Edward Elgar The Kingdom, Op. 51 Videos
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Walter Widdop Percy Pitt Norman Allin Dinh Gilly Florence Austral Berg Stravinsky Vaughan Williams Handel Haydn Bach Verdi Elgar Mahler Sir John Barbirolli British National Opera Company Covent Garden Royal Albert Hall Proms 1892 1916 1922 1923 1925 1929 1930 1933 1934 1936 1938 1949
Walter Widdop +••.••(...)) was an English tenor who made his mark on the opera, oratorio and concerts worlds during his quarter century career. Born in Yorkshire, the future tenor began working in the local wool mill (and later the dye works) at the age of 12. When Widdop’s voice started to develop, a coworker advised the 18 year old (who enjoyed singing on the job) to pursue singing. After a few years with a local chorus, Widdop began working with esteemed pedagogue Arthur Hinchcliffe, developing his raw talent into an accomplished technique. Although Widdop found himself in uniform at the outbreak of the war, he served his hitch in the familiar surroundings of Yorkshire. This allowed him to continue not only his studies, but to seek singing engagements. One of these, a Christmas Eve 1916 Messiah with the Huddersfield Permanent Orchestra, brought the tenor his first review. A local critic wrote, “Mr. Walter Widdop had the full programme of tenor recits. and airs, and he sang admirably.” Widdop also won many singing competitions during this period, earning a respectable amount of cash for his efforts. After the war, Widdop continued his singing engagements, all the while toiling away at the dye works. In 1922 he auditioned for the British National Opera Company. Music director Percy Pitt didn’t care much for Widdop, but bass Norman Allin encouraged the tenor to study in London. With not much more than a dream and a prayer, Widdop and his wife sold everything they owned to raise funds and set out for the English capitol. The tenor spent a year of study that included working with baritone Dinh Gilly, as well as diction lessons to rid himself of his Yorkshire accent. Although helpful, the period of study had left the Widdops practically penniless. With Norman Allin’s assistance, Widdop arranged a second audition before Percy Pitt. The 31 year old tenor’s year of study must have paid off, for he was contracted by the BNOC. His operatic debut occurred on October 5, 1923 as Radames in Aïda during a company tour in Leeds. Widdop spent the rest of the tour alternating between Radames and Samson, receiving glowing reviews in the process. Just three months after his debut, Widdop made his first appearance on a major international stage, London’s Covent Garden, under the auspices of BNOC. The role was Siegfried and, although the opera had to be cut short (soprano Florence Austral was not able to appear for the final act), the audience response to the tenor was rapturous. Widdop’s career would take off quickly after his London debut, with appearances throughout Britain, as well as Spain, Portugal, Holland, Germany, the U.S. and Australia. The tenor also took advantage of the new medium of radio and was contracted by HMV for a series of successful recordings. With the exception of the aforementioned appearances abroad, Widdop’s career was largely confined to the British Isles. That being said, his work in his homeland was impressive and historic. Widdop sang the British premieres of Berg’s Wozzeck in 1934 and Stravinsky’s Oedipus Rex in 1936. He was also one of four tenors to sing Vaughan Williams’ Serenade to Music at its premiere in 1938, and even played himself in the 1933 film “The Song You Gave Me”. Always a favorite of audiences and critics, Widdop continued his career throughout the 1940s. He toured with the Entertainments National Service Association during WWII, which included appearances in the U.S. and Canada. In the years after the war, Widdop’s health began to fail. Despite his robust appearance, the tenor was often in poor condition, causing him to curtail his appearances. One of his final operatic performances was Parsifal at Royal Albert Hall in July of 1949. He returned to the Albert Hall on September 5 of that year to participate in a Proms concert. After singing Lohengrin’s farewell, the tenor returned to his dressing room, where he collapsed with a heart attack. He was taken to his home in Hampstead where he passed away the following day at the age of 57. Although Walter Widdop was known primarily for singing Wagner and Handel (about as vocally far apart as one could get!), he had a rather diverse repertoire which included not only Siegfried, Tristan, Lohengrin, Tannhäuser, Siegmund in Die Walküre and Erik in Der Fliegende Holländer, but also Max in Der Freischütz, Don José in Carmen, and Canio in Pagliacci. His resume of oratorio, cantata and orchestral works was equally impressive, with appearances in Handel’s Messiah, Judas Maccabaeus, and Solomon, Haydn’s The Creation, Bach’s Mass in B minor, Verdi’s Requiem, Elgar’s The Kingdom, and Mahler’s Symphony no. 8. His recordings, made for HMV between 1925 and 1930, reveal a voice both powerful and lyrical, with impressive flexibility. In this recording, Widdop gives a powerful performance of “Sound an Alarm” from Handel’s Judas Maccabaeus. This was recorded for HMV in London on September 9, 1929, under the baton of Sir John Barbirolli.
Walter Widdop Gounod Malcolm Sargent Steane Verdi Leoncavallo Handel Bach Friedrich Schorr Albert Coates Florence Austral Frida Leider Ljungberg Gluck Stravinsky Sir Thomas Beecham Elisabeth Schumann Schumann Margaret Balfour Elgar Sir Adrian Boult Ralph Vaughan Williams Henry Wood Heddle Nash Frank Titterton Parry Parry Jones British National Opera Company Royal Philharmonic Covent Garden Three Choirs Festival Royal Albert Hall Proms 1892 1917 1923 1928 1929 1930 1932 1933 1935 1936 1937 1938 1949
The fine British tenor, Walter Widdop, sings 'Lend Me Your Aid,' recorded on 27 September 1929 with orchestra conducted by Malcolm Sargent. John Steane described Widdop as having a 'sturdy, virile voice,' and noted that he was capable of singing 'with marvellous resonance and definition.' From Wikipedia: Walter Widdop (19 April 1892 – 6 September 1949) was a British operatic tenor who is best remembered for his Wagnerian performances. His repertoire also encompassed works by Verdi, Leoncavallo, Handel and Bach. Widdop was born at Norland, near Halifax, Yorkshire, England. As a teenager, he worked in a woollen mill and sang in a church choir. He also won a number of singing prizes in his native county, earning praise for his 'God-given' voice, which was honed by a local teacher, Arthur Hinchcliffe. He served with the British Army during World War One and married in 1917. In 1923, Widdop made the first of many broadcasts for the BBC. In the same year, he made his professional operatic debut as Radames in Verdi's Aida with the British National Opera Company, in Leeds. He made his London debut the following year, in the title role in Wagner's Siegfried at the Royal Opera House, Covent Garden. His identification with the Wagnerian repertoire was strengthened by his recordings, notably his Siegmund in the first HMV 78-rpm album of highlights from Die Walküre, with the bass-baritone Friedrich Schorr also in the cast, under the baton of Albert Coates. His Covent Garden Siegmund was heard in 1932, and his Tristan in 1933, 1937, and 1938. His stage and studio partners included the dramatic soprani Florence Austral, Frida Leider and Gota Ljungberg. Most of his recordings are available on CD reissues. Widdop remained in demand at Covent Garden and elsewhere for his performances of taxing Heldentenor roles and the heavier Italian operatic parts. His operatic roles were not confined to the heavyweight parts. In 1928 he sang with Frida Leider in Gluck's Armide and with Stiles Allen in Handel's Rodelinda. He toured Australia and in 1936 he sang the title role in the British premiere of Stravinsky's Oedipus Rex. Widdop also appeared in oratorio and other choral music. In 1928 he sang in Handel's Solomon at a Royal Philharmonic Society performance conducted by Sir Thomas Beecham. In the same year he sang in the Verdi Requiem at the Three Choirs Festival. In 1929, with Friedrich Schorr, Elisabeth Schumann and Margaret Balfour, he took part in the first full recording of the Bach Mass in B Minor conducted by Albert Coates. In 1932 he sang in Elgar's The Kingdom, under Adrian Boult. Among his recordings of extracts from oratorio are examples of the declamatory 'set-pieces' such as 'Sound an Alarm' (from Judas Maccabaeus) and 'Love sounds the alarm' and 'Love in her eyes sits playing' (Acis and Galatea). He also recorded gentler numbers such as 'Waft her, angels' (Jephtha). Many of his recordings have been transferred to compact disc. John Steane in Grove writes, 'He brought an able technique as well as an ample voice to such music as 'Sound an alarm.' ... Records made around 1930 show a firm resonant voice and a virile style, confirming his place among the best heroic tenors of the century.' In 1938, Widdop was one of the four tenor soloists chosen to perform Ralph Vaughan Williams's Serenade to Music, which had been written to celebrate Sir Henry Wood's silver jubilee as a conductor. In the solo lines written for them, Heddle Nash and Frank Titterton, with their lighter tenor voices, preceded Widdop (his solo line was 'Still quiring to the young-eyed cherubins'), with the plaintive tones of Parry Jones concluding the section. Widdop sang in Spain, the Netherlands and Germany. He toured Australia in 1935, but never appeared in the United States. During World War Two, he toured South Africa, Canada and the Middle East for ENSA. He resumed his stage and concert career after the war and in 1949 performed the title role in Wagner's Parsifal, conducted by Sir Adrian Boult, at the Royal Albert Hall in London. He sang less in his later years, but he appeared at The Proms at the Albert Hall on 5 September 1949, performing 'Lohengrin's Farewell.' The next day, he died suddenly in Hampstead. I have transferred this disc from a late HMV 78 rpm English pressing. The original has high surface noise, which I have attempted to tame as much as is reasonably possible.
Erin Wall Britten Mahler Anna Mozart Andrew Davis Elgar Gounod Handel Massenet Lyric Opera Chicago Santa Fe Opera 1975 2001 2003 2004 2007 2014
Erin Wall, 44, Dies; Acclaimed Soprano in Mozart and Strauss Erin Wall, whose silvery yet warm soprano voice infused works by Mozart, Strauss, Britten and Mahler with luminous elegance, died on Oct. 8 at a hospital in Mississauga, Ontario. She was 44. The cause was metastatic breast cancer, Lyric Opera of Chicago said. Lyric Opera was an artistic home base for Ms. Wall, who received her professional start as a member of the company’s prestigious young artist program, now known as the Patrick G. and Shirley W. Ryan Opera Center. Chicago was the site of the dramatic season-opening performance that jolted her nascent career in 2004, when she jumped in with just a few hours’ notice to replace an ill colleague as Donna Anna in Mozart’s “Don Giovanni.” John von Rhein of The Chicago Tribune wrote in his review that “in classic showbiz style, she came, she sang and she conquered.” He praised her voice’s “wide compass, gleaming high extension and ability to float a ravishing, seamless line.” Lyric Opera’s music director, Andrew Davis, a frequent collaborator with Ms. Wall, recalled their performance of Elgar’s oratorio “The Kingdom” in London in 2014. “There’s a marvelous soprano aria in that, ‘The sun goeth down,’” Mr. Davis said in an interview. “And I’ve never heard anyone sing it more beautifully, with such ease and such poignancy. I think of her singing and I get goose bumps.” Erin Marie Wall was born on Nov. 4, 1975, in Calgary, Alberta, to two American musicians, Michael Wall and Suzanne (Hill) Wall, and grew up in Vancouver. She started in music as a pianist, but she was concentrating on singing by the time she attended Western Washington University in Bellingham. She later transferred to Rice University in Houston. From Rice, she entered Lyric Opera’s young artist program in 2001. She swiftly established herself as a rising talent: a lyric soprano with a full-bodied yet agile voice and dazzling facility in her top register. It was an instrument ideal for youthful roles like Marguerite in Gounod’s “Faust,” which she sang in Chicago in 2003, as well as Mozart’s Donna Anna, Pamina (in “The Magic Flute”) and Konstanze (in “The Abduction From the Seraglio”). “The voice definitely evolved,” Michael Benchetrit, Ms. Wall’s manager, said in an interview. “The middle and lower parts became richer with time.” This evolution came as she increasingly took on Strauss roles that benefited from more tonal opulence, like Arabella, Chrysothemis (in “Elektra”) and Daphne. When she starred in “Daphne” at the Santa Fe Opera in 2007, Mr. Benchetrit said, the effect was overwhelming. Tags: erin wall,soprano erin wall,erin nichole wall,erin,wall,erin wall handel: messiah,ballet,erin wall massenet: thaïs thaïs,erin wall britten: peter grimes,erin wood,mccaw hall,va pure ad altri in braccio,great britain,international,1st prize winner,christine goerke,aria,war memorial opera house,lyric,italy,a cappella (musical genre),ellie caulkins opera house,violin,singer,cinema,winner,primer,human rights concert in geneva,violine,musical,singing,arizona,alfredo,italian
Edward Elgar Sir Adrian Boult Yvonne Minton John Shirley Quirk Margaret Price Alexander Young London Philharmonic Orchestra London Philharmonic Choir 1857 1934 1969
Edward Elgar +••.••(...)) The Kingdom Op. 51 00:00 Prelude 07:47 Part I - In the Upper Room - Seek first the Kingdom of God - Men and brethren - O ye priests! 25:40 Part II - At the Beautiful Gate - The singers are before the altar 32:16 Part III - Pentecost - And when the day of Pentecost - And suddenly there came from heaven - Repent, and be baptised 57:40 Part IV - The Sign of Healing - Then they that gladly received his word - And as they spake ….. The sun goeth down 1:19:05 Part V - The Upper Room - The voice of joy - Thou, Almighty Lord - Our Father Margaret Price – soprano (The Blessed Virgin) Yvonne Minton – contralto (Mary Magdalene) Alexander Young – tenor (St. John) John Shirley-Quirk – bass (St. Peter) London Philharmonic Choir (Chorus Master: Frederic Jackson) London Philharmonic Orchestra Conducted by Sir Adrian Boult 1969 _ painting: after "Le Départ des Apôtres allant prêcher L' Evangile" by Charles Gleyre
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