Three Choirs Festival Vídeos
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2024-04-28
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William Heddle Nash Verdi Steane Enrico Caruso Giuseppe Borgatti Carcano Rossini Ferrando Joan Hammond Sir Edward Elgar Scala Covent Garden Three Choirs Festival British National Opera Company Carl Rosa Opera Company 1894 1923 1924 1925 1926 1929 1930 1931 1932 1934 1937 1938 1948 1950 1958 1961 1994
Heddle Nash sings 'Questa o quella' (in English as 'In my heart, all are equally cherished,') with orchestra conducted by Clarence Raybould, recorded on 4 April 1932. I hear a little 'bird' intrude in the introduction! From Wikipedia: William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio. He made numerous recordings that are still available on CD reissues. Nash's voice was of the light tenor class known as 'tenore di grazia.' The critic J. B. Steane referred to him as 'the English lyric tenor par excellence, without equal then or now...' Nash was born in the South London district of Deptford on 14 June 1894... The family was musical, and listening at home to a gramophone record by Enrico Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, John Dennis Heddle Nash +••.••(...)), who became an operatic baritone, and David L Heddle Nash (b. 1930). While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's Il Barbiere di Siviglia. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi. On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. Success was instantaneous. The Musical Times said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future... At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season... In 1929, Nash made his debut at the Royal Opera House, Covent Garden... He sang leading tenor roles in Italian and French operas at Covent Garden until World War II... The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him 'ideal casting for the heroes of French 19th-century Romantic opera.' Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le Nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan Tutte. He sang these three roles every year until 1938, adding Ottavio in Don Giovanni in 1937. The critic Richard Capell wrote, 'Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity.' Nash also sang in lighter musical stage works... During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond... His last appearance at Covent Garden was in Die Meistersinger in April 1948. He continued to appear on stage until July 1958... Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in The Dream of Gerontius, in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950... Nash sang regularly in Messiah, and other oratorios... In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang in his last Messiah a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of The Dream of Gerontius: 'I went to sleep and now I am refreshed...'' I transferred this side from Australian Columbia DO 863.
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.
David Hill Bach Foley Stephen Barlow Barlow Tom Armstrong Merlin Three Choirs Festival 2020
The promise was commissioned by David Hill and The Bach Choir at the start of the first lockdown in 2020. The text, by soprano Laura-Jane-Foley, was chosen by composer Gabriel Jackson from a selection of verses submitted by singing members of The Bach Choir. Laura-Jane Foley is a writer and art historian who has previously worked with composers Stephen Barlow, Dimitri Scarlato, Tom Armstrong and Luis Soldado. Her poem, The Promise, takes the reader on a journey from 'the blackest of nights' to the return of light and the promise of a new dawn. Gabriel Jackson is one of Britain's foremost and most celebrated composers, whose music can be heard on over 100 recordings. His latest large-scale work, The World Imagined, a 45-minute oratorio, received it's word premiere at this year's Three Choirs Festival, conducted by David Hill. The Promise, set in 16 parts, begins in a minor key and makes use of aleatoric passages - where the singers are given an outline melody and are asked to repeat it for a specified length of time at a tempo and rhythm of their choosing, creating a feeling of randomness - to depict the darkness of the first half of the poem, moving into a brighter, major key and regular meter for the words 'in the darkness there's hope'. With all the uncertainties that lockdown brought, the original intention was that The Promise could be recorded or performed in different ways - as a virtual choir performance if necessary - or in person. In fact, the finished recording was a hybrid of the two with a small group of singers convening in person to be recorded and filmed, and many others recording themselves at home with the help of a guide track, and the results expertly mixed together in the recording studio. What began as a drive to commission more new music in a challenging year for musicians, and to allow The Bach Choir to keep singing together virtually, has now been transformed by We Dream Films ((http•••)) into a compelling film with an environmental theme. This is an ambitious, technically innovative short film which acts as a love letter to nature. Shot in Puzzlewood Forest, where scenes from Star Wars, Merlin and The Secret Garden have been filmed, it brings to life Mother Earth, who inspires the young female hero to take ownership of her relationship with the natural world and commit to regenerating it. It is a visual poem and modern fairy tale of a young girl's journey into the depths of a magical forest to learn a lesson and make a commitment to look after nature: The Promise.
Gladys Ripley Elgar George Weldon Weldon Albert Coates Adrian Boult Malcolm Sargent Thomas Beecham Thornton Serge Koussevitzky Wilhelm Furtwängler Victor Sabata Handel Heddle Nash Philharmonia Orchestra Royal Choral Society Royal Albert Hall Three Choirs Festival 1626 1899 1908 1925 1926 1928 1940 1942 1945 1946 1949 1950 1952 1955
Elgar's song cycle 'Sea Pictures' premiered in October 1899. This version was recorded by Gladys Ripley, with the Philharmonia Orchestra conducted by George Weldon, in No. 1 Studio, Abbey Road, London, on 28 May 1946. The songs are: 00:00 Slumber Song 04:59 In Haven 06:46 Sabbath Morning at Sea 13:27 Where Corals Lie 16:26 The Swimmer From Wikipedia: Gladys Ripley (9 July 1908 – 21 December 1955) was an English contralto. She was born in Forest Gate, Essex, England, the daughter of Alfred and Amy Ripley, and was educated at St. Edmund Roman Catholic School, East Ham, and at Clark's Business College. In 1925, she gave her first important concert, singing Elijah at the Royal Albert Hall conducted by Albert Coates). Ripley broadcast continually from 1926 in a variety of programmes: opera, oratorio, musical plays, and light music. She sang with all the leading orchestras, under conductors including Adrian Boult, Malcolm Sargent, Thomas Beecham, Charles Thornton Lofthouse, Serge Koussevitzky, Wilhelm Furtwängler, and Victor de Sabata. Ripley appeared with the Royal Choral Society and other principal societies. She also performed at major festivals: Three Choirs Festival, Three Valleys Festival, Norwich Festival, and Leeds Festival. Before the Second World War, she sang for six seasons at the Royal Opera House. In 1940, she toured New Zealand as a guest artist for the New Zealand Centennial celebrations. During the war she sang for the troops frequently, visiting France in 1940, West Africa in 1942, and Belgium and Netherlands in 1945. In the 1942 film The Great Mr. Handel, Ripley was the singing voice of the character Mrs. Cibber, played by Elizabeth Allan. In 1949, she toured New Zealand and Australia. In 1950, she toured the Netherlands. Ripley married three times: 1928 Harry W. Gilbert giving one daughter, Shirley Anne 1945 Squadron Leader John Price (died 1952) Flight-Lieutenant E. A. Dick Her recreations were swimming, gardening, knitting, and ballroom dancing. After the war, she lived in London and Pagham, Sussex. Ripley died in Chichester of breast cancer on 21 December 1955. I transferred 'Sea Pictures' from Australian laminated pressings of HMV EB 398-400. Thanks to Fan of Heddle Nash for assisting by supplying and processing several photos of Ripley.
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