Nellie Melba

She took the pseudonym "Melba" from Melbourne, her home town. 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, England, in 1886, she studied in Paris, France, and soon made a great success there and in Brussels, Belgium. 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 in New York City, 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 10. 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 large number of "farewell" appearances. Her death, in Australia, was news across the English-speaking world, and her funeral was a major national event. The Australian $100 note features her image.

Nellie Melba studied at Presbyterian Ladies' College and Westonbirt School. Training under Mathilde Marchesi is recorded. The recorded working language is English. Subjects and genres recorded for the work are opera. Work by Nellie Melba is recorded in the collections of Tate. Distinctions recorded are Dame Grand Cross of the Order of the British Empire, Victorian Honour Roll of Women and King's Medal of Merit in Gold.

• Illustration — Melba, drawn by Frank Haviland

Melba was born in Richmond, Victoria, the eldest of seven children of the builder David Mitchell and his wife Isabella Ann née Dow (1833–1881). The Oxford Dictionary of National Biography incorrectly gives Melba's mother the maiden name of Dorn. "Dow" is confirmed in, and Mitchell emigrated from Forfarshire, Scotland, to Australia in 1852, married Isabella in 1856 and became a successful builder. Melba was taught to play the piano and first sang in public around age six.In her memoirs, Melba gives her age at her debut as six, but her statements about her age were not always accurate. 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. In her teens, Melba continued to perform in amateur concerts in and around Melbourne, and she 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 1881 at Richmond. Melba's father moved the family to Mackay, Queensland, where he built a new sugar mill. Melba soon became popular in Mackay society for her singing and piano-playing. On 22 December 1882 in Brisbane, she married Charles Nesbitt Frederick Armstrong (1858–1948), the youngest son of Sir Andrew Armstrong. They had one child, a son, George, born on 16 October 1883. The marriage was not a success; Charles reportedly beat his wife more than once. The couple separated after just over a year, and Melba returned to Melbourne determined to pursue a singing career, debuting professionally in concerts in 1884. She was often accompanied in concert, and some of her concerts were organised, at times throughout her career by the flautist John Lemmone, who became a "lifelong friend and counsellor". On the strength of local success, she travelled to London in search of an opportunity.Melba travelled to London with her father, and her husband moved to Europe for a time and was in periodic, though often unwelcome, contact with his wife and child. 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. • Illustration — Melba in costume for Lucia di Lammermoor, 1888 (photo by Nadar) The young singer's talent was so evident that, after less than a year with Marchesi, the impresario Maurice Strakosch gave her a ten-year contract at 1000 francs annually. After she had signed, she received a far better offer of 3000 francs per month from the Théàtre de la Monnaie, Brussels, but Strakosch would not release her and obtained an injunction preventing her from accepting it. She was in despair when the matter was resolved by Strakosch's sudden death. She made her operatic debut four days later 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 home city. A similar course was followed by some other Australian singers: Florence Mary Wilson took the stage name Florence Austral, and Elsie Mary Fischer renamed herself Elsa Stralia – both after Australia; June Mary Gough adopted the name June Bronhill after Broken Hill, New South Wales.

Melba made her Covent Garden 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."Qu'elle chante Lakmé en français, en italien, en allemande, en anglais ou en chinois, cela m'est égal, mais qu'elle la chante." • Illustration — Philippe, Duke of Orléans In the early 1890s, Melba embarked on an affair with Prince Philippe, Duke of Orléans, pretender to the throne of France. 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, and the Duke began a two-year African safari without Melba. 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. • Illustration — Melba as Marguerite in Faust 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 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 Mimì 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.

• Illustration — Melba in 1904 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 Zealand. Melba visited New Zealand in February 1903 after her tour of Australia. She arrived in Invercargill from Hobart and was welcomed by Sir Joseph Ward (who was later the Prime Minister of New Zealand) and Lady Ward. After giving one concert in Dunedin she travelled to Christchurch and gave a concert in Wellington. 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 Mimì 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 Mimì 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. She performed 26 times at the Royal Albert Hall in London between 1898 and 1926. 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 that covered 10000 mi and included 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."Melba later denied giving this advice and was horrified when Butt printed it in her memoirs. 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 in 1912 she had a home built there (extending an existing cottage) that she re-named as Coombe Cottage, after a house she had rented near London. 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. Equivalent in 2008 values to £3,630,000 using the UK retail price index or £17,900,000 using average UK earnings. In recognition of this, she was appointed as a Dame Commander of the Order of the British Empire (DBE) in March 1918, "for services in organising patriotic work".The appointment was announced on 5 March 1918, but The London Gazette stated, "The appointments to date from the 1st January, 1918". It is therefore correctly stated that Melba was, with May Whitty, the first stage performer to be made a DBE, although Whitty had received the honour in January. 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: • Illustration — Melba in 1913 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, designed by Sir Edwin Lutyens, bears the farewell words of Mimì in La bohème: "Addio, senza rancor" (Farewell, without bitterness). • Illustration — Melba with the Metropolitan Opera

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 cadenzas 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 His Master's Voice), 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).