June 1903 he was auditioned at the Royal College of Music in London by Charles Villiers Stanford, who left the room and brought Hubert Parry in to hear him as well. The violinist Professor Kruse, who was then attempting to revive the Saturday 'Pops' at the St James's Hall jumped out of his chair and promptly engaged him, and it was Kruse who arranged for his first appearance in Edward Elgar's The Dream of Gerontius early in 1904 as an addition to his Beethoven Festival. Harry Plunket Greene, who had encouraged Elwes through this audition, also remained his lifelong friend. Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat 'gentlemanly' but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour... Victor Biegel, a 'little round, bald Viennese,' was for some time accompanist to the celebrated German lieder singer Raimund von zur-Mühlen and had a special understanding of the songs of Johannes Brahms, which he imparted to Elwes. There was a great rapport, and his teaching, especially during his six-month residence at Billing Hall (an Elwes estate) in 1903, completely freed and relaxed Elwes' voice, opening the way for the sustained power and brilliance of his upper register, and the vocal stamina which enabled him to maintain great oratorio roles (for which he was much in demand) with absolute conviction through a singing career of nearly two decades... But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams song cycle On Wenlock Edge and many of the finest songs of Roger Quilter (including the cycle To Julia), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle The Wind Among the Reeds for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify... On 12 January 1921, Elwes was killed in a horrific accident at Back Bay railway station in Boston, Massachusetts, in the midst of a high-profile recital tour of the United States at the height of his powers. Elwes and his wife had alighted on the platform when the singer attempted to return to the conductor an overcoat that had fallen off the train. He leaned over too far and was hit by the train, falling between the moving carriages and the platform. He died of his injuries a few hours later. He was 54 years old. A week after the event, Edward Elgar wrote to Percy Hull, 'my personal loss is greater than I can bear to think upon, but this is nothing – or I must call it so – compared to the general artistic loss – a gap impossible to fill – in the musical world.'
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