{"product_id":"from-melba-to-sutherland-australian-singers-on-record","title":"From Melba To Sutherland - Australian Singers On Record (4 CDS)","description":"\u003cp\u003e‘From Melba to Sutherland: Australian Singers on Record’ is the first-ever comprehensive survey of the recordings of Australia’s greatest singers – in a unique, new, 4CD set from Decca, complete with biographies of each of the 80 artists, rare photographs, all contained within a 68-page booklet.\u003c\/p\u003e\n\u003cp\u003eWhy has there been such an extraordinary procession of world-class Australian singers over such an extended period of time? The question is often asked but there are no easy answers. For Australia to have produced Dame Nellie Melba and Dame Joan Sutherland, two of the most famous singers of the twentieth century, is in itself something like a miracle. But there are so many more – some 80 wonderful singers in total.\u003c\/p\u003e\n\u003cp\u003eThe compilation has been meticulously researched by music historian, Roger Neill and recording industry expert, Tony Locantro. It covers a wide range of musical genres, from opera to music hall and from art song to variety. Co-producer, Roger Neill, has said: ‘Thirteen years in the making, ‘From Melba to Sutherland’ is truly a once-in-a-lifetime project – thefirst-ever comprehensive survey of recordings by Australia’s greatest singers.’\u003c\/p\u003e\n\u003cp\u003eIncluded with the issue is a detailed booklet covering all of the recordings with brief biographies and rare photographs of the singers and an overview of their teachers. Each of the recordings has been expertly remastered from best-available original sources.\u003c\/p\u003e\n\u003cp\u003eAside from Melba and Sutherland, other world-famous Australians included are: Peter Dawson, a baritone who concentrated his career on the newly-emerged recording medium, selling some thirteen million records in the fifty years from 1904; Florence Austral, an outstanding Wagnerian soprano; June Bronhill, who followed Joan Sutherland as Lucia di Lammermoor at Covent Garden but who chose to make her career in operetta and musical comedy with spectacular success; Malcolm McEachern, the bass-half of the best-selling Flotsam and Jetsam duo who was equally accomplished in classical repertoire; Dame Joan Hammond, whose ‘Oh my beloved father’ from Puccini’s ‘Gianni Schicchi’ was one of the best-selling classical discs of all time; Florrie Forde, one of the greatest music hall artists whose hit songs included ‘Down at the Old Bull and Bush’, ‘Tipperary’ and ‘Pack up your Troubles’; and Richard Watson, the Adelaide-born bass who was a long-time principal with the D’Oyly Carte Opera Company,  singing the comic bass-baritone roles of the Savoy Operas.\u003c\/p\u003e\n\u003cp\u003eAlongside these greats, several outstanding Australian singers have been re-discovered, their lives and recordings researched afresh. Many of them had become just names, nothing more. They include: Syria Lamonte, the first woman singer to be recorded professionally in Britain in 1898; Frances Saville, a leading soprano in Mahler’s famous company in Vienna who re-introduced several of the great Mozartian roles to the repertoire; Andrew Black, the only top-flight singer of Melba’s generation who moved from Britain to Australia; Violet Mount, who unable to break into the opera houses of Europe, made an outstanding career on the music halls singing operatic arias as the masked ‘L’Incognita’; Lorna Sydney, who went to further her career in Vienna but was interned as an alien during World War II. She became a leading member of the Vienna State Opera at the cessation of hostilities.\u003c\/p\u003e\n\u003cp\u003eVarious Artists\u003cbr\u003eLabelDeccaCatalogue No.4825892Barcode00028948258925Format4-CD\u003cbr\u003eAbout\u003cbr\u003e‘From Melba to Sutherland: Australian Singers on Record’ is the first-ever comprehensive survey of the recordings of Australia’s greatest singers – in a unique, new, 4CD set from Decca, complete with biographies of each of the 80 artists, rare photographs, all contained within a 68-page booklet.\u003c\/p\u003e\n\u003cp\u003eWhy has there been such an extraordinary procession of world-class Australian singers over such an extended period of time? The question is often asked but there are no easy answers. For Australia to have produced Dame Nellie Melba and Dame Joan Sutherland, two of the most famous singers of the twentieth century, is in itself something like a miracle. But there are so many more – some 80 wonderful singers in total.\u003c\/p\u003e\n\u003cp\u003eThe compilation has been meticulously researched by music historian, Roger Neill and recording industry expert, Tony Locantro. It covers a wide range of musical genres, from opera to music hall and from art song to variety. Co-producer, Roger Neill, has said: ‘Thirteen years in the making, ‘From Melba to Sutherland’ is truly a once-in-a-lifetime project – thefirst-ever comprehensive survey of recordings by Australia’s greatest singers.’\u003c\/p\u003e\n\u003cp\u003eIncluded with the issue is a detailed booklet covering all of the recordings with brief biographies and rare photographs of the singers and an overview of their teachers. Each of the recordings has been expertly remastered from best-available original sources.\u003c\/p\u003e\n\u003cp\u003eAside from Melba and Sutherland, other world-famous Australians included are: Peter Dawson, a baritone who concentrated his career on the newly-emerged recording medium, selling some thirteen million records in the fifty years from 1904; Florence Austral, an outstanding Wagnerian soprano; June Bronhill, who followed Joan Sutherland as Lucia di Lammermoor at Covent Garden but who chose to make her career in operetta and musical comedy with spectacular success; Malcolm McEachern, the bass-half of the best-selling Flotsam and Jetsam duo who was equally accomplished in classical repertoire; Dame Joan Hammond, whose ‘Oh my beloved father’ from Puccini’s ‘Gianni Schicchi’ was one of the best-selling classical discs of all time; Florrie Forde, one of the greatest music hall artists whose hit songs included ‘Down at the Old Bull and Bush’, ‘Tipperary’ and ‘Pack up your Troubles’; and Richard Watson, the Adelaide-born bass who was a long-time principal with the D’Oyly Carte Opera Company,  singing the comic bass-baritone roles of the Savoy Operas.\u003c\/p\u003e\n\u003cp\u003eAlongside these greats, several outstanding Australian singers have been re-discovered, their lives and recordings researched afresh. Many of them had become just names, nothing more. They include: Syria Lamonte, the first woman singer to be recorded professionally in Britain in 1898; Frances Saville, a leading soprano in Mahler’s famous company in Vienna who re-introduced several of the great Mozartian roles to the repertoire; Andrew Black, the only top-flight singer of Melba’s generation who moved from Britain to Australia; Violet Mount, who unable to break into the opera houses of Europe, made an outstanding career on the music halls singing operatic arias as the masked ‘L’Incognita’; Lorna Sydney, who went to further her career in Vienna but was interned as an alien during World War II. She became a leading member of the Vienna State Opera at the cessation of hostilities.\u003c\/p\u003e\n\u003cp\u003eTRACK LISTING \/ ARTISTS\u003cbr\u003eCD 1\u003cbr\u003eMELBA AND THE MARCHESI SCHOOL\u003cbr\u003eNELLIE MELBA soprano 1861–1931\u003cbr\u003eCHARLES GOUNOD: Ah! Je ris (Jewel Song) (Faust)\u003cbr\u003eLandon Ronald, piano\u003cbr\u003eRecorded: 4 September 1905\u003c\/p\u003e\n\u003cp\u003eNELLIE MELBA\u003cbr\u003eBEMBERG: Nymphs et sylvains\u003cbr\u003eLandon Ronald, piano\u003cbr\u003eRecorded: March 1904\u003c\/p\u003e\n\u003cp\u003eNELLIE MELBA\u003cbr\u003eBROWNING MUMMERY tenor 1888–1974\u003cbr\u003eJOHN BROWNLEE baritone 1900–1969\u003cbr\u003eGIACOMO PUCCINI: Addio, dolce svegliare (Quartet) (La bohème)\u003cbr\u003ewith Aurora Rettore, soprano\u003cbr\u003eOrchestra of the Royal Opera House, Covent Garden\u003cbr\u003eVincenzo Bellezza\u003cbr\u003eRecorded live: 8 June 1926\u003c\/p\u003e\n\u003cp\u003eFRANCES SAVILLE soprano 1862–1935\u003cbr\u003eJULES MASSENET: Obéissons, quand leur voix appelle (Gavotte) (Manon)\u003cbr\u003ewith piano\u003cbr\u003eRecorded: Vienna, 1902–3\u003c\/p\u003e\n\u003cp\u003eADA CROSSLEY contralto 1871–1929\u003cbr\u003eMALLINSON: New Year Song\u003cbr\u003eChristopher H. H. Booth, piano\u003cbr\u003eRecorded: Philadelphia, PA, 30 April 1903\u003c\/p\u003e\n\u003cp\u003eFRANCES ALDA soprano 1879–1952\u003cbr\u003eGIUSEPPE VERDI: Miserere (Il trovatore) with Enrico Caruso, tenor\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: Camden, New Jersey, 27 December 1909\u003c\/p\u003e\n\u003cp\u003eFRANCES ALDA\u003cbr\u003eGIACOMO PUCCINI: In quelle trine morbide (Manon Lescaut)\u003cbr\u003eOrchestra\u003cbr\u003eRosario Bourdon\u003cbr\u003eRecorded: Liederkranz Hall, New York, 26 June 1928\u003c\/p\u003e\n\u003cp\u003eAMY CASTLES soprano 1880–1951\u003cbr\u003eGIUSEPPE VERDI: Caro nome (Rigoletto)\u003cbr\u003ewith piano\u003cbr\u003eRecorded: London, 16 September 1906\u003c\/p\u003e\n\u003cp\u003eIRENE AINSLEY contralto 1883–1968\u003cbr\u003eMETCALF: Absent with piano\u003cbr\u003eRecorded: London, 1907\u003c\/p\u003e\n\u003cp\u003eEVELYN SCOTNEY soprano 1887–1967\u003cbr\u003eDANIEL AUBER: C’est l’histoire amoureuse (Manon Lescaut)\u003cbr\u003eOrchestra\u003cbr\u003eEugene Goossens\u003cbr\u003eRecorded: 20 January 1925\u003c\/p\u003e\n\u003cp\u003eSTELLA POWER soprano 1896–1977\u003cbr\u003eGAETANO DONIZETTI: Regnava nel silenzio (Lucia di Lammermoor)\u003cbr\u003eOrchestra\u003cbr\u003eFrank St. Leger\u003cbr\u003eRecorded: 23 December 1919\u003c\/p\u003e\n\u003cp\u003eOTHER EARLY SOPRANOS\u003cbr\u003eMARIE NARELLE soprano 1870–1941\u003cbr\u003eMICHAEL WILLIAM BALFE: Killarney\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: New York, 1910\u003c\/p\u003e\n\u003cp\u003eLALLA MIRANDA soprano 1871–1940\u003cbr\u003eGIUSEPPE VERDI: Follie! Follie! … Sempre libera (La traviata) (sung in French)\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: France c.1904\u003c\/p\u003e\n\u003cp\u003eROSINA BUCKMAN soprano 1881–1848\u003cbr\u003eGIACOMO PUCCINI: One fine day (Un bel dì vedremo) (Madama Butterfly)\u003cbr\u003eRoyal Albert Hall Orchestra\u003cbr\u003eEugene Goossens\u003cbr\u003eRecorded: London, 4 April 1924\u003c\/p\u003e\n\u003cp\u003eGERTRUDE JOHNSON soprano 1894–1973\u003cbr\u003eCYRIL SCOTT: Lullaby\u003cbr\u003eCyril Scott, piano\u003cbr\u003eRecorded: London, 1929\u003c\/p\u003e\n\u003cp\u003eOTHER EARLY MEZZOS AND CONTRALTOS\u003cbr\u003eELLA CASPERS contralto 1887–1971\u003cbr\u003eMOLLOY: Darby and Joan\u003cbr\u003ewith piano\u003cbr\u003eRecorded: London, 1913\u003c\/p\u003e\n\u003cp\u003eDOROTHY HELMRICH mezzo-soprano 1889–1984\u003cbr\u003eROBERT SCHUMANN: Thou art so like a flower (Du bist wie eine Blume) (Myrthen)\u003cbr\u003eHubert Foss, piano\u003cbr\u003eRecorded: 8 November 1933\u003c\/p\u003e\n\u003cp\u003eEILEEN BOYD contralto 1890–1975\u003cbr\u003eBRAHE: I passed by your window\u003cbr\u003ewith piano\u003cbr\u003eRecorded: Sydney, 9 February 1927\u003c\/p\u003e\n\u003cp\u003eCLARA SERENA contralto 1890–1972\u003cbr\u003eCAMILLES SAINT-SAENS: Tonight … O love, from thy power (Samson … Amour, viens aider) (Samson et Dalila)\u003cbr\u003eOrchestra\u003cbr\u003eStanford Robinson\u003cbr\u003eRecorded: 25 February 1929\u003c\/p\u003e\n\u003cp\u003eESSIE ACKLAND contralto 1896–1975\u003cbr\u003eBRAHE: Bless this house\u003cbr\u003eHerbert Dawson, Kingsway Hall organ\u003cbr\u003eRecorded: Kingsway Hall, London, 10 March 1933 · HMV B 4439\u003c\/p\u003e\n\u003cp\u003eEARLY TENORS\u003cbr\u003eALFRED HILL tenor 1869–1960\u003cbr\u003eALFRED HILL: Waiata Poi\u003cbr\u003eMirrie Hill, piano\u003cbr\u003eRecorded: 9 July 1926 · Matrix Bb 8717–I · HMV test recording S\/S 6-2688 unpublished\u003c\/p\u003e\n\u003cp\u003eWALTER KIRBY tenor 1877–1934\u003cbr\u003eKNEASS: Ben Bolt (Trilby’s Song)\u003cbr\u003ewith piano\u003cbr\u003eRecorded: Sydney, 20 January 1927\u003c\/p\u003e\n\u003cp\u003eBROWNING MUMMERY tenor 1888–1974\u003cbr\u003eRUGGERO LEONCAVALLO: No! Punchinello, no more (No! Pagliaccio non son) (Pagliacci)\u003cbr\u003eOrchestra\u003cbr\u003eJohn Barbirolli\u003cbr\u003eRecorded: London, 17 July 1929\u003c\/p\u003e\n\u003cp\u003eALFRED O’SHEA tenor 1889–1954\u003cbr\u003eMACMORROUGH: Macushla with orchestra\u003cbr\u003eRecorded: Sydney, May 1928\u003c\/p\u003e\n\u003cp\u003eLIONELLO CECIL tenor 1893–1957\u003cbr\u003eGIACOMO PUCCINI: Amore o grillo (Madama Butterfly)\u003cbr\u003ewith Vittorio Weinberg, baritone\u003cbr\u003eOrchestra of La Scala, Milan\u003cbr\u003eCarlo Sabajno\u003cbr\u003eRecorded: Milan, 25 October 1929 · HMV C 1951\u003c\/p\u003e\n\u003cp\u003eEARLY BARITONES AND BASSES\u003cbr\u003eHORACE STEVENS bass-baritone 1876–1950\u003cbr\u003eEDWARD ELGAR: Jesu! by that shuddering dread (The Dream of Gerontius)\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003eEdward Elgar\u003cbr\u003eRecorded live: Hereford Cathedral, 6 September 1927\u003c\/p\u003e\n\u003cp\u003eCD 2\u003cbr\u003eANDREW BLACK baritone 1859–1920\u003cbr\u003eATHUR SULLIVAN: Time was when love and I (Curate’s Song) (The Sorcerer)\u003cbr\u003ewith piano\u003cbr\u003eRecorded: London, November 1905 · G\u0026amp;T 3–2327\u003c\/p\u003e\n\u003cp\u003ePETER DAWSON bass-baritone 1882–1962\u003cbr\u003eGEORGE FRIDERIC HANDEL: Honour and Arms (Samson)\u003cbr\u003eOrchestra\u003cbr\u003eGeorge Byng\u003cbr\u003eRecorded: London, 1 November 1927 · HMV C 1500\u003c\/p\u003e\n\u003cp\u003ePETER DAWSON\u003cbr\u003eJAMES: Six Australian Bush Songs:\u003cbr\u003eNo. 1 The Land of Who Knows Where\u003cbr\u003eNo. 2 Bush Silence\u003cbr\u003eNo. 4 Comrades of Mine\u003cbr\u003eNo. 5 Bush Night Song\u003cbr\u003eNo. 6 The Stockrider’s Song\u003cbr\u003eGerald Moore, piano\u003cbr\u003eRecorded: London, 12 October 1927\u003c\/p\u003e\n\u003cp\u003ePETER DAWSON\u003cbr\u003eTRAD. CORNISH ARR. MOSS: The Floral Dance\u003cbr\u003eGerald Moore, piano\u003cbr\u003eRecorded: London, 14 January 1927\u003c\/p\u003e\n\u003cp\u003eMALCOLM McEACHERN bass 1883–1945\u003cbr\u003eGEORGE FRIDERIC HANDEL: O ruddier than the cherry (Acis and Galatea)\u003cbr\u003eOrchestra\u003cbr\u003eClarence Raybould\u003cbr\u003eRecorded: London, 21 June 1935\u003c\/p\u003e\n\u003cp\u003eHAROLD WILLIAMS baritone 1893–1976\u003cbr\u003eCOWAN: Onaway, awake beloved\u003cbr\u003eOrchestra\u003cbr\u003eClarence Raybould\u003cbr\u003eRecorded: London, 11 December 1931\u003c\/p\u003e\n\u003cp\u003eHAROLD WILLIAMS\u003cbr\u003eVILLAUME: Old John Bax\u003cbr\u003eMaynard Wilkinson, piano\u003cbr\u003eRecorded: Sydney, March 1955, unpublished\u003c\/p\u003e\n\u003cp\u003eJOHN BROWNLEE baritone 1900–1969\u003cbr\u003eWOLGANG AMADEUS MOZART: Deh vieni alla finestra (Serenade) (Don Giovanni)\u003cbr\u003eGlyndebourne Festival Orchestra\u003cbr\u003eFritz Busch\u003cbr\u003eRecorded: Glyndebourne Opera House, 5 July 1936\u003c\/p\u003e\n\u003cp\u003eRICHARD WATSON bass 1903–1968\u003cbr\u003eARTHUR SULLIVAN: When a felon’s not engaged in his employment (Policeman’s Song) (The Pirates of Penzance)\u003cbr\u003eD’Oyly Carte Opera Chorus\u003cbr\u003eNew Promenade Orchestra\u003cbr\u003eIsadore Godfrey\u003cbr\u003eRecorded: London, 29 July 1949\u003c\/p\u003e\n\u003cp\u003eWAGNERIANS AND OTHER DRAMATICS\u003cbr\u003eLEMPRIÈRE PRINGLE bass 1868–1914\u003cbr\u003eRICHARD WAGNER: The King’s Prayer (Lohengrin) (sung in English)\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: London, c.1910\u003c\/p\u003e\n\u003cp\u003eELSA STRALIA soprano 1881–1945\u003cbr\u003eRICHARD WAGNER: Elisabeth’s Greeting (Tannhäuser) (sung in English)\u003cbr\u003eOrchestra\u003cbr\u003eHamilton Harty\u003cbr\u003eRecorded: 5 May 1920\u003c\/p\u003e\n\u003cp\u003eFLORENCE AUSTRAL soprano 1892– 1968\u003cbr\u003eRICHARD WAGNER: Ho-jo-to-ho (Brünnhilde’s Battlecry) (Die Walküre)\u003cbr\u003eOrchestra\u003cbr\u003eSpencer Clay\u003cbr\u003eRecorded: Hayes, 7 September 1922\u003c\/p\u003e\n\u003cp\u003eFLORENCE AUSTRAL\u003cbr\u003eFREDERICK COLLIER bass 1885–1964\u003cbr\u003eRICHARD WAGNER: Welches Unholds List (Götterdämmerung)\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003eAlbert Coates\u003cbr\u003eRecorded: Kingsway Hall, London, 18 October 1928\u003c\/p\u003e\n\u003cp\u003eMARGHERITA GRANDI soprano 1894–1972\u003cbr\u003eGIUSEPPE VERDI: La luce langue (Macbeth)\u003cbr\u003eScottish Orchestra\u003cbr\u003eBerthold Goldschmidt\u003cbr\u003eRecorded live: King’s Theatre, Edinburgh, 27 August 1947\u003c\/p\u003e\n\u003cp\u003eMARJORIE LAWRENCE soprano 1907–1979\u003cbr\u003eRICHARD WAGNER: Starke Scheite (Brünnhilde’s Immolation) (Götterdämmerung) opening (sung in French)\u003cbr\u003eOrchestre de l’Association des Concerts Pasdeloup\u003cbr\u003ePiero Coppola\u003cbr\u003eRecorded: Paris, 23 October 1933\u003c\/p\u003e\n\u003cp\u003eMARJORIE LAWRENCE\u003cbr\u003eSERGEI RACHMANINOV: Floods of Spring, Op. 14 No. 11\u003cbr\u003eIvor Newton, piano\u003cbr\u003eRecorded: London, 2 July 1946\u003c\/p\u003e\n\u003cp\u003eSYLVIA FISHER soprano 1910–1996\u003cbr\u003eBENJAMIN BRITTEN: Is this all you can bring? (Albert Herring)\u003cbr\u003ewith Johanna Peters, contralto\u003cbr\u003eEnglish Chamber Orchestra\u003cbr\u003eBenjamin Britten\u003cbr\u003eRecorded: Jubilee Hall, Aldeburgh, 1–8 April 1964\u003c\/p\u003e\n\u003cp\u003eMUSIC HALL AND VARIETY\u003cbr\u003eSYRIA LAMONTE soprano 1869–1935\u003cbr\u003eTRAD: Comin’ thro’ the rye\u003cbr\u003ewith piano\u003cbr\u003eRecorded: 31 Maiden Lane, London, 2 September 1898\u003c\/p\u003e\n\u003cp\u003eHAMILTON HILL baritone 1868–1910\u003cbr\u003eALFRED HILL: The Boys’ Brigade\u003cbr\u003ewith military band\u003cbr\u003eRecorded: 24 August 1906\u003c\/p\u003e\n\u003cp\u003eVIOLET MOUNT (L’INCOGNITA) soprano 1875–1972\u003cbr\u003eHENRY BISHOP: Lo! Here the gentle lark\u003cbr\u003eJohn Amadio, flute\u003cbr\u003eOrchestra\u003cbr\u003eGeorge W. Byng\u003cbr\u003eRecorded: London, 23 September 1921\u003c\/p\u003e\n\u003cp\u003eALBERT WHELAN music hall singer and whistler 1875‒1961\u003cbr\u003eTHURBAN: The Whistling Bowery Boy\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: London, 7 November 1905\u003c\/p\u003e\n\u003cp\u003eFLORRIE FORDE contralto 1876–1940\u003cbr\u003eMURPHY \u0026amp; LIPTON: Oh! Oh! Antonio\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: London, 22 September 1908\u003c\/p\u003e\n\u003cp\u003eBILLY WILLIAMS comedian 1878–1915\u003cbr\u003eWESTON \u0026amp; BARNES: When father papered the parlour\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: London, 18 February 1910\u003c\/p\u003e\n\u003cp\u003eCD 3\u003cbr\u003eMUSICAL THEATRE, RADIO AND COMEDY\u003cbr\u003eGLADYS MONCRIEFF soprano 1892–1976\u003cbr\u003eHAROLD FRASER-SIMSON: Love will find a way (The Maid of the Mountains)\u003cbr\u003eColumbia Concert Orchestra\u003cbr\u003eGilbert Dechelette\u003cbr\u003eRecorded: Sydney, 12 December 1928\u003c\/p\u003e\n\u003cp\u003eROBERT CHISHOLM baritone 1894–1960\u003cbr\u003eGLADYS MONCRIEFF\u003cbr\u003eTATE: A Paradise for Two (The Maid of the Mountains)\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: London, June 1926\u003c\/p\u003e\n\u003cp\u003eSTRELLA WILSON soprano 1894–1989\u003cbr\u003eRUDOLP FRIML: Some Day (The Vagabond King)\u003cbr\u003ewith chorus \u0026amp; orchestra of radio program ‘Show of Shows’\u003cbr\u003eRecorded: Sydney, 26 September 1941\u003c\/p\u003e\n\u003cp\u003eCLEMENT Q. WILLIAMS baritone 1898–1957\u003cbr\u003eO’HAGAN: Let’s take a trip to Melbourne\u003cbr\u003ewith orchestra\u003cbr\u003eRecorded: Sydney, 19 October 1934\u003c\/p\u003e\n\u003cp\u003eMALCOLM McEACHERN bass 1883–1945\u003cbr\u003eHILLIAM \u0026amp; McEACHERN: Is ’e an Aussie, Lizzie, is ’e?\u003cbr\u003eFlotsam and Jetsam (with B. C. Hilliam, tenor \u0026amp; piano)\u003cbr\u003eRecorded: London, 20 October 1939\u003c\/p\u003e\n\u003cp\u003eROSINA RAISBECK mezzo-soprano 1916–2006\u003cbr\u003eRICHARD RODGERS: Climb Every Mountain (The Sound of Music)\u003cbr\u003eOrchestra of the Princess Theatre, Melbourne\u003cbr\u003eEric Clapham\u003cbr\u003eRecorded: Princess Theatre, Melbourne, 1961\u003c\/p\u003e\n\u003cp\u003eJUNE BRONHILL soprano 1929–2005\u003cbr\u003eRICHARD RODGERS: The Sound of Music (The Sound of Music)\u003cbr\u003eOrchestra of the Princess Theatre, Melbourne\u003cbr\u003eEric Clapham\u003cbr\u003eRecorded: Princess Theatre, Melbourne, 1961 · OCSD 7580\u003cbr\u003eP 1961 EMI Australia Ltd\u003c\/p\u003e\n\u003cp\u003eSOPRANOS AFTER WORLD WAR II\u003cbr\u003eJOAN HAMMOND soprano 1912–1996\u003cbr\u003eGIACOMO PUCCINI: O my beloved father (O mio babbino caro) (Gianni Schicchi)\u003cbr\u003eHallé Orchestra\u003cbr\u003eLeslie Heward\u003cbr\u003eRecorded: Belle Vue, Manchester, 29 September 1941\u003c\/p\u003e\n\u003cp\u003eJOAN HAMMOND\u003cbr\u003eGUSTAVE CHARPENTIER: Depuis le jour (Louise)\u003cbr\u003eHallé Orchestra\u003cbr\u003eWarwick Braithwaite\u003cbr\u003eRecorded: Houldsworth Hall, Manchester, 28 September 1942\u003c\/p\u003e\n\u003cp\u003eGLENDA RAYMOND soprano 1922–2003\u003cbr\u003eAMBROISE THOMAS: I am Titania (Je suis Titania) (Mignon)\u003cbr\u003eAustralian Symphony Orchestra\u003cbr\u003eHector Crawford\u003cbr\u003eRecorded: 1947–53\u003c\/p\u003e\n\u003cp\u003eELSIE MORISON soprano 1924–2016\u003cbr\u003eJOHN CAMERON baritone 1918–2002\u003cbr\u003eHECTOR BERLIOZ: O mon cher fils (L’Enfance du Christ)\u003cbr\u003eSt. Anthony Singers\u003cbr\u003eGoldsbrough Orchestra\u003cbr\u003eColin Davis\u003cbr\u003eRecorded: Battersea Town Hall, London, October 1960\u003c\/p\u003e\n\u003cp\u003eANGELINA ARENA soprano born 1926\u003cbr\u003eGIUSEPPE VERDI: Saper vorreste (Un ballo in maschera)\u003cbr\u003eQueensland Symphony Orchestra\u003cbr\u003eWilfred Lehmann\u003cbr\u003eRecorded: 1974\u003c\/p\u003e\n\u003cp\u003eMARIE COLLIER soprano 1927–1971\u003cbr\u003eRICHARD STRAUSS: Ich kann nicht sitzen (Elektra)\u003cbr\u003ewith Birgit Nilsson, soprano\u003cbr\u003eWiener Philharmoniker\u003cbr\u003eGeorg Solti\u003cbr\u003eRecorded: Sofiensaal, Vienna, 14 June, 30 November 1966, 22 February \u0026amp; 14–15 June 1967\u003c\/p\u003e\n\u003cp\u003eNANCE GRANT soprano born 1931\u003cbr\u003eRICHARD WAGNER: Du bist der Lenz (Die Walküre)\u003cbr\u003eMelbourne Symphony Orchestra\u003cbr\u003eLeif Segerstam\u003cbr\u003eRecorded: Melbourne Town Hall, September 1979\u003c\/p\u003e\n\u003cp\u003eRITA HUNTER soprano 1933–2001\u003cbr\u003eAMILCARE PONCHIELLI: Suicidio! (La Gioconda)\u003cbr\u003eTasmanian Symphony Orchestra\u003cbr\u003eDobbs Franks\u003cbr\u003eRecorded: Government House, Hobart, August 1989\u003c\/p\u003e\n\u003cp\u003eMEZZOS AFTER WORLD WAR II\u003cbr\u003eLORNA SYDNEY mezzo-soprano 1910–1974\u003cbr\u003eGUSTAV MAHLER: Urlicht (Symphony No. 2 ‘Resurrection’)\u003cbr\u003eWiener Staatsopernorchester\u003cbr\u003eFelix Prohaska\u003cbr\u003eRecorded: Vienna, 1951\u003c\/p\u003e\n\u003cp\u003eYVONNE MINTON mezzo-soprano born 1938\u003cbr\u003eGUSTAV MAHLER: Rheinlegendchen (Des Knaben Wunderhorn)\u003cbr\u003eChicago Symphony Orchestra\u003cbr\u003eGeorg Solti\u003cbr\u003eRecorded: Medinah Temple, Chicago, 1 \u0026amp; 7 April 1970\u003c\/p\u003e\n\u003cp\u003eTENORS AND BARITONES AFTER WORLD WAR II\u003cbr\u003eMAX WORTHLEY tenor 1913–1999\u003cbr\u003eHENRY PURCELL: All our days and our nights (The Masque in Dioclesian)\u003cbr\u003eChoir \u0026amp; Orchestra of the Concentus Musicus, Wien\u003cbr\u003eNikolaus Harnoncourt\u003cbr\u003eRecorded: Palais Schönburg, Vienna, 1965\u003c\/p\u003e\n\u003cp\u003eDONALD SMITH tenor 1922–1998\u003cbr\u003eGIUSEPPE VERDI: O figli miei! … Ah, la paterna mano (Macbeth, Act IV)\u003cbr\u003eTasmanian Symphony Orchestra\u003cbr\u003eVanco Cavdarski\u003cbr\u003eRecorded: ABC Studios, Hobart, 1973\u003c\/p\u003e\n\u003cp\u003eHAROLD BLAIR tenor 1924–1976\u003cbr\u003eTRAD. ABORIGINAL ARR.: Loam: Maranoa Lullaby\u003cbr\u003ewith piano accompaniment\u003cbr\u003eRecorded: 1950 · Private recording\u003c\/p\u003e\n\u003cp\u003eJOHN CAMERON baritone 1918–2002\u003cbr\u003eEDWARD GERMAN: The Yeomen of England (Merrie England)\u003cbr\u003eNew Symphony Orchestra \u0026amp; Chorus\u003cbr\u003eVictor Olof\u003cbr\u003eRecorded: Decca Studios, West Hampstead, London, 9–11 March 1953\u003c\/p\u003e\n\u003cp\u003eCD 4\u003cbr\u003eRONALD DOWD tenor 1914–1990\u003cbr\u003eHECTOR BERLIOZ: Sanctus (Grand Messe des Morts, Op. 5)\u003cbr\u003eWandsworth School Boys’ Choir\u003cbr\u003eLondon Symphony Chorus \u0026amp; Orchestra\u003cbr\u003eColin Davis\u003cbr\u003eRecorded: Westminster Cathedral, London, November 1969\u003c\/p\u003e\n\u003cp\u003eKENNETH NEATE tenor 1914–1997\u003cbr\u003eGIACOMO PUCCINI: Nessun dorma (Turandot)\u003cbr\u003eOrchestre Philharmonique de Paris\u003cbr\u003eNapoleone Annovazzi\u003cbr\u003eRecorded: Salle Wagram, Paris, 1956\u003c\/p\u003e\n\u003cp\u003eRAYMOND NILSSON tenor 1920–1998\u003cbr\u003eJOHN LANIGAN tenor 1921–1996\u003cbr\u003eBENJAMIN BRITTEN: People! … No! I will speak! (Peter Grimes)\u003cbr\u003ewith James Pease, baritone\u003cbr\u003eJean Watson, contralto\u003cbr\u003eClaire Watson, soprano\u003cbr\u003eOrchestra \u0026amp; Chorus of the Royal Opera House\u003cbr\u003eBenjamin Britten\u003cbr\u003eRecorded: Walthamstow Assembly Hall, December 1958\u003c\/p\u003e\n\u003cp\u003eJOHN LANIGAN\u003cbr\u003eGLENDA RAYMOND soprano 1922–2003\u003cbr\u003eGIACOMO PUCCINI: Lovely maid in the moonlight (O soave fanciulla) (La Bohème)\u003cbr\u003eAustralian Symphony Orchestra\u003cbr\u003eHector Crawford\u003cbr\u003eRecorded: 1947–1953\u003c\/p\u003e\n\u003cp\u003eALBERT LANCE tenor 1925–2013\u003cbr\u003eGEORGES BIZET: La fleur que tu m’avais jetée (Carmen)\u003cbr\u003eOrchestre du Théâtre National de l’Opéra de Paris\u003cbr\u003eRoberto Benzi\u003cbr\u003eRecorded: Paris, June 1960\u003c\/p\u003e\n\u003cp\u003eSUTHERLAND AND HER CIRCLE\u003cbr\u003eJOHN SHAW baritone 1924–2003\u003cbr\u003eGAETANO DONIZETTI: Cruda, funesta smania … La pietada in suo favore (Lucia di Lammermoor)\u003cbr\u003ewith Robert Bowman, tenor\u003cbr\u003eJoseph Rouleau, bass\u003cbr\u003eOrchestra \u0026amp; Chorus of the Royal Opera House\u003cbr\u003eTullio Serafin\u003cbr\u003eRecorded: London, 1959\u003c\/p\u003e\n\u003cp\u003eROBERT ALLMAN bass-baritone 1927–2013\u003cbr\u003eGIUSEPPE VERDI: Una fatale del mio destino (La forza del destino)\u003cbr\u003eSydney Symphony Orchestra\u003cbr\u003eEric Clapham\u003cbr\u003eRecorded: ABC Music Studios, Sydney, 1978\u003c\/p\u003e\n\u003cp\u003eCLIFFORD GRANT bass born 1930\u003cbr\u003eJULES MASSENET: De l’autel vénéré … O divine Esclarmonde! (Esclarmonde)\u003cbr\u003eJohn Alldis Choir\u003cbr\u003eNational Philharmonic Orchestra\u003cbr\u003eRichard Bonynge\u003cbr\u003eRecorded: Kingsway Hall, London, 2–5 \u0026amp; 9–15 July 1975\u003c\/p\u003e\n\u003cp\u003eCLIFFORD GRANT\u003cbr\u003eGEOFFREY CHARD baritone born 1930\u003cbr\u003eHEATHER BEGG mezzo-soprano 1929–2009\u003cbr\u003eMEALE: I am behind you, Voss … Nothing could be safer or more solid (Voss)\u003cbr\u003eSydney Symphony Orchestra\u003cbr\u003eStuart Challender\u003cbr\u003eRecorded: Sydney, 1987\u003c\/p\u003e\n\u003cp\u003eROBERT GARD tenor born 1927\u003cbr\u003eMEALE: I am looking at the map of my hand (Voss)\u003cbr\u003eSydney Symphony Orchestra\u003cbr\u003eStuart Challender\u003cbr\u003eRecorded: Sydney, 1987\u003c\/p\u003e\n\u003cp\u003eNEIL WARREN-SMITH bass-baritone 1930–1981\u003cbr\u003eGIUSEPPE VERDI: Vieni o levita … Tu sul labbro (Nabucco)\u003cbr\u003eEnsemble of cellos led by Gregory Elmaloglou\u003cbr\u003eSydney Symphony Orchestra\u003cbr\u003eEric Clapham\u003cbr\u003eRecorded: ABC Music Studios, Sydney, 1978\u003c\/p\u003e\n\u003cp\u003eLAURIS ELMS mezzo-soprano born 1931\u003cbr\u003eCARL HEINRICH GRAUN: Se il dovere in quest’addio (Montezuma)\u003cbr\u003eGeoffrey Parsons \u0026amp; Valda Aveling, harpsichords\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003eRichard Bonynge\u003cbr\u003eRecorded: Kingsway Hall, London, 21–30 March, 1 April \u0026amp; 2 September 1966\u003c\/p\u003e\n\u003cp\u003eMARGRETA ELKINS mezzo-soprano 1930–2009\u003cbr\u003eEDWARD ELGAR: In Haven (Capri) (Sea Pictures, Op. 37)\u003cbr\u003eQueensland Symphony Orchestra\u003cbr\u003eWerner Andreas Albert\u003cbr\u003eRecorded: ABC Studios, Brisbane, August 1983\u003c\/p\u003e\n\u003cp\u003eJOAN SUTHERLAND soprano 1926–2010\u003cbr\u003eGIOACHINO ROSSINI: La fioraia fiorentina\u003cbr\u003eRichard Bonynge, piano\u003cbr\u003eRecorded: London, 20 June 1958\u003c\/p\u003e\n\u003cp\u003eJOAN SUTHERLAND\u003cbr\u003eGAETANO DONIZETTI: Ah! tardai troppo … O luce di quest’anima (Linda di Chamounix)\u003cbr\u003eOrchestre de la Société des Concerts du Conservatoire\u003cbr\u003eNello Santi\u003cbr\u003eRecorded: La Maison de la Chimie, Paris, 28–30 April 1959\u003c\/p\u003e\n\u003cp\u003eJOAN SUTHERLAND\u003cbr\u003eCHARLES GOUNO: Oh Dieu! Que de bijoux … Ah! Je ris (Jewel Song) (Faust)\u003cbr\u003eOrchestra of the Royal Opera House\u003cbr\u003eFrancesco Molinari-Pradelli\u003cbr\u003eRecorded: Kingsway Hall, London, 12 July \u0026amp; 15–18 August, 1960\u003c\/p\u003e\n\u003cp\u003eBONUS TRACKS\u003cbr\u003eJOAN CARDEN soprano born 1937\u003cbr\u003eALFREDO CATALANI: Ebben? … Ne andrò lontana (La Wally)\u003cbr\u003eQueensland Philharmonic Orchestra\u003cbr\u003eRoderick Brydon\u003cbr\u003eRecorded: Brisbane, 29 January 1996\u003c\/p\u003e\n\u003cp\u003eYVONNE KENNY soprano born 1950\u003cbr\u003eIVAN NOVELLO: We’ll gather lilacs (Perchance to Dream)\u003cbr\u003eMelbourne Symphony Orchestra\u003cbr\u003eVladimir Kamirski\u003cbr\u003eRecorded: Melbourne, 1993 · ABC Classics 442 509-2\u003cbr\u003eP 1994 Australian Broadcasting Corporation\u003c\/p\u003e\n\u003cp\u003eDEBORAH RIEDEL soprano 1958–2009\u003cbr\u003eKALAMAN: Mary kam vom gold’nen Strande (Die Herzogin von Chicago)\u003cbr\u003eBerlin Radio Symphony Orchestra\u003cbr\u003eRichard Bonynge\u003cbr\u003eRecorded: SFB Studios, Berlin, 2–8 February 1998\u003c\/p\u003e\n\u003cp\u003eEMMA MATTHEWS soprano born 1970\u003cbr\u003eCHARLES GOUNOD: Dieu ! quel frisson … Amour, ranime mon courage (Roméo et Juliette)\u003cbr\u003eOrchestre Philharmonique de Monte-Carlo\u003cbr\u003eBrad Cohen\u003cbr\u003eRecorded: Auditorium Rainier III, Monte Carlo, 16 September 2008\u003c\/p\u003e","brand":"DECCA","offers":[{"title":"Default Title","offer_id":46667935514874,"sku":"028948258925","price":28.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/4825892_FromMelbaToSutherland_master-rev-1-2-1024x1024.jpg?v=1726693769","url":"https:\/\/classicselectworld.com\/de-de\/products\/from-melba-to-sutherland-australian-singers-on-record","provider":"ClassicSelect World","version":"1.0","type":"link"}