I have sat on this issue for longer than I should. It presented
a singer who I had not heard before and yet who has distinctive
vocal qualities of a very high order. I have been listening
to recordings and live operatic performances since the 1950s.
I was aware of the emergence and furore surrounding Joan Sutherland
in Covent Garden’s 1958 Lucia and, a few years
later, Kiri Te Kanawa’s Countess in Mozart’s Figaro.
I was privileged to hear both live in the theatre. There I give
the clue that also comes with the issuing label, Melba,
associated as it is with the Australian Broadcasting Corporation
as well as the famous singer.
The introduction to this collection mentions the distinguished
contribution that various Antipodean singers have made to opera
performance and recording in Britain. Particular mention is
made of Joan Sutherland, Kiri Te Kanawa, Yvonne Kenny, Yvonne
Minton and more recently Cheryl Barker. A similar distinguished
list of male singers could be assembled. How. I wondered. could
this lady be associated with those others yet I had not heard
of her. I immediately recognised the quality of her vocal talent
which is so well represented in this double CD collection. A
little of the story is contained in the introductory essays.
Nance Grant won major competitions in the late 1950s making
her gentle way via broadcasts and recitals in the following
decade to include televised operatic performances. It was a
period when she raised her family.
All was to change for her when Edward Downes took up the position
of Musical Director of Australian Opera in 1972. Recognising
her talent he immediately offered Grant a contract as a full-time
principal with the company. In the decade that followed, with
the conductor casting her with care, her career took off in
a big way. Downes tried to persuade her to pursue a career in
Europe confidently telling her that he could fill her diary
with ease. However, she was happy on home territory and able
to fulfil her family responsibilities to the full alongside
her burgeoning career. She tackled a wide variety of roles included
here as well as Sieglinde and Gutrune under Sir Charles Mackerras.
Grant’s wide tonal variety is on show here, as is her
capacity to inflect phrases, express meaning and create a characterisation.
She is notable in the Grieg and Strauss items on CD1 as well
as in the operatic items. Her ability to encompass a diversity
of operatic genres is exemplified by the heroic rendition of
Fidelio. Her Leonore is followed by her Elisabeth from
Maria Stuarda and then Wagner’s Elisabeth singing
Dich, teure Halle from Tannhäuser (CD2 trs3-5).
One can find faults including, on occasion, clouded diction;
not unknown among sopranos. Set beside the overall artistry
and vocal allure I forgive it more readily. The items shown
with a star in the track-list are sung in English. I would have
preferred the original language. This collection is taken from
tapes and one has to be grateful for their emergence.
This double CD is presented in booklet form. There are no words
or translations. It is but an introduction to Nance Grant. Her
repertoire also included Donna Anna from Don Giovanni,
Lady Billows from Albert Herring, Alice Ford from Verdi’s
Falstaff, Senta from The Flying Dutchman, Amelia
from Un Ballo in Maschera and the Marschallin from Der
Rosenkavalier. Riches indeed. Her work was recognised by
the award of the MBE and Order of Australia. I have not been
able to ascertain her date of birth.
Robert J Farr
CD 1 - Nance Grant and Geoffrey Parsons in recital
Edvard GRIEG (1843-1907)
I Love Thee (Melodies of the Heart, Op. 5 No. 3) - Hans Christian
Andersen [2.56]
With a Waterlily, Op. 25 No. 4 - Henrik Ibsen [2.54]
Two Brown Eyes {Melodies of the Heart, Op. 5 No. 4) - Hans Christian
Andersen [1.10]
Solveig's Song (Peer Gynt, Op. 23) - Henrik Ibsen [1.11
A Dream, Op. 48 No. 6 - Friedrich von Bodenstedt [2.31]
Richard HAGEMAN (1881-1966)
Charity - Emily Dickinson [2.00]
Music I Heard With You - Conrad Aiken [3.09]
At the Well - Rabindranath Tagore [2.05]
Do Not Go, My Love - Rabindranath Tagore [3.19]
Miranda - Hilaire Belloc [2.22]
Richard STRAUSS (1864-1949)
Ich Schwebe, Op. 48 No. 2 - Karl Henkell [1.58]
Meinem Kinde, Op. 37 No. 3 - Gustav Faike [2.58]
Die Nacht (Acht Gedichte, Op. 10 No. 3) - Hermann von Gilm [3.24]
Die Georgine {Acht Gedichte, Op. 10 No. 4) - Hermann von Gilm
[4.19]
Wie Sollten geheim sie Halten?, Op. 19 No. 4 - Adolf Friedrich
von Schack [1.49]
Gluckes genug, Op. 37 No. 1 - Detlev von Liliencron [2.58]
Schon sind, doch kalt, Op. 19 No. 3 - Adolf Friedrich von Schack
[2.28]
Waldseligkeit, Op. 49 No. 1 - Richard Dehmel [2.57]
Wiegenlied, Op. 41 No. 1 - Richard Dehmel [4.31]
rec. ABC Waverley Studios, Melbourne, 8 September 1976 (R. Strauss)
and 10 September 1976 (Grieg and Hageman)
CD 2 - Nance Grant singing opera, oratorio and Lieder
Wolfgang Amadeus MOZART (1756-1791)
Idomeneo, re di Creta
Estinto e Idomeneo. (You're lost now, Idomeneo)* Elettra [5.29]
Idol mio, se ritroso altra amante a me ti rende. - Wayward lover
now returning from another to my side'* [5.39]
Elizabethan Melbourne Orchestra (Orchestra Victoria)/Richard
Divall (1982)
Ludwig van BEETHOVEN (1770-1827)
Fidelio
Komm, Hoffnung, lass den letzten Stern - Come, let not thy last
great star*. Leonore [5.16]
Elizabethan Sydney Orchestra/Edward Downes (1977)
Gaetano DONIZETTI (1797-1848)
Maria Stuarda
Si, vuol di Francia il Rege col mio core l'Anglo trono*. [9.35]
Elizabethan Melbourne Orchestra (Orchestra Victoria)/Richard
Divall (1975)
Richard WAGNER (1813-1883)
Tannhäuser
Dich, teure Halle [5.01]
Elizabethan Sydney Orchestra/Edward Downes (1974)
Die Walkure
Der Manner Sippe. [5.22]
Du bist der Lenz'. [2,12]
Jon Weaving, Siegmund
rec, Melbourne Town Hall, September 1979
Richard STRAUSS (1864-1949)
Ariadne auf Naxos
Ein Schönes war. * Ariadne [5.50]
Es gibt ein Reich. * [5.18]
Elizabethan Sydney Orchestra/Edward Downes (1975)
Felix MENDELSSOHN (1809-1847)
Elijah
Hear Ye, Israel [5.45]
rec. 24 November 1979
Richard WAGNER
Wesendonck-Lieder
Der Engef [3.57]
Stehe still! [3.56]
Im Treibhaus [6.55]
Schmerzen [2.20]
Traume [5.11]
rec. September 1981
MELBA RECORDINGS MR301135-36 [56.42 + 78.07] 