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Frank Mullings Leoncavallo Sir Thomas Beecham Gounod Verdi Isidore Lara Rutland Boughton Berlioz Steane Elsa Stralia Beecham Opera Company British National Opera Company Covent Garden 1881 1907 1913 1916 1919 1921 1922 1925 1927 1929 1944 1946 1949 1953 1971 1979 2006
English Tenor Frank Mullings +••.••(...)) On With The Motley / Pagliacci (Leoncavallo) Prize Song / Meistersinger (Wagner) Recorded: 1925 (?) / Frank Mullings (born in Walsall on 10 March 1881 / died in Manchester on 19 May 1953) was a leading English tenor with Sir Thomas Beecham's Beecham Opera Company and its successor, the British National Opera Company, during the 1910s and 1920s. Blessed with a strong stage presence but possessing a far from bel canto technique, and despite a placing of the voice which was generally unbearably excrutiating to the ear, his repertoire included such taxing dramatic parts as Tristan in Tristan und Isolde, Radames in Aida, the title role in Otello, and Canio in Pagliacci. The young Mullings studied singing in Birmingham and made his operatic début in Coventry in 1907—in Faust by Gounod. He joined the Denhof Opera Company in 1913, was engaged by the Beecham Opera Company from 1916 to 1921, and was with the British National Opera Company from 1922 until its closure in 1929. He was the first to sing the part of Wagner's Parsifal in English, which he did at the Royal Opera House, Covent Garden, in 1919. Mullings was a noted interpreter, in England at least, of Verdi's Otello, as well as Tristan by Wagner. He created the role of Hadyar in Nail by Isidore de Lara, and the role of Apollo in Alkestis by Rutland Boughton. The English music critic Neville Cardus, who came to know Mullings well, wrote in one of his press reviews that: "Mr. Mullings acted Canio in Pagliacci far beyond the plane of conventional Italian opera of the blood and sand order. His singing is not exactly all honey, but how intensely he lived in the part! He almost persuades us that there is real tragedy about / that if the puppet Canio were pricked, blood and not sawdust would come forth." On the other hand, the historian John Cawte Beaglehole, who as a young man in London saw Mullings perform in The Damnation of Faust by Berlioz, found him disappointing: "... supposed to be a great tenor; [he was] a red-faced cove who sang in a strangled ineffective stupid fashion; still, you never know, he may have been drunk." At the height of his fame, Mullings joined the staff of the Birmingham School of Music, teaching (rather perplexingly, given his odd technique) voice, and working from 1927 through to 1946. He also taught at the Royal Manchester College of Music from 1944 to 1949. Mullings died at the age of 72. His voice is preserved in a number of 78-rpm gramophone records which testify to the sincerity of his interpretations but highlight the limitations of his peculiar vocal technique, as hinted at politely by Cardus in the quotation cited above. Michael Scott (author of The Record of Singing, Volume 2, published by Duckworth in 1979), J.B. Steane (The Grand Tradition, Duckworth, 1971) and many other commentators have been less guarded than Cardus, noting the constricted production and distorted vowels of his recorded performances, though even Steane's 2006 Gramophone review of the reissued British National Opera Company's 1927 Columbia recording of Pagliacci noted that "the throatiness and discomfort [of Mullings's Canio] in the upper range are to some extent offset by a warmly personal timbre and intense dramatic commitment." Perhaps the strangest aspect of Mullings' approach was that it appears it was quite deliberate; and not due to some vocal frailty. In his acoustic recording of Verdi's Aida duet (Columbia 7248/9 - 1921) with Elsa Stralia, Mullings forgets himself at times, and delivers notes with a genuine abandon, freedom and musicality; only to revert to his bizarre vocal production, out of tune and all. It is a performance which provokes at once hilarity, respect and hope of what might have been, if Mullings had any continent technique. That he was accepted as a teacher at revered institutions, perhaps says a great deal regarding English vocal teaching. (wikipedia)/
Sir Thomas Beecham Caroline Hatchard Alexander Borodin Dvořák Carl Maria Von Weber Claude Debussy Edmond Missa Edward German Eugen Albert Felix Mendelssohn Frederick Delius George Frideric Handel Giuseppe Verdi Hector Berlioz Henry Carey Igor Stravinsky Jacques Offenbach Jean Sibelius Johann Strauss II Joseph Haydn Jules Massenet Kurt Atterberg Beethoven Richard Strauss Richard Wagner Wolfgang Amadeus Mozart Beecham Opera Company 1879 1961 2000
Provided to YouTube by IIP-DDS Die Fledermaus: Overture · Beecham Symphony Orchestra · Sir Thomas Beecham · Beecham Opera Company · Caroline Hatchard Sir Thomas Beecham 1879-1961 A Musical Biography ℗ Maestoso Released on: 2000-01-01 Composer: Alexander Borodin Composer: Antonin Dvořák Artist: Beecham Opera Company Artist: Beecham Symphony Orchestra Composer: Carl Maria Von Weber Artist: Caroline Hatchard Composer: Claude Debussy Composer: Edmond Missa Composer: Edward German Composer: Eugen d'Albert Composer: Felix Mendelssohn Composer: Frederick Delius Composer: George Frideric Handel Composer: Giuseppe Verdi Composer: Hector Berlioz Composer: Henry Carey Composer: Igor Stravinsky Composer: Jacques Offenbach Composer: Jean Sibelius Composer: Johann Strauss II Composer: Joseph Haydn Composer: Jules Massenet Composer: Kurt Atterberg Composer: Ludwig van Beethoven Composer: Richard Strauss Composer: Richard Wagner Artist: Sir Thomas Beecham Composer: Wolfgang Amadeus Mozart Auto-generated by YouTube.
London String Quartet Beecham Opera Company Schubert Gibson Orlando Morgan Thomas Beecham Albert Sammons Tchaikovsky Debussy Beethoven Balfour Balfour Gardiner Gardiner Reeves Elizabeth Sprague Coolidge Frank Bridge Wigmore Hall 1874 1885 1908 1910 1911 1914 1915 1917 1919 1920 1922 1924 1925 1934 1945 1974 2004
I think the 3rd time's the "charm." 1. Allegro 2. Andante con moto 12:38 3. Scherzo Allegro molto 21:23 4. Presto 24:49 Recorded in 1925. Members: 1st: Violin: James Levey, 2nd Violin: Thomas Petre, Viola: H. Waldo Warner, Cello: C. Warwick-Evans Found at The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) which was established on 1 April 2004, supported by a 5-year grant of just under £1m from the Arts and Humanities Research Council. The London String Quartet was founded in London in 1908 and remained one of the leading English chamber groups into the 1930s, and made several well-known recordings. The viola player and composer Harry Waldo Warner (1874–1945) had trained at the London Guildhall School of Music under Alfred Gibson and Orlando Morgan. After giving some violin recitals he concentrated on viola. Charles Warwick Evans +••.••(...)) studied for 6 years at the Royal College of Music and became principal cello in the Beecham Opera Company, then leading cello in the Queen's Hall Orchestra. He resigned that post to devote himself to the String Quartet. In 1908 Warwick-Evans was leader of the Queen's Hall violoncellos and Waldo Warner was first viola in the New Symphony Orchestra. Warwick-Evans formed the idea of a string quartet worked up to the standard of a solo virtuoso, and approached Waldo Warner. He was enthusiastic, and then Petre was found and finally Albert Sammons, the new Concertmaster of Thomas Beecham's orchestra, to lead the quartet. They rehearsed four times a week for nearly two years before giving their first concert. There was to be no 'boss': if anyone disagreed with tempo or phrasing he spoke out, the point was discussed, and the decision made if necessary by voting. The first concert was on January 26, 1910, at Bechstein (Wigmore) Hall, as the 'New' Quartet, playing Dohnanyi in D flat, Tchaikovsky in D, and a Fantasy Quartet (No. i) of Waldo Warner's. Reviews were excellent: the second concert was in June 1910, of Debussy in G minor, Beethoven Op. 59 no. 1, and a Fantasy of Balfour Gardiner's. Warwick-Evans suggested the name 'London String Quartet' and in 1911 it was adopted. At the outbreak of war, 1914, Warwick-Evans and Waldo Warner could not serve for health reasons. Petre served in France and his place was taken successively by Wynn Reeves, Herbert Kinsey, and Edwin Virgo. Albert Sammons, meanwhile, was building a solo career and had less time for essential rehearsals. In May 1915 the quartet began to give chamber music 'Pops', much liked in wartime London. By May 1917 they had given 50, and at about that time Sammons left and was replaced (July 1917) by James Levey, a pupil of Ferdinand Hill's. The last of these concerts, the 117th, was on July 14, 1919. In 1920 the suggestion was made that they should perform a one-week cycle of the complete Beethoven quartets, and this was done first in Edinburgh, then in London, then Stockholm, Christiania, and variously in America, in all ten cycles including three in London. In September 1920 they were introduced to America by Mrs Elizabeth Sprague Coolidge at Pittsburgh, playing Frank Bridge's E minor (Bologna) Quartet, Beethoven in E minor, and Waldo Warner's Folk-song Fantasy. In addition to a great number of concerts in London and England they undertook many international tours, notably to America, France, Portugal, Spain (twice), Scandinavia (thrice), Germany and Canada. From November 1922 to April 1924 they conducted a world-tour. Their prestige in America, North and South, was very considerable, and they traveled from Canada to Buenos Aires, performing much new music as well as Beethoven quartet cycles. By the late 1920s they had introduced around one hundred new pieces of music to the repertory. Their disbanding, in November 1934, was prompted by John Pennington having been appointed to the concertmaster's chair in San Francisco. The quartet was one of the most important international groups of its time. Numerous premieres, Beethoven cycles, widespread concertizing, and eminent recordings marked out its trajectory. The 'live' Library of Congress recordings demonstrate its most vital, sensitive and convincing musicianship in ways that even its studio discs occasionally fail to show. They provide irrefutable evidence that the quartet was one of the very greatest of its time.
Evelyn Scotney Amelita Galli Curci Galli Luisa Tetrazzini Verdi Wiedermann Elsa Stralia Florence Austral Nellie Melba Mathilde Marchesi Paolo Tosti Henry Russell Massenet Donizetti Hoffmann Debussy André Caplet Rimsky Korsakov Fromental Halévy Enrico Caruso Beecham Boston Opera Company Metropolitan Opera Beecham Opera Company Olympia Proms 1896 1912 1913 1915 1920 1921 1923 1924 1925 1926 1967
Australian Coloratura Soprano Evelyn Scotney +••.••(...)) / Ophelia's Mad Scene / Hamlet (Thomas) / Recorded: January 10, 1925 / Evelyn Scotney (July 11, 1896 - August 5, 1967): Australian coloratura soprano of great renown in the period from 1913 to the late 1920s. Her range extended to E in altissimo. In her time she was considered by some to be the world's greatest soprano. She was compared very favourably with Amelita Galli-Curci, Luisa Tetrazzini and others. Her recording of "Caro nome" from Verdi's Rigoletto was described by a critic as "one of the best soprano records in existence", and her recording of The Blue Danube and other Strauss vocal waltzes was described as "absolutely perfect coloratura singing".She appears in The Record of Singing. Evelyn Scotney was born in Ballarat in 1896, to parents Henry Bailey Scotney and Eliza Scotney.[7] Her father was a professor from the University of Oxford who had come to Australia to study minerals, married there, and decided to stay. Her family moved to Melbourne when she was young. She studied singing there with Elise Wiedermann, who also taught Elsa Stralia, Florence Austral and others. She was first noticed by Nellie Melba, while singing at a reception for Lord Kitchener in Melbourne. Melba sent her to Paris to study with her own teacher Mathilde Marchesi. She later studied with Paolo Tosti in London. There she was heard by Henry Russell, the director of the Boston Opera Company, who engaged her to sing in Boston. She first appeared as La Charmeuse in Massenet's Thais, then deputised for Luisa Tetrazzini in the title role of Donizetti's Lucia di Lammermoor, the Mad Scene from which became her most famous part. In this and other roles she was said to surpass Tetrazzini. Her other roles in Boston included Carmen and Olympia (The Tales of Hoffmann). She also sang in Debussy's Le martyre de Saint Sébastien in 1912 with Jeska Swartz, conducted by André Caplet. Evelyn Scotney married Howard J. White, a bass singer with the company, and was then known as "Madame Scotney" She later sang at the Metropolitan Opera in New York, in operas such as Rimsky-Korsakov's Le Coq d'Or, Lucia di Lammermoor, L'elisir d'amore and the revival of Fromental Halévy's La Juive, in which she sang opposite Enrico Caruso. During World War I she had various tours of Australia with her husband. Her only brother Henry died in 1915, aged 21. She returned to the US after the war. It was Evelyn Scotney who appeared opposite Enrico Caruso in his final performance, in La Juive, on Christmas Eve 1920. She sang in Melbourne in 1923. By 1925 she was singing Gilda (Rigoletto) in London. She sang with the Beecham Opera Company and appeared at The Proms in the 1920s. Evelyn Scotney remarried in London in the 1920s, to B. H. Russell, London manager of the Cunard Line. Their wedding was attended by Sir Joseph Cook (then Australian High Commissioner to the United Kingdom and a former Prime Minister of Australia) and Lady Cook. She and Russell had a son in 1924 and another son in mid-1926. She gave a series of six Farewell Concerts in Australia in 1926. (wikipedia)/
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