Tuning in…
Tuning in…
Castaway
1 appearance
Contralto-turned-dramatic-soprano who won a scholarship to Trinity College of Music and began her career at the Old Vic Opera Company.
On the island
Eight records
I think that will remind me. of the days when I played one of the singing fairies, the old Vic and Robert Atkins production.
The keepsakes
No book or luxury recorded for this episode.
In conversation
Presenter asks
0:08What part of the country do you come from?
Lincoln. I'm what you call a Lincoln sheer yellow belly.
Presenter asks
0:27Do you come from a musical family?
I don't think so really, although my father and his brothers sang in choirs, and uh one at Ely Cathedral.
Presenter asks
0:55What was your very first professional engagement?
I went from Audison to Lillian Baileys [at] the old vicar [Vic] ... to do a singing fairy.
Presenter asks
2:03Do you remember any particular occasion that stands out as [an extraordinary day]?
When I was ... Doing Trovatore ... When the cat went across the stage, the tenor got up from the ground and took it off stage.
Presenter asks
2:31When did you first sing at Covent Garden?
When I did Hansen and Gretel. I had to do a show at the Wells in the afternoon. And then a call came from Covent Garden, could I sing it in the evening? Because the principal and the understudy were ill.
Presenter asks
4:23Which [operatic role] is your favorite?
Certainly not calming [Carmen]. Because I have a recurrent dream that I'm going on for Carmen. I find it's not true and I'm so relieved. But I think it's a touchener [Azucena].
“I had then a deep contralto voice, what some people call a low woman's voice.”
“He called out from the front. when we gallumps on to the stage. Call yourselves fairies. You're more like a lot of bloody coal heavers.”
“I think we're about sixty or seventy minutes [roles].”