Elsa Stralia Vídeos
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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)/
Elsa Stralia Gounod Griffiths Fischer Annie Fischer Florence Austral Christensen Covent Garden 1881 1899 1908 1913 1916 1924 1925 1934 1935 1943 1945
It's time for some vocal recordings, so here is the Australian soprano Elsa Stralia. The photographs in the slideshow are mostly self-explanatory - but the last one shows Stralia on 26 March 1925, standing outside the exit from Platform 1 of Sydney's Central Station after having arrived in Sydney to begin her tour. On the left of the photo next to her stands 'cellist Bessie Griffiths. Impressario George Holburn can be seen to the right. It's such a wonderful photo that I couldn't help colourising it: those who know the spot will recognise it immediately, as it is exactly the same today. Two versions of the 'Jewel Song' were issued on Columbia 7330. The second - from 1924 - is more complete, but I think the earlier disc captures the voice better. Adapted from Wikipedia: Elsa Stralia (1 March 1881 – 31 August 1945) was an Australian soprano with an international reputation in Europe and America. She was born Elsie Mary Fischer. She was born in Adelaide in 1881 to Hugo and Annie Fischer. The family moved to Melbourne in 1899, where she was convent-educated. After appearing in Sydney, she studied in Milan and London. She made her Covent Garden, London debut as Donna Elvira in Mozart's Don Giovanni in 1913, under the professional name of Elsa Stralia (after Australia, like Florence Austral). She appeared at Covent Garden, and in Milan, Paris, South Africa and New York City. She toured in South Africa, and in a number of American cities, once singing 'The Star-Spangled Banner' while dressed as the Statue of Liberty. She recorded for the Columbia Graphophone Company, and toured Australasia in 1925 and 1934. She married William Mountford Moses in 1908 in Sydney. She divorced him and married Adolph Theodor Christensen in Sydney in 1935. They lived in Patea, New Zealand until he died in 1943. She then moved to Melbourne, where she died, childless, at Belgrave. Her estate was used to establish a scholarship for young Australian female singers.
1925 1934 1935 1943 1945 Elsa Stralia Verdi Hamilton Harty Fischer Annie Fischer Florence Austral Christensen Covent Garden 1881 1899 1908 1913
In our ongoing survey of the recordings of Elsa Stralia, we move back to opera. This recording was made on 1 January 1925, with orchestra conducted by Hamilton Harty. Adapted from Wikipedia: Elsa Stralia (1 March 1881 – 31 August 1945) was an Australian soprano with an international reputation in Europe and America. She was born Elsie Mary Fischer. She was born in Adelaide in 1881 to Hugo and Annie Fischer. The family moved to Melbourne in 1899, where she was convent-educated. After appearing in Sydney, she studied in Milan and London. She made her Covent Garden, London debut as Donna Elvira in Mozart's Don Giovanni in 1913, under the professional name of Elsa Stralia (after Australia, like Florence Austral). She appeared at Covent Garden, and in Milan, Paris, South Africa and New York City. She toured in South Africa, and in a number of American cities, once singing 'The Star-Spangled Banner' while dressed as the Statue of Liberty. She recorded for the Columbia Graphophone Company, and toured Australasia in 1925 and 1934. She married William Mountford Moses in 1908 in Sydney. [For those interested in such things, Moses was a member of the Windsor-based family of that name.] She divorced him and married Adolph Theodor Christensen in Sydney in 1935. They lived in Patea, New Zealand until he died in 1943. She then moved to Melbourne, where she died, childless, at Belgrave. Her estate was used to establish a scholarship for young Australian female singers.
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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- cronología: Cantantes líricos (Oceanía).
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