DAME MELBA
HER RETIREMENT NOW DEFINITE HOW THIS BRILLIANT STAR AROSE
(By
H.P.)
It is ever the privilege of stage and platform stars to “retire’* as ofteij as they please,, and still continue to appear before the public, but the repeated cable messages from London seem to indicate that Dame Melba has made an irrevocable decision, and, being a woman of strong character, she may prove to be the exception to the rule. A few months ago, it was announced that she may go into poilitics in Australia. Many on this side may think that a new note is needed in Australian politics, and, without doubt, Melba could supply a very sweet one. It may be that she could queen it in the Commonwealth Parliament by the exercise of her syren voice in a recitative and aria prelude to any Bill she may wish to pass into law; but one cannot seriously consider her descending from the heights of a world’s star singer to wrangle with men about roads, railways, and bridges, in l a dingy committee room. Perish the thought! Melba's career has'been truly wonderful. No other singer from thc-south-‘ern hemisphere has ever risen to her dizzy ’ heights in the realm of song, and yet she is the daughter of a Victorian farmer, Mr. James Mitcjiell. It was' as a sliin girl of seventeen that she made her first appearance as a singer in the Melbourne Town Hall, at a benefit concert for one who had fallen upon penurious times, all undeserved. The doors of world-wide glory were not thrown open to her until the year 1888, when her father was nominated as. one of the delegates for Victoria to the Colonial Exhibition in London, whither he went, taking his talented daughter with him. Nellie Mitchell was wild to go upon the stage—the operatic stdge. With something uncannily psychological in her make-up, she knew her metier, and steered'for it without the. slightest suspicion of any mental deviation. But her father was Scotch, and with great firmness informed her that he would never consent to her following the art of a , professional singer unless he had the favourable opinion of notable judges in sucli matters. Thereupon she made a desperate attempt to clear the decks. Unknown to her father she slipped away to Paris, and went straight to the great Marchcsi, then considered an oracle in all matters concerning the singing voice.
Having heard her, Marches! at once realised that here was a voice, and ran to her husband with the declaration that' she had discovered, the makings of a “star.” Marches! instinctively knew that this slim girl had not only a voice of gold, but the temperament and brains to make a diva of the highest rank. Maurice Strokosch, then one of the greatest impressarios of the time, heard, the Australian girl sing, and was so impressed with her that he shortly afterwards concluded a ten years’ contract with her, assuring her for the first year a salary of 1000 francs per month. Even old Mr. Mitchell stared, at this , and at his wonderful daughter. But not long afterwards the directors of the Mannaie Opera House at Brussels offered her 3000 francs a month, so, being of Scotch parentage, it was at Brussels that she made her debut. Hfer success was instantaneous, magical, and overwhelming. The Queen of Belgium was so affected by her performance that she sent for Melba and in tears embraced her. The next dav the star had risen—all Europe could see her high in the heavens of operatic fame. She became a celebrity, and impressarios from all the world sought her signature. From that day her career was a series of unbroken triumphs. During the last decade, as the years have taken toll, she has not been a regular performer in opera, but no year has passed by without-this singer,having thrilled audiences in some parts of the world. The year before last she gave a series of concerts in Melbourne at popular prices that were a triumph, and last year, in association with J; C. Williamson, Ltd., she was responsible for the opera company which achieved such a phenomenal success—establishing for grand opera record financial returns in Australia. It was at Covent Garden alone that she experienced a disappointment, and she left. England declaring that she would never set foot in it again, but the then Princess of Wales (the late Queen Alexandra) begged her to return, and give the Londoners another chance. She consented, and appeared on the stage of a great London theatre in Gounod’s opera “Ror/eo and Juliet,” and swept the audience off its feet. The next dav all England lay at her triumphant feet, and later she became a power at Covent Garden, probably the greatest power that historic house has known. What Melba said became law. . . „ In the home of Lady Gladys de Gray, Melba met manv remarkable people. One of these was Oscar Wilde, who seemed able to utter the most brilliant tilings by simply opening his mouth. But he was vain. He openly said to the diva: “I am the King of Speech, as you are the Queen of Song I must write a sonnet to you.” Then came the writer’s great humiliation. Three years later, after Wilde had been discharged from prison, Melba was taking a walk along the boulevards when she was accosted by a poor ragged creature who said: "I am Oscar Wilde, and I am going to do a horrible thing. I teg of you a little money.” The diva gave him all she had, some 200 francs, and hurried away, full of pity and shame. 9 .—==
Permanent link to this item
https://paperspast.natlib.govt.nz/newspapers/DOM19260108.2.6
Bibliographic details
Dominion, Volume 19, Issue 88, 8 January 1926, Page 3
Word Count
943DAME MELBA Dominion, Volume 19, Issue 88, 8 January 1926, Page 3
Using This Item
Stuff Ltd is the copyright owner for the Dominion. You can reproduce in-copyright material from this newspaper for non-commercial use under a Creative Commons BY-NC-SA 3.0 New Zealand licence. This newspaper is not available for commercial use without the consent of Stuff Ltd. For advice on reproduction of out-of-copyright material from this newspaper, please refer to the Copyright guide.