Nellie Melba
Encyclopedia
Dame Nellie Melba GBE
(19 May 186123 February 1931), born Helen "Nellie" Porter Mitchell, was an Australian opera
tic soprano
. She became one of the most famous singers of the late Victorian Era
and the early 20th century. She was the first Australian to achieve international recognition as a classical musician.
Melba studied singing in Melbourne and made a modest success in performances there. After a brief and unsuccessful marriage, she moved to Europe in search of a singing career. Failing to find engagements in London in 1886, she studied in Paris and soon made a great success there and in Brussels. Returning to London she quickly established herself as the leading lyric soprano
at Covent Garden
from 1888. She soon achieved further success in Paris and elsewhere in Europe, and later at the Metropolitan Opera
, New York, debuting there in 1893. Her repertoire was small; in her whole career she sang no more than 25 roles and was closely identified with only ten. She was known for her performances in French and Italian opera, but sang little German opera.
During the First World War, Melba raised large sums for war charities. She returned to Australia frequently during the 20th century, singing in opera and concerts, and had a house built for her near Melbourne. She was active in the teaching of singing at the Melbourne Conservatorium
. Melba continued to sing until the last months of her life and made a legendary number of "farewell" appearances. Her death, in Australia, was news across the English-speaking world, and her funeral was a major national event.
, the eldest of seven children of David Mitchell
and his wife Isabella née Dorn. Mitchell, a Scot, had emigrated to Australia in 1852, becoming a successful builder there. Melba was taught to play the piano and first sang in public at the age of about six. She was educated at a local boarding school and then at the Presbyterian Ladies' College
. She studied singing with Mary Ellen Christian (a former pupil of Manuel García
) and Pietro Cecchi, an Italian tenor, who was a respected teacher in Melbourne. Melba continued to perform, in her teens, in amateur concerts in and around Melbourne, and she also played the organ at church. Her father encouraged her in her musical studies, but he strongly disapproved of her taking up singing as a career. Melba's mother died suddenly in 1880, and she moved to Queensland
.
In December 1882, Melba married Charles Nesbitt Frederick Armstrong (1858–1948), the youngest son of Sir Andrew Armstrong
. They had one child, a son, George, born in 1883. The marriage was not a success; Charles reportedly beat his wife more than once. The couple separated after little more than a year, and Melba returned to Melbourne determined on a singing career, debuting professionally in concerts in 1884. On the strength of local success, she travelled to London in search of an opportunity. Her debut at the Princes' Hall in 1886 made little impression, and she sought work unsuccessfully from Sir Arthur Sullivan
, Carl Rosa and Augustus Harris
. She then went to Paris to study with the leading teacher Mathilde Marchesi
, who instantly recognised the young singer's potential: she exclaimed, "J'ai enfin une étoile!" – "I have a star at last!". Melba made such rapid progress that she was allowed to sing the "Mad Scene" from Ambroise Thomas
's Hamlet
at a matinée musicale in Marchesi's house in December the same year, in the presence of the composer.
The young singer's talent was so evident that, after less than a year with Marchesi, she was given a ten-year contract with the impresario Maurice Strakosch
. After she had signed, she received a better offer from the Théâtre de la Monnaie
, Brussels, but Strakosch was not inclined to release her. She was in despair when the matter was resolved by Strakosch's sudden death. She made her operatic debut as Gilda in Rigoletto
at La Monnaie on 12 October 1887. The critic Herman Klein
described her Gilda as "an instant triumph of the most emphatic kind ... followed ... a few nights later with an equal success as Violetta in La Traviata
." It was at this time, on Marchesi's advice, that she adopted the stage name of "Melba", a contraction of the name of her native city.
début in May 1888, in the title role in Lucia di Lammermoor
. She received a friendly but not excited reception. The Musical Times
wrote, "Madame Melba is a fluent vocalist, and a quite respectable representative of light soprano parts; but she lacks the personal charm necessary to a great figure on the lyric stage." She was offended when Augustus Harris, then in charge at Covent Garden, offered her only the small role of the page Oscar in Un ballo in maschera
for the next season. She left England vowing never to return. The following year, she performed at the Opéra
in Paris, in the role of Ophélie in Hamlet; The Times described this as "a brilliant success", and said, "Madame Melba has a voice of great flexibility ... her acting is expressive and striking."
Melba had a strong supporter in London, Lady de Grey
, whose views carried weight at Covent Garden. Melba was persuaded to return, and Harris cast her in Roméo et Juliette
(June 1889) co-starring with Jean de Reszke
. She later recalled, "I date my success in London quite distinctly from the great night of 15 June 1889." After this, she returned to Paris as Ophélie, Lucia in Lucia di Lammermoor, Gilda in Rigoletto, Marguerite in Faust
, and Juliette. In French operas her pronunciation was poor, but the composer Delibes
said that he did not care whether she sang in French, Italian, German, English or Chinese, as long as she sang.
In the early 1890s, Melba embarked on an affair with Prince Philippe, Duke of Orléans. They were seen frequently together in London, which excited some gossip, but far more suspicion arose when Melba travelled across Europe to St Petersburg to sing for Tsar Nicholas II
: the Duke followed closely behind her, and they were spotted together in Paris, Brussels, Vienna and St Petersburg. Armstrong filed divorce proceedings on the grounds of Melba's adultery, naming the Duke as co-respondent; he was eventually persuaded to drop the case, but the Duke decided that a two-year African safari (without Melba) would be appropriate. He and Melba did not resume their relationship. In the first years of the decade, Melba appeared in the leading European opera houses, including Milan, Berlin and Vienna.
Melba sang the role of Nedda in Pagliacci
at Covent Garden in 1893, soon after its Italian premiere. The composer was present, and said that the role had never been so well played before. In December of that year, Melba sang at the Metropolitan Opera
in New York for the first time. As at her Covent Garden debut, she appeared as Lucia di Lammermoor, and as at Covent Garden, it was less than a triumph. The New York Times
praised her performance – "one of the loveliest voices that ever issued from a human throat ... simply delicious in its fullness, richness and purity" – but the work was out of fashion, and the performances were poorly attended. Her performance in Roméo et Juliette, later in the season, was a triumph and established her as the leading prima donna of the time in succession to Adelina Patti
. She had at first been nonplussed by the impenetrable snobbery at the Metropolitan; the author Peter Conrad
has written, "In London she hobnobbed with royalty; in New York she was a singing menial." Assured of critical success, she set herself to achieve social recognition, and succeeded.
From the 1890s, Melba played a wide range of parts at Covent Garden, mostly in the lyric soprano repertoire, but with some heavier roles also. She sang the title roles in Herman Bemberg
's Elaine and Arthur Goring Thomas
's Esmeralda. Her Italian parts included Gilda in Rigoletto
, the title role in Aida
, Desdemona in Otello
, Luisa in Mascagni's I Rantzau
, Nedda in Pagliacci
, Rosina in The Barber of Seville
, Violetta in La traviata
, and Mimi in La bohème
. In the French repertoire, she sang Juliette in Roméo et Juliette, Marguerite in Faust
, Marguerite de Valois in Les Huguenots
, the title role in Saint-Saëns
's Hélène
, which was written for her, and Micaëla in Carmen
.
Some writers expressed surprise at Melba's playing the last of these roles, since it was merely a supporting part in the opera. She played it on many occasions, saying in her memoirs, "Why on earth a prima donna should not sing secondary rôles I could not see then and am no nearer seeing to-day. I hate the artistic snobbery of it." She sang the role opposite the Carmens of Emma Calvé
, Zélie de Lussan
and Maria Gay
. Marguerite de Valois, too, is not the leading female role in Les Huguenots, but Melba was willing to undertake it as seconda donna to Emma Albani
. She was generous in support of singers who did not rival her in her favoured roles, but was, as her biographer J. B. Steane put it, "pathologically critical" of other lyric sopranos.
Melba was not known as a Wagner
singer, although she occasionally sang Elsa in Lohengrin
and Elisabeth in Tannhäuser
. She received a certain amount of praise in these roles, although Klein found her unsuited to them, and Bernard Shaw
thought she sang with great skill but played artificially and without sensibility. In 1896 at the Metropolitan, she attempted the role of Brünnhilde in Siegfried
, in which she was not a success. Her most frequent role in that house was Marguerite in Gounod
's Faust, which she had studied under the supervision of the composer. She never essayed any of Mozart
's operas, for which some thought her voice ideally suited. Her repertoire across her entire career amounted to no more than 25 roles, of which, The Times obituarist wrote, "only some 10 parts are those which will be remembered as her own."
Melba's marriage to Armstrong was finally terminated when, having emigrated to the United States with their son, he divorced her in Texas in 1900.
. The profits were unprecedented; she returned for four more tours during her career. In Britain, Melba campaigned on behalf of Puccini's La bohème
. She had first sung the part of Mimi in 1899, having studied it with the composer. She argued strongly for further productions of the work in the face of the distaste expressed by the Covent Garden management at this "new and plebeian opera". She was vindicated by the public enthusiasm for the piece, which was bolstered in 1902 when Enrico Caruso joined her in the first of many Covent Garden performances together. She sang Mimi for Oscar Hammerstein I
at his opera house in New York, in 1907, giving the enterprise a needed boost. After her initial successes in Brussels and Paris in the 1880s, Melba sang infrequently on the European continent; only the English-speaking countries welcomed her wholeheartedly.
Although she called Covent Garden "my artistic home", her appearances there became less frequent in the 20th century. One reason for this was that she did not get on well with Sir Thomas Beecham
, who was in control of the opera house for much of the period from 1910 until her retirement. She said, "I dislike Beecham and his methods", and he thought that while she had "nearly all the attributes inseparable from great artistry ... she was wanting in a genuine spiritual refinement." Another factor in her reduced appearances at Covent Garden was the appearance on the scene of Luisa Tetrazzini
, a soprano ten years her junior, who became a great success in London and later in New York in roles previously associated with Melba. A third reason was her decision to spend more time in Australia. In 1909 she undertook what she called a "sentimental tour" of Australia, covering 10,000 miles (16,093 km) and including many remote towns. In 1911 in partnership with the J. C. Williamson
company, she appeared in an operatic season. Her attitude to her tour concerts and the audiences attending was summed up in the advice that Clara Butt
said Melba gave her apropos of a planned Australian tour: "Sing 'em muck; it's all they can understand." To another colleague and compatriot, Peter Dawson, she described his home city of Adelaide
as "that city of the three P's – Parsons, Pubs and Prostitutes."
In 1909, Melba bought property at Coldstream
, a small town near Melbourne, and around 1912 she had Coombe Cottage built. She also set up a music school in Richmond, which she later merged into the Melbourne Conservatorium
. She was in Australia when the First World War broke out, and she threw herself into fund-raising for war charities, raising £100,000. In recognition of this, she was created a Dame Commander of the Order of the British Empire
(DBE) in March 1918, "for services in organising patriotic work".
After the war, Melba made a triumphant return to the Royal Opera House, in a performance of La bohème conducted by Beecham, which re-opened the house after four years of closure. The Times wrote, "Probably no season at Covent Garden has ever started with quite the thrill of enthusiasm which passed through the house." In her many concerts, however, her repertoire was regarded as trite and predictable. After one of them The Musical Times
wrote:
In 1922 Melba returned to Australia, where she sang at the immensely successful "Concerts for the People" in Melbourne and Sydney, with low ticket prices, attracting 70,000 people. In 1924 for another Williamson opera season, she caused resentment among local singers by importing an entire chorus from Naples. In 1926 she made her farewell appearance at Covent Garden, singing in scenes from Roméo et Juliette Otello, and La bohème. She is well remembered in Australia for her seemingly endless series of "farewell" appearances, including stage performances in the mid-1920s and concerts in Sydney on 7 August 1928, Melbourne on 27 September 1928 and Geelong in November 1928. From this, she is remembered in the vernacular Australian expression "more farewells than Dame Nellie Melba".
In 1929 she returned for the last time to Europe and then visited Egypt, where she contracted a fever that she never entirely shook off. Her last performance was in London at a charity concert on 10 June 1930. She returned to Australia but died in St Vincent's Hospital, Sydney
in 1931, aged 69, of septicaemia which had developed after facial surgery in Europe some time before. She was given an elaborate funeral from Scots' Church, Melbourne
, which her father had built and where as a teenager she had sung in the choir. The funeral motorcade was over a kilometre long, and her death made front-page headlines in Australia, the United Kingdom, New Zealand and Europe. Billboards in many countries said simply "Melba is dead". Part of the event was filmed for posterity. Melba was buried in the cemetery at Lilydale
, near Coldstream. Her headstone bears Mimi's farewell words: "" (Farewell, without bitterness).
Others also benefited from Melba's praise and interest. She passed her own cadenza
s on to a young Gertrude Johnson
, a valuable professional asset. In 1924, Melba brought the new star Toti Dal Monte
, fresh from triumphs in Milan and Paris but still unheard in England or the United States, to Australia as a principal of the Melba-Williamson Grand Opera Company. After sharing the Covent Garden stage in a 1923 night of operatic extracts with another Australian soprano, Florence Austral (who, as a dramatic soprano
, posed no threat to Melba, a lyric soprano), Melba was effusive with her praise, describing the younger woman as "one of the wonder-voices of the world". She similarly described the American contralto Louise Homer
as possessing "the world's most beautiful voice". She gave financial assistance to the Australian painter Hugh Ramsay
, living in poverty in Paris and also helped him to forge connections in the artistic world. The Australian baritone
John Brownlee
and tenor
Browning Mummery
were both protégés: both sang with her in her 1926 Covent Garden farewell (recorded by HMV), and Brownlee sang with her on two of her last commercial recordings later that year (a session arranged by her in part to promote Brownlee).
Phonograph Lab in New York. A reporter from Phonoscope magazine was impressed: "The next cylinder was labelled 'Melba' and was truly wonderful, the phonograph reproducing her wonderful voice in a marvellous manner, especially the high notes which soared away above the staff and were rich and clear." Melba was less impressed: "'Never again,' I said to myself as I listened to the scratching, screeching result. 'Don't tell me I sing like that, or I shall go away and live on a desert island.'" The recordings never reached the general public – destroyed on Melba's orders, it is suspected – and Melba would not venture into a recording studio for another eight years. Melba can be heard singing on several Mapleson Cylinders
, early attempts at live recording, made by the Metropolitan Opera House librarian Lionel Mapleson in the auditorium there during performances. These cylinders are often poor in quality, but they preserve something of the quality of the young Melba's voice and performance that is sometimes lacking from her commercial recordings.
Melba made numerous gramophone
(phonograph
) records of her voice in England and America between 1904 (when she was already in her 40s) and 1926 for the Gramophone & Typewriter Company and the Victor Recording Company. Most of these recordings, consisting of operatic arias, duets and ensemble pieces and songs, have been re-released on CD. The poor audio fidelity of the Melba recordings reflects the limitations of the early days of commercial sound recording. Melba's Acoustical recordings (especially those made after her initial 1904 session) fail to capture vital overtones to the voice, leaving it without the body and warmth it possessed – albeit to a limited degree – in life. Despite this, they still reveal Melba to have had an almost seamlessly pure lyric soprano
voice with effortless coloratura, a smooth legato and accurate intonation. Melba had perfect pitch; the critic Michael Aspinall says of her complete London recordings issued on LP, that there are only two lapses from pitch in the entire set. Like Patti, and unlike the more vibrant-voiced Tetrazzini, Melba's exceptional purity of tone was probably one of the principal reasons why British audiences, with their strong choral and sacred music traditions, idolised her.
Melba's farewell to Covent Garden on 8 June 1926 was recorded by HMV, as well as broadcast. The programme included Act 2 of Roméo et Juliette
(not recorded because the tenor Charles Hackett was not under contract to HMV), followed by the opening of Act 4 of Otello (Desdemona's "Willow Song" and "Ave Maria") and Acts 3 and 4 of La bohème (with Aurora Rettore, Browning Mummery, John Brownlee and others). The conductor was Vincenzo Bellezza. At the conclusion Lord Stanley of Alderley made a formal address and Melba gave an emotional farewell speech. In a pioneering venture, eleven sides (78rpm) were recorded via a landline to Gloucester House (London), though in the event only three of these were published. The full series (including both speeches) was included in a 1976 HMV reissue.
As was the case in many of her performances, most of Melba's recordings were made at "French Pitch" (A=435 Hz), rather than the British early 20th century standard of A=452 Hz, or the modern standard of A=440 Hz. This, and the technical inadequacies of the early recording process (discs were frequently recorded faster or slower than the supposed standard of 78rpm, whilst the conditions of the cramped recording studios – kept very warm to keep the wax at the necessary softness when cutting – would wreak havoc with instrumental tuning during recording sessions), means that playing her recordings back in the speed and pitch she made them at is not always a simple matter.
In June 1920 Melba was heard in a pioneering radio broadcast from Guglielmo Marconi
's factory in Chelmsford, singing two arias and her famous trill. She was the first artist of international renown to participate in direct radio broadcasts. Radio enthusiasts across the country heard her, and the broadcast was reportedly heard from as far away as New York. People listening on the radio barely heard a few scratches of the trill and two arias she sang. Further radio broadcasts would include her Covent Garden farewell performance, and a 1927 Empire Day broadcast (broadcast throughout the British Empire, by radio station 2FC, Sydney, on Monday 5 September 1927; it was relayed by the BBC London on Sunday 4 September).
in 1927. She was the first Australian to appear on the cover of Time
magazine, in April 1927. A stained glass window commemorating Melba was erected in 1962 in the Musicians' Memorial Chapel of the Church of St. Sepulchre, London, known as "the musicians' church". She is one of only two singers with a marble bust on the grand staircase of the Royal Opera House, Covent Garden. The other is Adelina Patti
.
Melba was closely associated with the Melbourne Conservatorium, and this institution was renamed the Melba Memorial Conservatorium of Music
in her honour in 1956. The music hall at the University of Melbourne
is known as Melba Hall. The Canberra
suburb of Melba
is named after her. The current Australian 100 dollar note features the image of her face, and her likeness has also appeared on an Australian stamp. Sydney Town Hall
has a marble relief bearing the inscription "Remember Melba", unveiled during a World War II charity concert in memory of Melba and her First World War charity work and patriotic concerts.
Melba's name is associated with four foods, all of which were created in her honour by the French chef Auguste Escoffier
:
. There are several full-length biographies devoted to her, including those by John Hetherington (1967), Thérèse Radic (1986) and Ann Blainey (2009).
A novel Evensong by Nichols (1932) was based on aspects of Melba's life, drawing an unflattering portrait. The 1934 motion picture adaptation
of Evensong, starring Evelyn Laye
as the character based on Melba, was for a time banned in Australia. Melba makes an appearance in the 1946 novel Lucinda Brayford
by Martin Boyd. She is depicted as attending a garden party thrown by Julie and Fred Vane, mother of the eponymous heroine: "Melba sang two or three songs, "Down in the Forest", Musetta's song from La bohème, and finally "Home, Sweet Home." She is described as having the "loveliest voice in the world".
In 1946–1947 Crawford Productions produced a popular radio series on Melba starring Glenda Raymond, who became one of the foundation singers of the Australian Opera (later Opera Australia
) in 1956. In 1953 a biopic
entitled Melba
was released by Horizon Pictures
and directed by Lewis Milestone
. Melba was played by the soprano Patrice Munsel
. In 1987 the Australian Broadcasting Corporation
produced a mini-series, Melba, starring Linda Cropper
miming to the singing voice of Yvonne Kenny
.
Order of the British Empire
The Most Excellent Order of the British Empire is an order of chivalry established on 4 June 1917 by George V of the United Kingdom. The Order comprises five classes in civil and military divisions...
(19 May 186123 February 1931), born Helen "Nellie" Porter Mitchell, was an Australian opera
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
tic soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
. She became one of the most famous singers of the late Victorian Era
Victorian era
The Victorian era of British history was the period of Queen Victoria's reign from 20 June 1837 until her death on 22 January 1901. It was a long period of peace, prosperity, refined sensibilities and national self-confidence...
and the early 20th century. She was the first Australian to achieve international recognition as a classical musician.
Melba studied singing in Melbourne and made a modest success in performances there. After a brief and unsuccessful marriage, she moved to Europe in search of a singing career. Failing to find engagements in London in 1886, she studied in Paris and soon made a great success there and in Brussels. Returning to London she quickly established herself as the leading lyric soprano
Lyric soprano
A lyric soprano is a type of operatic soprano that has a warm quality with a bright, full timbre which can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have...
at Covent Garden
Royal Opera House
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The...
from 1888. She soon achieved further success in Paris and elsewhere in Europe, and later at the Metropolitan Opera
Metropolitan Opera
The Metropolitan Opera is an opera company, located in New York City. Originally founded in 1880, the company gave its first performance on October 22, 1883. The company is operated by the non-profit Metropolitan Opera Association, with Peter Gelb as general manager...
, New York, debuting there in 1893. Her repertoire was small; in her whole career she sang no more than 25 roles and was closely identified with only ten. She was known for her performances in French and Italian opera, but sang little German opera.
During the First World War, Melba raised large sums for war charities. She returned to Australia frequently during the 20th century, singing in opera and concerts, and had a house built for her near Melbourne. She was active in the teaching of singing at the Melbourne Conservatorium
Melba Memorial Conservatorium of Music
The Melba Memorial Conservatorium of Music was a school of music located in Melbourne, Victoria, Australia. During its early days it was closely associated with opera diva Dame Nellie Melba, after whom it was later named. In 1994 it became affiliated with Victoria University...
. Melba continued to sing until the last months of her life and made a legendary number of "farewell" appearances. Her death, in Australia, was news across the English-speaking world, and her funeral was a major national event.
Early years
Melba was born in Richmond, VictoriaRichmond, Victoria
Richmond is a suburb in Melbourne, Victoria, Australia, 3 km south-east from Melbourne's central business district. Its Local Government Area is the City of Yarra...
, the eldest of seven children of David Mitchell
David Mitchell (builder)
David Mitchell was a Scottish-Australian builder. He was born in Forfarshire, Scotland. He left for Australia, arriving in Melbourne on 24 July 1852....
and his wife Isabella née Dorn. Mitchell, a Scot, had emigrated to Australia in 1852, becoming a successful builder there. Melba was taught to play the piano and first sang in public at the age of about six. She was educated at a local boarding school and then at the Presbyterian Ladies' College
Presbyterian Ladies' College, Melbourne
Presbyterian Ladies' College, Melbourne , is an independent,private, Presbyterian, day and boarding school predominantly for girls, located in Burwood, an eastern suburb of Melbourne, Victoria, Australia....
. She studied singing with Mary Ellen Christian (a former pupil of Manuel García
Manuel Patricio Rodríguez García
Manuel Patricio Rodríguez García , was a Spanish singer, music educator, and vocal pedagogue.-Biography:García was born on 17 March 1805 in the town of Zafra in Badajoz Province, Spain. His father was singer and teacher Manuel del Pópulo Vicente Rodriguez García...
) and Pietro Cecchi, an Italian tenor, who was a respected teacher in Melbourne. Melba continued to perform, in her teens, in amateur concerts in and around Melbourne, and she also played the organ at church. Her father encouraged her in her musical studies, but he strongly disapproved of her taking up singing as a career. Melba's mother died suddenly in 1880, and she moved to Queensland
Queensland
Queensland is a state of Australia, occupying the north-eastern section of the mainland continent. It is bordered by the Northern Territory, South Australia and New South Wales to the west, south-west and south respectively. To the east, Queensland is bordered by the Coral Sea and Pacific Ocean...
.
In December 1882, Melba married Charles Nesbitt Frederick Armstrong (1858–1948), the youngest son of Sir Andrew Armstrong
Andrew Armstrong
Sir Andrew Armstrong, 1st Baronet DL was an Irish baronet and politician.Born at Gallen Priory in County Offaly, he was the son of Edmund Armstrong and his wife Elizabeth, third daughter of Frederick Trench and sister of Frederick Trench, 1st Baron Ashtown.He served as captain in the King's County...
. They had one child, a son, George, born in 1883. The marriage was not a success; Charles reportedly beat his wife more than once. The couple separated after little more than a year, and Melba returned to Melbourne determined on a singing career, debuting professionally in concerts in 1884. On the strength of local success, she travelled to London in search of an opportunity. Her debut at the Princes' Hall in 1886 made little impression, and she sought work unsuccessfully from Sir Arthur Sullivan
Arthur Sullivan
Sir Arthur Seymour Sullivan MVO was an English composer of Irish and Italian ancestry. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including such enduring works as H.M.S. Pinafore, The Pirates of Penzance and The Mikado...
, Carl Rosa and Augustus Harris
Augustus Harris
Sir Augustus Henry Glossop Harris , was a British actor, impresario, and dramatist.-Early life:Harris was born in Paris, France, the son of Augustus Glossop Harris , who was also a dramatist, and his wife, née Maria Ann Bone, a theatrical costumier...
. She then went to Paris to study with the leading teacher Mathilde Marchesi
Mathilde Marchesi
Mathilde Marchesi was a German mezzo-soprano, a renowned teacher of singing, and a proponent of the bel canto vocal method.-Biography:...
, who instantly recognised the young singer's potential: she exclaimed, "J'ai enfin une étoile!" – "I have a star at last!". Melba made such rapid progress that she was allowed to sing the "Mad Scene" from Ambroise Thomas
Ambroise Thomas
Charles Louis Ambroise Thomas was a French composer, best known for his operas Mignon and Hamlet and as Director of the Conservatoire de Paris from 1871 till his death.-Biography:"There is good music, there is bad music, and then there is Ambroise Thomas."- Emmanuel Chabrier-Early life...
's Hamlet
Hamlet (opera)
Hamlet is an opéra in five acts by the French composer Ambroise Thomas, with a libretto by Michel Carré and Jules Barbier based on a French adaptation by Alexandre Dumas, père and Paul Meurice of Shakespeare's play Hamlet.- Ophelia mania in Paris:...
at a matinée musicale in Marchesi's house in December the same year, in the presence of the composer.
The young singer's talent was so evident that, after less than a year with Marchesi, she was given a ten-year contract with the impresario Maurice Strakosch
Maurice Strakosch
Maurice Strakosch was an American musician and impresario of Czech origin.-Biography:Strakosch was born in Gross-Seelowitz , Moravia. He made his debut as a pianist at the age of 11 in Brno performing a piano concerto by Hummel...
. After she had signed, she received a better offer from the Théâtre de la Monnaie
La Monnaie
Le Théâtre Royal de la Monnaie , or the Koninklijke Muntschouwburg is a theatre in Brussels, Belgium....
, Brussels, but Strakosch was not inclined to release her. She was in despair when the matter was resolved by Strakosch's sudden death. She made her operatic debut as Gilda in Rigoletto
Rigoletto
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. It was first performed at La Fenice in Venice on March 11, 1851...
at La Monnaie on 12 October 1887. The critic Herman Klein
Herman Klein
Herman Klein was an English music critic, author and teacher of singing. Klein's famous brothers included Charles and Manuel Klein...
described her Gilda as "an instant triumph of the most emphatic kind ... followed ... a few nights later with an equal success as Violetta in La Traviata
La traviata
La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias , a play adapted from the novel by Alexandre Dumas, fils. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman...
." It was at this time, on Marchesi's advice, that she adopted the stage name of "Melba", a contraction of the name of her native city.
London, Paris and New York debuts
Melba made her Covent GardenRoyal Opera House
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The...
début in May 1888, in the title role in Lucia di Lammermoor
Lucia di Lammermoor
Lucia di Lammermoor is a dramma tragico in three acts by Gaetano Donizetti. Salvadore Cammarano wrote the Italian language libretto loosely based upon Sir Walter Scott's historical novel The Bride of Lammermoor....
. She received a friendly but not excited reception. The Musical Times
The Musical Times
The Musical Times is an academic journal of classical music edited and produced in the United Kingdom. It is currently the oldest such journal that is still publishing in the UK, having been published continuously since 1844. It was published as The Musical Times and Singing Class Circular until...
wrote, "Madame Melba is a fluent vocalist, and a quite respectable representative of light soprano parts; but she lacks the personal charm necessary to a great figure on the lyric stage." She was offended when Augustus Harris, then in charge at Covent Garden, offered her only the small role of the page Oscar in Un ballo in maschera
Un ballo in maschera
Un ballo in maschera , is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. The libretto is loosely based on an 1833 play, Gustave III, by French playwright Eugène Scribe who wrote about the historical assassination of King Gustav III of Sweden...
for the next season. She left England vowing never to return. The following year, she performed at the Opéra
Paris Opera
The Paris Opera is the primary opera company of Paris, France. It was founded in 1669 by Louis XIV as the Académie d'Opéra and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and renamed the Académie Royale de Musique...
in Paris, in the role of Ophélie in Hamlet; The Times described this as "a brilliant success", and said, "Madame Melba has a voice of great flexibility ... her acting is expressive and striking."
Melba had a strong supporter in London, Lady de Grey
Frederick Robinson, 2nd Marquess of Ripon
Frederick Oliver Robinson, 2nd Marquess of Ripon GCVO , styled Viscount Goderich between 1859 and 1870 and Earl de Grey between 1870 and 1909, was a British courtier and Liberal politician.-Biography:...
, whose views carried weight at Covent Garden. Melba was persuaded to return, and Harris cast her in Roméo et Juliette
Roméo et Juliette
Roméo et Juliette is an opéra in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on The Tragedy of Romeo and Juliet by William Shakespeare. It was first performed at the Théâtre Lyrique , Paris on 27 April 1867...
(June 1889) co-starring with Jean de Reszke
Jean de Reszke
Jean de Reszke, born Jan Mieczyslaw, , was a Polish tenor. Renowned internationally for the high quality of his singing and the elegance of his bearing, he became the biggest male opera star of the late 19th century....
. She later recalled, "I date my success in London quite distinctly from the great night of 15 June 1889." After this, she returned to Paris as Ophélie, Lucia in Lucia di Lammermoor, Gilda in Rigoletto, Marguerite in Faust
Faust (opera)
Faust is a drame lyrique in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part 1...
, and Juliette. In French operas her pronunciation was poor, but the composer Delibes
Léo Delibes
Clément Philibert Léo Delibes was a French composer of ballets, operas, and other works for the stage...
said that he did not care whether she sang in French, Italian, German, English or Chinese, as long as she sang.
In the early 1890s, Melba embarked on an affair with Prince Philippe, Duke of Orléans. They were seen frequently together in London, which excited some gossip, but far more suspicion arose when Melba travelled across Europe to St Petersburg to sing for Tsar Nicholas II
Nicholas II of Russia
Nicholas II was the last Emperor of Russia, Grand Prince of Finland, and titular King of Poland. His official short title was Nicholas II, Emperor and Autocrat of All the Russias and he is known as Saint Nicholas the Passion-Bearer by the Russian Orthodox Church.Nicholas II ruled from 1894 until...
: the Duke followed closely behind her, and they were spotted together in Paris, Brussels, Vienna and St Petersburg. Armstrong filed divorce proceedings on the grounds of Melba's adultery, naming the Duke as co-respondent; he was eventually persuaded to drop the case, but the Duke decided that a two-year African safari (without Melba) would be appropriate. He and Melba did not resume their relationship. In the first years of the decade, Melba appeared in the leading European opera houses, including Milan, Berlin and Vienna.
Melba sang the role of Nedda in Pagliacci
Pagliacci
Pagliacci , sometimes incorrectly rendered with a definite article as I Pagliacci, is an opera consisting of a prologue and two acts written and composed by Ruggero Leoncavallo. It recounts the tragedy of a jealous husband in a commedia dell'arte troupe...
at Covent Garden in 1893, soon after its Italian premiere. The composer was present, and said that the role had never been so well played before. In December of that year, Melba sang at the Metropolitan Opera
Metropolitan Opera
The Metropolitan Opera is an opera company, located in New York City. Originally founded in 1880, the company gave its first performance on October 22, 1883. The company is operated by the non-profit Metropolitan Opera Association, with Peter Gelb as general manager...
in New York for the first time. As at her Covent Garden debut, she appeared as Lucia di Lammermoor, and as at Covent Garden, it was less than a triumph. The New York Times
The New York Times
The New York Times is an American daily newspaper founded and continuously published in New York City since 1851. The New York Times has won 106 Pulitzer Prizes, the most of any news organization...
praised her performance – "one of the loveliest voices that ever issued from a human throat ... simply delicious in its fullness, richness and purity" – but the work was out of fashion, and the performances were poorly attended. Her performance in Roméo et Juliette, later in the season, was a triumph and established her as the leading prima donna of the time in succession to Adelina Patti
Adelina Patti
Adelina Patti was a highly acclaimed 19th-century opera singer, earning huge fees at the height of her career in the music capitals of Europe and America. She first sang in public as a child in 1851 and gave her last performance before an audience in 1914...
. She had at first been nonplussed by the impenetrable snobbery at the Metropolitan; the author Peter Conrad
Peter Conrad (academic)
Peter Conrad is an Australian-born academic specializing in English literature, currently teaching at Christ Church at Oxford University....
has written, "In London she hobnobbed with royalty; in New York she was a singing menial." Assured of critical success, she set herself to achieve social recognition, and succeeded.
From the 1890s, Melba played a wide range of parts at Covent Garden, mostly in the lyric soprano repertoire, but with some heavier roles also. She sang the title roles in Herman Bemberg
Herman Bemberg
Herman Bemberg was a French musical composer.He was born in Paris of German Argentine parents and studied at the Paris Conservatoire, under Massenet, whose influence, with that of Gounod, is strongly marked in his music. He won the Rossini prize in 1885...
's Elaine and Arthur Goring Thomas
Arthur Goring Thomas
Arthur Goring Thomas was an English composer. He was the youngest son of Freeman Thomas and Amelia, daughter of Colonel Thomas Frederick.He was born at Ratton Park, Sussex, and educated at Haileybury College...
's Esmeralda. Her Italian parts included Gilda in Rigoletto
Rigoletto
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. It was first performed at La Fenice in Venice on March 11, 1851...
, the title role in Aida
Aida
Aida sometimes spelled Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette...
, Desdemona in Otello
Otello
Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on February 5, 1887....
, Luisa in Mascagni's I Rantzau
I Rantzau
I Rantzau is an opera in four acts by Pietro Mascagni , based on a libretto by Guido Menasci and Giovanni Targioni-Tozzetti, based on the play Les Rantzau by French writers Erckmann and Chatrian, after their novel Les Deux Frères .It was first performed at the Teatro della Pergola in Florence,...
, Nedda in Pagliacci
Pagliacci
Pagliacci , sometimes incorrectly rendered with a definite article as I Pagliacci, is an opera consisting of a prologue and two acts written and composed by Ruggero Leoncavallo. It recounts the tragedy of a jealous husband in a commedia dell'arte troupe...
, Rosina in The Barber of Seville
The Barber of Seville
The Barber of Seville, or The Futile Precaution is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville , which was originally an opéra comique, or a mixture of spoken play with music...
, Violetta in La traviata
La traviata
La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias , a play adapted from the novel by Alexandre Dumas, fils. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman...
, and Mimi in La bohème
La bohème
La bohème is an opera in four acts,Puccini called the divisions quadro, a tableau or "image", rather than atto . by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger...
. In the French repertoire, she sang Juliette in Roméo et Juliette, Marguerite in Faust
Faust (opera)
Faust is a drame lyrique in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part 1...
, Marguerite de Valois in Les Huguenots
Les Huguenots
Les Huguenots is a French opera by Giacomo Meyerbeer, one of the most popular and spectacular examples of the style of grand opera. The opera is in five acts and premiered in Paris in 1836. The libretto was written by Eugène Scribe and Émile Deschamps....
, the title role in Saint-Saëns
Camille Saint-Saëns
Charles-Camille Saint-Saëns was a French Late-Romantic composer, organist, conductor, and pianist. He is known especially for The Carnival of the Animals, Danse macabre, Samson and Delilah, Piano Concerto No. 2, Cello Concerto No. 1, Havanaise, Introduction and Rondo Capriccioso, and his Symphony...
's Hélène
Hélène (opera)
Hélène is a poème lyrique or opera in one act by composer Camille Saint-Saëns. It is the first opera for which Saint-Saëns wrote his own French libretto which is based on the classic story of Helen of Troy and Paris from Greek mythology. The opera premiered at the Opéra de Monte-Carlo in Monaco on...
, which was written for her, and Micaëla in Carmen
Carmen
Carmen is a French opéra comique by Georges Bizet. The libretto is by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée, first published in 1845, itself possibly influenced by the narrative poem The Gypsies by Alexander Pushkin...
.
Some writers expressed surprise at Melba's playing the last of these roles, since it was merely a supporting part in the opera. She played it on many occasions, saying in her memoirs, "Why on earth a prima donna should not sing secondary rôles I could not see then and am no nearer seeing to-day. I hate the artistic snobbery of it." She sang the role opposite the Carmens of Emma Calvé
Emma Calvé
Emma Calvé, born Rosa Emma Calvet , was a French operatic soprano.Calvé was probably the most famous French female opera singer of the Belle Époque. Hers was an international career, and she sang regularly and to considerable acclaim at the Metropolitan Opera House, New York, and the Royal Opera...
, Zélie de Lussan
Zélie de Lussan
Zélie de Lussan was an American opera singer of French descent who was successful in her native country but made most of her career in England. The wide range of her voice allowed her to sing both mezzo-soprano and soprano roles. Among de Lussan's most famous roles was the title role in Georges...
and Maria Gay
Maria Gay
Maria Gay was a Catalan opera singer, a mezzo-soprano born as Maria de Lourdes Lucia Antonia Pichot Gironés. She has sometimes been referred to as Maria Gay Zenatello.-Biography:...
. Marguerite de Valois, too, is not the leading female role in Les Huguenots, but Melba was willing to undertake it as seconda donna to Emma Albani
Emma Albani
Dame Emma Albani DBE was a leading soprano of the 19th century and early 20th century, and the first Canadian singer to become an international star. Her repertoire focused on the operas of Mozart, Rossini, Donizetti, Bellini and Wagner...
. She was generous in support of singers who did not rival her in her favoured roles, but was, as her biographer J. B. Steane put it, "pathologically critical" of other lyric sopranos.
Melba was not known as a Wagner
Richard Wagner
Wilhelm Richard Wagner was a German composer, conductor, theatre director, philosopher, music theorist, poet, essayist and writer primarily known for his operas...
singer, although she occasionally sang Elsa in Lohengrin
Lohengrin (opera)
Lohengrin is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself...
and Elisabeth in Tannhäuser
Tannhäuser (opera)
Tannhäuser is an opera in three acts, music and text by Richard Wagner, based on the two German legends of Tannhäuser and the song contest at Wartburg...
. She received a certain amount of praise in these roles, although Klein found her unsuited to them, and Bernard Shaw
George Bernard Shaw
George Bernard Shaw was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60...
thought she sang with great skill but played artificially and without sensibility. In 1896 at the Metropolitan, she attempted the role of Brünnhilde in Siegfried
Siegfried (opera)
Siegfried is the third of the four operas that constitute Der Ring des Nibelungen , by Richard Wagner. It received its premiere at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring...
, in which she was not a success. Her most frequent role in that house was Marguerite in Gounod
Charles Gounod
Charles-François Gounod was a French composer, known for his Ave Maria as well as his operas Faust and Roméo et Juliette.-Biography:...
's Faust, which she had studied under the supervision of the composer. She never essayed any of Mozart
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
's operas, for which some thought her voice ideally suited. Her repertoire across her entire career amounted to no more than 25 roles, of which, The Times obituarist wrote, "only some 10 parts are those which will be remembered as her own."
Melba's marriage to Armstrong was finally terminated when, having emigrated to the United States with their son, he divorced her in Texas in 1900.
20th century
By now established as a leading star in Britain and America, Melba made her first return visit to Australia in 1902–03 for a concert tour, also touring in New ZealandNew Zealand
New Zealand is an island country in the south-western Pacific Ocean comprising two main landmasses and numerous smaller islands. The country is situated some east of Australia across the Tasman Sea, and roughly south of the Pacific island nations of New Caledonia, Fiji, and Tonga...
. The profits were unprecedented; she returned for four more tours during her career. In Britain, Melba campaigned on behalf of Puccini's La bohème
La bohème
La bohème is an opera in four acts,Puccini called the divisions quadro, a tableau or "image", rather than atto . by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger...
. She had first sung the part of Mimi in 1899, having studied it with the composer. She argued strongly for further productions of the work in the face of the distaste expressed by the Covent Garden management at this "new and plebeian opera". She was vindicated by the public enthusiasm for the piece, which was bolstered in 1902 when Enrico Caruso joined her in the first of many Covent Garden performances together. She sang Mimi for Oscar Hammerstein I
Oscar Hammerstein I
Oscar Hammerstein I was a businessman, theater impresario and composer in New York City. His passion for opera led him to open several opera houses, and he rekindled opera's popularity in America...
at his opera house in New York, in 1907, giving the enterprise a needed boost. After her initial successes in Brussels and Paris in the 1880s, Melba sang infrequently on the European continent; only the English-speaking countries welcomed her wholeheartedly.
Although she called Covent Garden "my artistic home", her appearances there became less frequent in the 20th century. One reason for this was that she did not get on well with Sir Thomas Beecham
Thomas Beecham
Sir Thomas Beecham, 2nd Baronet CH was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras...
, who was in control of the opera house for much of the period from 1910 until her retirement. She said, "I dislike Beecham and his methods", and he thought that while she had "nearly all the attributes inseparable from great artistry ... she was wanting in a genuine spiritual refinement." Another factor in her reduced appearances at Covent Garden was the appearance on the scene of Luisa Tetrazzini
Luisa Tetrazzini
Luisa Tetrazzini was an Italian coloratura soprano of great international fame.Tetrazzini's voice was remarkable for its phenomenal flexibility, thrust, steadiness and thrilling tone...
, a soprano ten years her junior, who became a great success in London and later in New York in roles previously associated with Melba. A third reason was her decision to spend more time in Australia. In 1909 she undertook what she called a "sentimental tour" of Australia, covering 10,000 miles (16,093 km) and including many remote towns. In 1911 in partnership with the J. C. Williamson
J. C. Williamson
James Cassius Williamson was an American actor and later Australia's foremost theatrical manager, founding J. C. Williamson Ltd....
company, she appeared in an operatic season. Her attitude to her tour concerts and the audiences attending was summed up in the advice that Clara Butt
Clara Butt
Dame Clara Ellen Butt DBE , sometimes called Clara Butt-Rumford after her marriage, was an English contralto with a remarkably imposing voice and a surprisingly agile singing technique. Her main career was as a recitalist and concert singer.-Early life and career:Clara Butt was born in Southwick,...
said Melba gave her apropos of a planned Australian tour: "Sing 'em muck; it's all they can understand." To another colleague and compatriot, Peter Dawson, she described his home city of Adelaide
Adelaide
Adelaide is the capital city of South Australia and the fifth-largest city in Australia. Adelaide has an estimated population of more than 1.2 million...
as "that city of the three P's – Parsons, Pubs and Prostitutes."
In 1909, Melba bought property at Coldstream
Coldstream, Victoria
Coldstream is a locality and township within Greater Melbourne beyond the Melbourne metropolitan area Urban Growth Boundary, 36 km north-east from Melbourne's central business district. Its Local Government Area is the Shire of Yarra Ranges...
, a small town near Melbourne, and around 1912 she had Coombe Cottage built. She also set up a music school in Richmond, which she later merged into the Melbourne Conservatorium
Melba Memorial Conservatorium of Music
The Melba Memorial Conservatorium of Music was a school of music located in Melbourne, Victoria, Australia. During its early days it was closely associated with opera diva Dame Nellie Melba, after whom it was later named. In 1994 it became affiliated with Victoria University...
. She was in Australia when the First World War broke out, and she threw herself into fund-raising for war charities, raising £100,000. In recognition of this, she was created a Dame Commander of the Order of the British Empire
Order of the British Empire
The Most Excellent Order of the British Empire is an order of chivalry established on 4 June 1917 by George V of the United Kingdom. The Order comprises five classes in civil and military divisions...
(DBE) in March 1918, "for services in organising patriotic work".
After the war, Melba made a triumphant return to the Royal Opera House, in a performance of La bohème conducted by Beecham, which re-opened the house after four years of closure. The Times wrote, "Probably no season at Covent Garden has ever started with quite the thrill of enthusiasm which passed through the house." In her many concerts, however, her repertoire was regarded as trite and predictable. After one of them The Musical Times
The Musical Times
The Musical Times is an academic journal of classical music edited and produced in the United Kingdom. It is currently the oldest such journal that is still publishing in the UK, having been published continuously since 1844. It was published as The Musical Times and Singing Class Circular until...
wrote:
In 1922 Melba returned to Australia, where she sang at the immensely successful "Concerts for the People" in Melbourne and Sydney, with low ticket prices, attracting 70,000 people. In 1924 for another Williamson opera season, she caused resentment among local singers by importing an entire chorus from Naples. In 1926 she made her farewell appearance at Covent Garden, singing in scenes from Roméo et Juliette Otello, and La bohème. She is well remembered in Australia for her seemingly endless series of "farewell" appearances, including stage performances in the mid-1920s and concerts in Sydney on 7 August 1928, Melbourne on 27 September 1928 and Geelong in November 1928. From this, she is remembered in the vernacular Australian expression "more farewells than Dame Nellie Melba".
In 1929 she returned for the last time to Europe and then visited Egypt, where she contracted a fever that she never entirely shook off. Her last performance was in London at a charity concert on 10 June 1930. She returned to Australia but died in St Vincent's Hospital, Sydney
St Vincent's Hospital, Sydney
St Vincent's Public Hospital, Sydney is located in the inner city suburb of Darlinghurst. Though part of the New South Wales state public health system it remains under the auspices of the Sisters of Charity.-History:...
in 1931, aged 69, of septicaemia which had developed after facial surgery in Europe some time before. She was given an elaborate funeral from Scots' Church, Melbourne
Scots' Church, Melbourne
The Scots' Church, a Presbyterian church in Melbourne, Australia, was the first Presbyterian Church to be built in the Port Phillip District . It is located in Collins Street and is a congregation of the Presbyterian Church of Australia...
, which her father had built and where as a teenager she had sung in the choir. The funeral motorcade was over a kilometre long, and her death made front-page headlines in Australia, the United Kingdom, New Zealand and Europe. Billboards in many countries said simply "Melba is dead". Part of the event was filmed for posterity. Melba was buried in the cemetery at Lilydale
Lilydale, Victoria
Lilydale is a suburb of Melbourne, Victoria, Australia, 35 km north-east from Melbourne's central business district situated in the Olinda Creek valley. At the 2006 Census, Lilydale had a population of 13,887...
, near Coldstream. Her headstone bears Mimi's farewell words: "" (Farewell, without bitterness).
Teacher and patron
Despite the antipathy Melba inspired in some of her peers, she helped the careers of younger singers. She taught for many years at the Conservatorium in Melbourne and looked for a "new Melba". She published a book about her methods, which were based on those of Marchesi. The book opens:Others also benefited from Melba's praise and interest. She passed her own cadenza
Cadenza
In music, a cadenza is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing for virtuosic display....
s on to a young Gertrude Johnson
Gertrude Johnson
Gertrude Emily Johnson OBE was an Australian coloratura soprano and founder of the National Theatre in Melbourne.- Early life :...
, a valuable professional asset. In 1924, Melba brought the new star Toti Dal Monte
Toti Dal Monte
Antonietta Meneghel , better known by her stage name Toti Dal Monte, was a celebrated Italian operatic soprano with a sweet and limpid lyric voice. She was a favourite artist of the celebrated conductor Arturo Toscanini...
, fresh from triumphs in Milan and Paris but still unheard in England or the United States, to Australia as a principal of the Melba-Williamson Grand Opera Company. After sharing the Covent Garden stage in a 1923 night of operatic extracts with another Australian soprano, Florence Austral (who, as a dramatic soprano
Dramatic soprano
A dramatic soprano is an operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually mean less agility than lighter voices but a sustained, fuller sound. Usually this voice has a lower tessitura than...
, posed no threat to Melba, a lyric soprano), Melba was effusive with her praise, describing the younger woman as "one of the wonder-voices of the world". She similarly described the American contralto Louise Homer
Louise Homer
Louise Homer was an American operatic contralto who had an active international career in concert halls and opera houses from 1895 until her retirement in 1932. After a brief stint as a vaudeville entertainer in New England, she made her professional opera debut in France in 1898...
as possessing "the world's most beautiful voice". She gave financial assistance to the Australian painter Hugh Ramsay
Hugh Ramsay
Hugh Ramsay , was an Australian artist.Ramsay was born in Glasgow, Scotland, son of John Ramsay. He moved with his family to Melbourne in 1878. He was educated at Essendon Grammar School, and joined classes at the National Gallery of Victoria at age 16 under Lindsay Bernard Hall and became one of...
, living in poverty in Paris and also helped him to forge connections in the artistic world. The Australian baritone
Baritone
Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C Baritone (or...
John Brownlee
John Brownlee (baritone)
John Donald Mackenzie Brownlee was an Australian operatic baritone.-Biography:John Brownlee was born in Geelong, Victoria. As a boy, he became a junior naval cadet in the Royal Australian Navy, serving during World War I. Following service, he studied accounting...
and tenor
Tenor
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
Browning Mummery
Browning Mummery (tenor)
Browning Mummery , was an Australian opera tenor and actor of the 1920s and '30s who achieved a considerable reputation in Europe as well as Australia....
were both protégés: both sang with her in her 1926 Covent Garden farewell (recorded by HMV), and Brownlee sang with her on two of her last commercial recordings later that year (a session arranged by her in part to promote Brownlee).
Recordings and broadcasts
Melba's first recordings were made around 1895, recorded on cylinders at the BettiniGianni Bettini
Gianni Bettini was an early audiophile. He made a number of high-end phonographs that are highly sought after today. He invented a playback device which improves the sound quality of recordings; The Micro-reproducer...
Phonograph Lab in New York. A reporter from Phonoscope magazine was impressed: "The next cylinder was labelled 'Melba' and was truly wonderful, the phonograph reproducing her wonderful voice in a marvellous manner, especially the high notes which soared away above the staff and were rich and clear." Melba was less impressed: "'Never again,' I said to myself as I listened to the scratching, screeching result. 'Don't tell me I sing like that, or I shall go away and live on a desert island.'" The recordings never reached the general public – destroyed on Melba's orders, it is suspected – and Melba would not venture into a recording studio for another eight years. Melba can be heard singing on several Mapleson Cylinders
Mapleson Cylinders
The Mapleson Cylinders are a group of more than 100 phonograph cylinders recorded live at the Metropolitan Opera, primarily in the years 1901–1903, by the Met librarian Lionel Mapleson ....
, early attempts at live recording, made by the Metropolitan Opera House librarian Lionel Mapleson in the auditorium there during performances. These cylinders are often poor in quality, but they preserve something of the quality of the young Melba's voice and performance that is sometimes lacking from her commercial recordings.
Melba made numerous gramophone
Gramophone record
A gramophone record, commonly known as a phonograph record , vinyl record , or colloquially, a record, is an analog sound storage medium consisting of a flat disc with an inscribed, modulated spiral groove...
(phonograph
Phonograph
The phonograph record player, or gramophone is a device introduced in 1877 that has had continued common use for reproducing sound recordings, although when first developed, the phonograph was used to both record and reproduce sounds...
) records of her voice in England and America between 1904 (when she was already in her 40s) and 1926 for the Gramophone & Typewriter Company and the Victor Recording Company. Most of these recordings, consisting of operatic arias, duets and ensemble pieces and songs, have been re-released on CD. The poor audio fidelity of the Melba recordings reflects the limitations of the early days of commercial sound recording. Melba's Acoustical recordings (especially those made after her initial 1904 session) fail to capture vital overtones to the voice, leaving it without the body and warmth it possessed – albeit to a limited degree – in life. Despite this, they still reveal Melba to have had an almost seamlessly pure lyric soprano
Lyric soprano
A lyric soprano is a type of operatic soprano that has a warm quality with a bright, full timbre which can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have...
voice with effortless coloratura, a smooth legato and accurate intonation. Melba had perfect pitch; the critic Michael Aspinall says of her complete London recordings issued on LP, that there are only two lapses from pitch in the entire set. Like Patti, and unlike the more vibrant-voiced Tetrazzini, Melba's exceptional purity of tone was probably one of the principal reasons why British audiences, with their strong choral and sacred music traditions, idolised her.
Melba's farewell to Covent Garden on 8 June 1926 was recorded by HMV, as well as broadcast. The programme included Act 2 of Roméo et Juliette
Roméo et Juliette
Roméo et Juliette is an opéra in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on The Tragedy of Romeo and Juliet by William Shakespeare. It was first performed at the Théâtre Lyrique , Paris on 27 April 1867...
(not recorded because the tenor Charles Hackett was not under contract to HMV), followed by the opening of Act 4 of Otello (Desdemona's "Willow Song" and "Ave Maria") and Acts 3 and 4 of La bohème (with Aurora Rettore, Browning Mummery, John Brownlee and others). The conductor was Vincenzo Bellezza. At the conclusion Lord Stanley of Alderley made a formal address and Melba gave an emotional farewell speech. In a pioneering venture, eleven sides (78rpm) were recorded via a landline to Gloucester House (London), though in the event only three of these were published. The full series (including both speeches) was included in a 1976 HMV reissue.
As was the case in many of her performances, most of Melba's recordings were made at "French Pitch" (A=435 Hz), rather than the British early 20th century standard of A=452 Hz, or the modern standard of A=440 Hz. This, and the technical inadequacies of the early recording process (discs were frequently recorded faster or slower than the supposed standard of 78rpm, whilst the conditions of the cramped recording studios – kept very warm to keep the wax at the necessary softness when cutting – would wreak havoc with instrumental tuning during recording sessions), means that playing her recordings back in the speed and pitch she made them at is not always a simple matter.
In June 1920 Melba was heard in a pioneering radio broadcast from Guglielmo Marconi
Guglielmo Marconi
Guglielmo Marconi was an Italian inventor, known as the father of long distance radio transmission and for his development of Marconi's law and a radio telegraph system. Marconi is often credited as the inventor of radio, and indeed he shared the 1909 Nobel Prize in Physics with Karl Ferdinand...
's factory in Chelmsford, singing two arias and her famous trill. She was the first artist of international renown to participate in direct radio broadcasts. Radio enthusiasts across the country heard her, and the broadcast was reportedly heard from as far away as New York. People listening on the radio barely heard a few scratches of the trill and two arias she sang. Further radio broadcasts would include her Covent Garden farewell performance, and a 1927 Empire Day broadcast (broadcast throughout the British Empire, by radio station 2FC, Sydney, on Monday 5 September 1927; it was relayed by the BBC London on Sunday 4 September).
Honours, memorials and legacy
Melba was appointed Dame Commander of the British Empire in 1918 for her charity work, during World War I, and was elevated to Dame Grand Cross of the British EmpireOrder of the British Empire
The Most Excellent Order of the British Empire is an order of chivalry established on 4 June 1917 by George V of the United Kingdom. The Order comprises five classes in civil and military divisions...
in 1927. She was the first Australian to appear on the cover of Time
Time (magazine)
Time is an American news magazine. A European edition is published from London. Time Europe covers the Middle East, Africa and, since 2003, Latin America. An Asian edition is based in Hong Kong...
magazine, in April 1927. A stained glass window commemorating Melba was erected in 1962 in the Musicians' Memorial Chapel of the Church of St. Sepulchre, London, known as "the musicians' church". She is one of only two singers with a marble bust on the grand staircase of the Royal Opera House, Covent Garden. The other is Adelina Patti
Adelina Patti
Adelina Patti was a highly acclaimed 19th-century opera singer, earning huge fees at the height of her career in the music capitals of Europe and America. She first sang in public as a child in 1851 and gave her last performance before an audience in 1914...
.
Melba was closely associated with the Melbourne Conservatorium, and this institution was renamed the Melba Memorial Conservatorium of Music
Melba Memorial Conservatorium of Music
The Melba Memorial Conservatorium of Music was a school of music located in Melbourne, Victoria, Australia. During its early days it was closely associated with opera diva Dame Nellie Melba, after whom it was later named. In 1994 it became affiliated with Victoria University...
in her honour in 1956. The music hall at the University of Melbourne
University of Melbourne
The University of Melbourne is a public university located in Melbourne, Victoria. Founded in 1853, it is the second oldest university in Australia and the oldest in Victoria...
is known as Melba Hall. The Canberra
Canberra
Canberra is the capital city of Australia. With a population of over 345,000, it is Australia's largest inland city and the eighth-largest city overall. The city is located at the northern end of the Australian Capital Territory , south-west of Sydney, and north-east of Melbourne...
suburb of Melba
Melba, Australian Capital Territory
Melba is a suburb of Canberra, Australian Capital Territory, Australia. Melba is in the district of Belconnen.The suburb of Melba is named after Dame Nellie Melba , the first internationally-recognised Australian opera soprano...
is named after her. The current Australian 100 dollar note features the image of her face, and her likeness has also appeared on an Australian stamp. Sydney Town Hall
Sydney Town Hall
The Sydney Town Hall is a landmark sandstone building located in the heart of Sydney. It stands opposite the Queen Victoria Building and alongside St Andrew's Cathedral...
has a marble relief bearing the inscription "Remember Melba", unveiled during a World War II charity concert in memory of Melba and her First World War charity work and patriotic concerts.
Melba's name is associated with four foods, all of which were created in her honour by the French chef Auguste Escoffier
Auguste Escoffier
Georges Auguste Escoffier was a French chef, restaurateur and culinary writer who popularized and updated traditional French cooking methods. He is a legendary figure among chefs and gourmands, and was one of the most important leaders in the development of modern French cuisine...
:
- Peach MelbaPeach MelbaThe Peach Melba is a classic dessert, invented in 1892 or 1893 by the French chef Auguste Escoffier at the Savoy Hotel, London to honour the Australian soprano, Nellie Melba. It combines two favourite summer fruits: peaches and raspberry sauce accompanying vanilla ice cream.In 1892, Nellie Melba...
, a dessert - Melba sauce, a sweet purée of raspberries and red currant
- Melba toastMelba toastMelba toast is a very dry, crisp and thinly sliced toast often served with soup and salad or topped with either melted cheese or pâté. It is named after Dame Nellie Melba, the stage name of Australian opera singer Helen Porter Mitchell. Its name is thought to date from 1897, when the singer was...
, a crisp dry toast - Melba Garniture, chicken, truffles and mushrooms stuffed into tomatoes with velouté sauceVelouté sauceA velouté sauce, pronounced , along with Allemande, Béchamel, and Espagnole, is one of the sauces of French cuisine that were designated the four "mother sauces" by Antonin Carême in the 19th century. The French chef Auguste Escoffier later classified tomato, mayonnaise, and Hollandaise mother...
.
Books, films and television
Melba's autobiography "Melodies and Memories" was published in 1925, largely ghost-written by her secretary Beverley NicholsBeverley Nichols
John Beverley Nichols , was an author, playwright, journalist, composer, and public speaker.-Career:...
. There are several full-length biographies devoted to her, including those by John Hetherington (1967), Thérèse Radic (1986) and Ann Blainey (2009).
A novel Evensong by Nichols (1932) was based on aspects of Melba's life, drawing an unflattering portrait. The 1934 motion picture adaptation
Evensong (film)
Evensong is a 1934 British musical film directed by Victor Saville and starring Evelyn Laye, Fritz Kortner and Emlyn Williams. It is loosely based on the story of the singer Nellie Melba. It was also the first film of Alec Guinness.-Cast:...
of Evensong, starring Evelyn Laye
Evelyn Laye
Evelyn Laye, CBE was an English theatre and film actress.-Early years and career:Born as Elsie Evelyn Lay in Bloomsbury, London, Laye made her first stage appearance in August 1915 at the Theatre Royal, Brighton as Nang-Ping in Mr...
as the character based on Melba, was for a time banned in Australia. Melba makes an appearance in the 1946 novel Lucinda Brayford
Lucinda Brayford
Lucinda Brayford is a novel by Australian author Martin Boyd.-Plot summary:Set mainly in Melbourne, Victoria and England between the early to middle parts of the Twentieth century.-Film adaptation:...
by Martin Boyd. She is depicted as attending a garden party thrown by Julie and Fred Vane, mother of the eponymous heroine: "Melba sang two or three songs, "Down in the Forest", Musetta's song from La bohème, and finally "Home, Sweet Home." She is described as having the "loveliest voice in the world".
In 1946–1947 Crawford Productions produced a popular radio series on Melba starring Glenda Raymond, who became one of the foundation singers of the Australian Opera (later Opera Australia
Opera Australia
Opera Australia is the principal opera company in Australia. Based in Sydney, its performance season at the Sydney Opera House runs for approximately eight months of the year, with the remainder of its time spent in the The Arts Centre in Melbourne...
) in 1956. In 1953 a biopic
Biographical film
A biographical film, or biopic , is a film that dramatizes the life of an actual person or people. They differ from films “based on a true story” or “historical films” in that they attempt to comprehensively tell a person’s life story or at least the most historically important years of their...
entitled Melba
Melba (film)
Melba is a 1953 musical biographical drama film of the life of Australian-born soprano Nellie Melba, written by Harry Kurnitz and directed by Lewis Milestone for Horizon Pictures, marking the film debut of the Metropolitan Opera's Patrice Munsel....
was released by Horizon Pictures
Horizon Pictures
Horizon Pictures Ltd was a film production company founded in Britain by the Austrian-born film producer Sam Spiegel. The company's first production was the Academy Award-winning The African Queen, starring Humphrey Bogart and Katharine Hepburn, in 1951.It later produced the David Lean films The...
and directed by Lewis Milestone
Lewis Milestone
Lewis Milestone was a Russian-American motion picture director. He is known for directing Two Arabian Knights and All Quiet on the Western Front , both of which received Academy Awards for Best Director...
. Melba was played by the soprano Patrice Munsel
Patrice Munsel
Patrice Munsel is an American coloratura soprano, the youngest singer who ever starred at the Metropolitan Opera, nicknamed "Princess Pat"....
. In 1987 the Australian Broadcasting Corporation
Australian Broadcasting Corporation
The Australian Broadcasting Corporation, commonly referred to as "the ABC" , is Australia's national public broadcaster...
produced a mini-series, Melba, starring Linda Cropper
Linda Cropper
Linda Cropper is an Australian television actress.Her credits include the lead role in Melba as well as roles in Palace of Dreams , an ABC mini-series, Edens Lost, Ring of Scorpio, Bordertown, Wildside, Water Rats, All Saints, White Collar Blue and The Pacific, and more recently she has starred in...
miming to the singing voice of Yvonne Kenny
Yvonne Kenny
Yvonne Kenny AM is an Australian soprano, particularly associated with Handel and Mozart roles.Born in Sydney, she first studied at the University of Sydney in science, hoping to become a biochemist, but decided to pursue a career in music instead...
.
Further reading
(US edition (2009) published as Marvelous Melba: The Extraordinary Life of a Great Diva. Chicago: Ivan R. Dee. ISBN 9781566638098)External links
- International Jose Guillermo Carrillo Foundation – digitally remastered MP3 files from Melba's recordings 1905-1910.
- Links to recordings, images and information about Melba
- YouTube: 1904 recording of Lucia mad scene
- Nellie Melba - link to 1906 recording of the Aubade from the opera Le Roi d'Ys
- Photo of Melba, her father and niece
- Dress worn by Dame Nellie Melba
- http://colsearch.nfsa.afc.gov.au/nfsa/search/summary/summary.w3p;adv=yes;group=;groupequals=;page=0;parentid=;query=Number%3A360583%20|%20Number%3A355563%20|%20Number%3A301462%20|%20Number%3A247853%20|%20Number%3A154557%20|%20Number%3A577537%20|%20Number%3A583807%20|%20Number%3A583806%20|%20Number%3A583804%20|%20Number%3A583799%20|%20Number%3A154561;querytype=;resCount=10Nellie Melba at the National Film and Sound Archive]
- Photo of cloak worn by Melba as Elsa in Lohengrin, c.1891