Biographies of Contributors

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Allen, (Sir) Thomas

(b Seaham Harbour, 1944). Eng. bar. Opera début with WNO 1969 (Figaro in Il barbiere di Siviglia). CG début 1971 (Donald in Billy Budd). Glyndebourne début 1973 (Papageno in Die Zauberflöte); NY Met 1981 (Papageno); La Scala 1987 (Don Giovanni). Fine interpreter of Billy Budd (WNO), of Mozart's Count, Don Giovanni, and Don Alfonso, Janáček's Forester, and of Beckmesser. Sang Ulisse in Henze's realization of Monteverdi's Il ritorno d’Ulisse in patria, Salzburg 1985 and title role in f. Brit, stage p. of Busoni's Doktor Faust, London (ENO) 1986. CBE 1989. Knighted 1999.

Baker, (Dame) Janet

(b Hatfield, Doncaster, 1933). Eng. mez. Second prize in the Kathleen Ferrier Competition 1956. Opera début 1956 with Oxford Univ. Opera Club. Leading roles with Handel Opera Society from 1959. Aldeburgh Festival from 1962, creating Kate in Britten's Owen Wingrave (TV 1971, CG 1973) and giving f.p. of his Phaedra, 1976. NY début 1966 (concert). CG début 1966 (Hermia in A Midsummer Night's Dream). Scottish Opera from 1967: Dorabella (Così fan tutte), Dido (Les Troyens), Octavian (Der Rosenkavalier), Composer (Ariadne auf Naxos), Gluck's Orpheus (1979). Glyndebourne: Diana (La Calisto 1970), Penelope (Il ritorno d’Ulisse in patria, 1972). ENO: Poppea (L'incoronazione di Poppea 1971), Mary Stuart (Donizetti, 1973), Charlotte (Werther, 1977). Last operatic appearance 1982 as Orpheus at Glynde-bourne. Equally impressive in operatic parts as in Lieder, English and French song, oratorio, and Mahler. Autobiography Full Circle (London, 1982). Hamburg Shakespeare Prize 1971. CBE 1970. DBE 1976. CH 1994.

Brewer, Christine

(b Springfield, Ill., 1956). Amer,. sop. Worked as teacher while singing in chorus at Opera Theatre of St Louis. Won NY Met. Auditions 1989. Opera début St Louis 1989 (Ellen Orford), CG 1994 (Countess in Figaro), NY Met. 2002 (Ariadne). Acclaimed Isolde (London concert 2002, S. Francisco (stage) 2006). Other roles incl. Donna Anna, Leonora (Fidelio), Gloriana (Britten) and Strauss's Ariadne, Helena, and Dyer's Wife. Noted concert and recital artist.

Bullock, Susan

(b Davenham, Ches., 1958). Eng. sop. Studied RAM and Nat. Op. Studio. Decca Ferrier Prize 1984. Début ENO 1986 (Pamina). Glyndebourne 1995 (Lisa in Queen of Spades). NY City Opera 2000 (Butterfly). Brussels 2000 (Elektra, a role she has since sung worldwide). Opera North 2000 (Isolde). Sang first Brünnhilde in Ring in Tokyo 2002. CG début 2005 (Marie in Wozzeck), Canadian Opera 2007 (Brünnhilde).

DiDonato, Joyce

(b Prairie Village, Kansas, 1969). Amer. mez. Studied at Academy of Vocal Arts, Philadelphia. 2nd prize Domingo Operalia 1998, won Richard Tucker Award 2002. Santa Fe début 2000 (Cherubino in Mozart's Figaro). CG début 2003 (Fox in Cunning Little Vixen), Paris Opéra 2003 (Rosina in Il barbiere di Siviglia), NY Met 2005 (Cherubino). Created Meg in Mark Adamo's Little Women, Houston 1998.

Domingo, Plácido

(b Madrid, 1941). Spanish ten. and cond. Début as bar. 1957 in zarzuela. Opera début as tenor in Monterrey, Mexico, 1961 (Alfredo in La traviata). Member of Israeli Nat. Opera 1962–5. Amer. début (Dallas) 1961 (Arturo in Lucia di Lammermoor). NY début 1965 with City Opera (Pinkerton in Madama Butterfly). NY Met début 1968 (Maurizio in Adriana Lecouvreur), Scala 1969 (Ernani), British début London, 1969, in Verdi's Requiem, CG 1971 (Cavaradossi in Tosca). Sang his first Otello Hamburg 1975. Salzburg Fest, début 1975 (title-role in Don Carlos). Outstanding exponent of lyrical and heroic roles of Italian opera, but also a fine Lohengrin, Parsifal, Walther, and Siegmund – sang Parsifal at La Scala and NY Met 1991 and at Bayreuth 1993; sang Siegmund in Die Walküre, Vienna 1992, CG 1997 and 2005. Has also conducted opera, including Die Fledermaus (CG 1983) and La bohème (NY Met 1985). He is gen. dir. of Washington National Opera (from 1996) and Los Angeles Opera (from 2000). Autobiography My First Forty Years (NY 1983). Hon. KBE 2002.

Douglas, Nigel

(b Lenham, Kent, 1929). English ten. Début Vienna 1959 (Rodolfo in La bohème). Principal tenor Zurich Opera House from 1964; Vienna Volksoper 1964–8, Scottish Opera 1968–71, WNO 1971. Repertoire of over 80 roles, incl. Alwa (Lulu), Captain (Wozzeck), Loge, Herod, Peter Grimes, Vere, Aschenbach, and the Devil (Rimsky-Korsakov's Christmas Eve). Created roles of L’Heureux in Sutermeister's Madame Bovary (Zurich 1967), Philip in Gardner's The Visitors (Aldeburgh 1972), and Basil in Mathias's The Servants (Cardiff 1980). Sang Kent in f. Brit. p. of Reimann's Lear (ENO 1989). Expert on Viennese operetta and the only Brit. ten. to sing Danilo at Vienna Volksoper. Frequent broadcaster and author of Legendary Voices (1992), More Legendary Voices (1994), and The Joy of Opera (1996).

Evans, (Dame) Anne

(b London, 1941). English sop. of Welsh parentage. Principal soprano ENO 1968–78, making début as Mimì and singing Fiordiligi, Violetta, the Marschallin, Ariadne, Elsa, Sieglinde, and Kundry. WNO début as Senta in Der fliegende Holländer, Cardiff 1974, and has sung with them Chrysothemis (Elektra), Empress and Dyer's Wife (Die Frau ohne Schatten), Leonore (Fidelio), Brünnhilde (in Ring cycle and with WNO at CG), Donna Anna (Don Giovanni), and Isolde. Bayreuth début 1983 (Ortlinde and 3rd Norn). Sang Brünnhilde in Ring cycles at Bayreuth 1989–92, and has sung role in London (CG), Berlin, Nice, Paris, Turin, and Zurich. NY Met début 1992 (Elisabeth in Tannhäuser). DBE 2000.

Hampson, Thomas

(b Elkhart, Ind., 1955). American bar. Won Lotte Lehmann award 1978 and NY Met auditions 1981. Member Deutsche Oper am Rhein, Düsseldorf, 1981–4, singing Herald in Lohengrin, Harlequin in Ariadne auf Naxos, etc. Title-role in Henze's Der Prinz von Homburg, Darmstadt 1982, and Guglielmo in Così fan tutte, St Louis 1982. Santa Fe début 1983 (Malatesta in Don Pasquale). Recital débuts, London 1983, NY 1985. Débuts NY Met 1986 and Salzburg 1988 (both as Count in Le nozze di Figaro). CG début 1993 (Figaro in Il barbiere di Siviglia). Fine singer of Amfortas (Parsifal) and Anckarstroem (Un ballo in maschera) and also of Schubert and Brahms Lieder and of Mahler cycles. Co-ed., critical edn. of Mahler songs.

Harewood, George, 7th Earl of

(b London, 1923). English opera administrator, writer, and ed. Enthusiasm for opera stimulated by his parents and furthered in Italy and Germany while a prisoner of war. Founded magazine Opera 1950 (ed. 1950–3). Board of CG 1951–3 and 1969–72, controller of opera planning 1953–60. Dir. of Leeds Fest. 1958–74; Edinburgh Fest. 1961–5; Adelaide Fest. 1988. Managing dir. of SW Opera (ENO) 1972–85, chairman 1986–95. Ed., 8th, 9th and 10th edns. of Kobbé's Complete Opera Book, 1954, 1976, and 1987, and Kobbé's Illustrated Opera Book (1989); joint ed. (with Antony Peattie) of The New Kobbé's Opera Book (1997); autobiography The Tongs and the Bones (1982). KBE 1986.

Isepp, Martin

(b Vienna, 1930). Austrian-born English pianist and harpsichordist, son of singing-teacher Hélène Isepp. On staff Glyndebourne Opera 1957–93 (chief coach 1973–8, head of music staff 1978–93). Head of opera training, Juilliard School, NY, 1973–7; head of music studies, Nat. Opera Studio 1978–95. Associated with opera training chools in Banff, Alberta, and Ischia. Accompanist to many leading singers. Has conducted Mozart operas at Glyndebourne and at New York Metropolitan Opera.

Johnson, Frank

(b London, 1943; d London, 2007). English journalist. Began his journalistic career as a messenger boy on the Sunday Express. On the political staff of the Sun 1959–62. He was parliamentary sketch-writer and leader-writer on the Daily Telegraph 1972–9, later moving to The Times, for which he was also its correspondent in Paris and Bonn. He was associate editor of the Sunday Telegraph 1988–93 and its deputy editor 1993–4. Editor of the Spectator 1995–9. Opera and ballet were his principal recreations. His interest in opera was stimulated by attending a London school which regularly supplied boy choristers for small parts at Covent Garden. He made his début there in 1955 as a Nibelung dwarf in Das Rheingold, later taking part in Carmen, La bohème, Jenůfa, Otello, The Trojans, The Queen of Spades, Turandot, and Tosca. The peak of his operatic career was as Maria Callas's son in Norma at Covent Garden in 1957.

Jurinac, Sena

(b Travnik, Bosnia, 1921). Austrian sop. of Bosnian birth. Début Zagreb 1942 as Mimì in La bohème. Vienna State Opera 1944–83 (début as Cherubino in Le nozze di Figaro, farewell as Marschallin in Der Rosenkavalier). London début 1947 with Vienna State Opera. Salzburg Fest. 1947–80 (début as Dorabella in Così fan tutte). La Scala 1948 (Cherubino in Le nozze di Figaro). Glyndebourne 1949–56 (Dorabella at Edinburgh Fest. and Fiordiligi in Così fan tutte, Glyndebourne 1950). Memorable in Mozart roles and as Composer in Ariadne auf Naxos and Octavian in Der Rosenkavalier. San Francisco 1959 (Madama Butterfly), Chicago 1963 (Desdemona in Otello). In latter part of her career sang Kostelnička in Jenůfa.

Keenlyside, Simon

(b London, 1959). Eng. baritone. Degree in Zoology, Cambridge Univ., then studied at RNCM with John Cameron. Tauber Prize 1986. Début Hamburg 1987. CG début 1989 (Silvio in Pagliacci). ENO 1990 (Guglielmo). S. Francisco 1993 (Olivier in Capriccio). La Scala 1995 (Papageno). NY Met 1996 (Belcore in L'elisir d'amore). Created Prospero in Adès's The Tempest (CG 2004) and Winston Smith in Maazel's 1984 (CG 2005). Outstanding as Papageno, Billy Budd, Don Giovanni, Pelléas. First Wozzeck 2008 (Paris). Notable recitalist (Schubert's Winterreise). CBE 2003.

Kennedy, Michael

(b Manchester, 1926). On the staff of the Daily Telegraph 1941–89. Northern Ed. 1960–86 but began writing music criticism for it in 1950. In 1986 he became its joint chief music critic and was music critic of the Sunday Telegraph 1989–2005. His books include The Hallé Tradition (1960), The Hallé 1858–1983 (1982), Portrait of Manchester (1971), History of the Royal Manchester College of Music (1970), Music Enriches All (a history of the first 21 years of the RNCM, 1994), and Barbirolli: Conductor Laureate (1971). Among his other books are an edn. of Charles Hallé's autobiography (1972); a biography of Sir Adrian Boult; studies of Elgar, Vaughan Williams, Britten, Walton, Strauss and Mahler; and the Oxford Dictionary of Music and Concise Oxford Dictionary of Music. He is a frequent broadcaster and lecturer. OBE 1981. CBE 1997.

Langridge, Philip

(b Hawkhurst, Kent, 1939; d London, 2010). English ten. Played the violin professionally until 1964 but began singing in 1962. Début Glyndebourne 1964 (Footman in Capriccio). Sang Florestan (Fidelio) for GTO. Specialist in Britten roles for CG and ENO, having sung Peter Grimes, Captain Vere (Billy Budd), Peter Quint (Turn of the Screw), and outstanding as Aschenbach (Death in Venice). CG début 1983 (Fisherman in The Nightingale). Co-created title-role in Birtwistle's The Mask of Orpheus, ENO 1986. NY Met début 1985 (Ferrando in Così fan tutte), Salzburg Fest. 1987 (Aaron in Moses und Aron). Also exponent of Janáček roles and a notable Bénédict in Berlioz's Béatrice et Bénédict. CBE 1994.

Leigh, Adèle

(b London, 1928; d London, 2004). English sop. Member of CG co. 1948–56 (début as Xenia in Boris Godunov). Created 2 roles in The Pilgrim's Progress (CG 1951) and Bella in The Midsummer Marriage (CG 1955). USA début Boston 1959 (Musetta in La bohème), NY 1960 (Sophie in Werther). Zurich Opera from 1961. Prin. sop. Vienna Volksoper 1963–72. Came out of retirement to sing Gabrielle in La vie parisienne, Brighton Fest. 1984, and Heidi in Sondheim's Follies, London 1987. Taught at RNCM from 1992.

Lott, (Dame) Felicity

(b Cheltenham, 1947). English sop. Opera début, Unicorn Opera, Abingdon, 1973 (Seleuce in Handel's Tolomeo). ENO début 1975 (Pamina in Die Zauberflöte), CG 1976 (created Lady 3/Girl 3 in We Come to the River), GTO 1976 (Countess in Capriccio), Glyndebourne 1977 (Anne in The Rake's Progress). Noted singer of Strauss's Octavian (Der Rosenkavalier), Countess (Capriccio), Christine (Intermezzo), and Arabella at Glyndebourne and elsewhere. USA début (concert in Chicago) 1984, (opera) Chicago (Countess in Le nozze di Figaro). Munich 1988 (Christine), NY Met 1990 (Marschallin), Vienna State Opera 1991 (Arabella), Salzburg Fest. 1992 (Countess in Le nozze di Figaro). Member of Songmakers’ Almanac. CBE 1990. DBE 1996.

Mackerras, (Sir) Charles

(b Schenectady, NY, 1925; d London, 2010). Australian cond. and oboist. Principal oboist in Sydney SO 1943–6. Went to Eng. 1946. Studied conducting 1947–8. Début, SW Opera 1948 (Die Fledermaus). Principal conductor BBC Concert Orch. 1954–6. CG début 1963 (Katerina Ismailova). Hamburg State Opera 1966–70. Music dir. of SW Opera (ENO from 1974) 1970–8; principal conductor Sydney SO 1982–5. Music dir. WNO 1987–91. Cond. f.p. in England of a Janáček opera, Katya Kabanová, SW 1951, following with several other Janáček operas, some of which he has edited. Awarded Janáček Medal, 1978. Arranged music by Sullivan for ballet Pineapple Poll and reconstructed his lost cello concerto. Has conducted and edited operas by Handel, J. C. Bach, and Gluck. His Marriage of Figaro at SW 1965 was remarkable for addition of 18th-cent. ornamentation. NY Met début 1972 (Gluck's Orfeo). Glyndebourne début 1990 (Falstaff). CBE 1974. Knighted 1979. CH 2003. Queen's Medal for Music, 2005.

McLaughlin, Marie

(b Motherwell, 1954). Scottish sop. Won scholarship to London Opera Centre, 1977. Sang Tatyana in Eugene Onegin, conducted by Rostropovich, at Snape, 1978. Débuts: London (ENO) 1978 (Anna Gomez in The Consul), CG 1980 (Barbarina in Figaro), Rome 1982 (Ilia in Idomenea), Berlin 1984 (Marzelline in Fidelio), Glyndebourne 1985 (Micaëla in Carmen), NY Met 1986 (Marzelline), Salzburg Fest. 1987 (Susanna in Le nozze di Figaro), La Scala 1988 (Adina in L'elisir d'amore). A memorable Violetta (La traviata, Glyndebourne 1987). Other roles include Zdenka in Arabella, Gilda in Rigoletto, and Jenny in Weill's Mahagonny.

McNair, Sylvia

(b Mansfield, Ohio, 1956). American sop. Début in Messiah, Indianapolis 1980. Opera début NY 1982 (Sandrina in Haydn's L'infedeltá delusa). European début, Schwetzingen 1984 (created title-role in Kelterborn's Ophelia). Sang Pamina in Die Zauberflöte at Santa Fe, Ilia in Idomeneo and Morgana in Alcina in St Louis. Glyndebourne début 1989 (Anne Trulove in The Rake's Progress); Salzburg Fest. and CG débuts 1990 (Ilia); NY Met début 1991 (Marzelline in Fidelio). Sang with many leading European and Amer. orchestras and with ensembles conducted by Harnoncourt and Gardiner. Won the Marian Anderson Award 1990. More recently has successfully centred her career in ‘crossover’ light music.

Miller, (Sir) Jonathan

(b London, 1934). English stage dir. Qualified in medicine, Cambridge University, where he was one of four co-authors and performers in revue Beyond the Fringe, 1961. High reputation as producer of Shakespeare and other classics. Opera début 1974, producing the British première of Goehr's Arden Must Die, New Opera Company; Glyndebourne 1975 (The Cunning Little Vixen). Worked regularly with Kent Opera (Così fan tutte, La traviata, Falstaff, Eugene Onegin), and ENO (The Marriage of Figaro, The Turn of the Screw, Rigoletto (set in 1950s New York), The Barber of Seville, Arabella, Otello, Tosca, The Mikado, and Der Rosenkavalier). NY Met début 1991 (Katya Kabanová). CG début 1995 (Così fan tutte). Has worked with many opera companies in Europe and Amer. and given masterclasses in Ischia, at the RNCM, and on TV. CBE 1983. Knighted 2002.

Porter, Andrew

(b Cape Town, 1928). English music critic. Taught at All Souls, Oxford, 1973–4, and Univ. of California, Berkeley, 1980–1. Music critic Manchester Guardian 1949, Financial Times 1953–74, New Yorker 1972–92, Observer 1992–7. Ed., Musical Times, 1960–7. Authority on opera and contributor to many periodicals and dictionaries, especially TLS. Has trans. several operas incl. Verdi's Otello, Falstaff, Don Carlos, and Rigoletto and Wagner's Der Ring des Nibelungen (for ENO). Responsible for rediscovery and subsequent performance of first version of Verdi's Don Carlos. Published 5 volumes of his collected New Yorker criticisms.

Rodgers, Joan

(b Whitehaven, 1956). English sop. Studied Russian at Liverpool Univ. and then at RNCM with Joseph Ward, later with Audrey Langford. Won Ferrier Memorial Scholarship 1981. Sang in RNCM operas. Prof. début Aix-en-Provence 1982 (Pamina in Die Zauberflöte). ENO début 1983 (Wood Nymph in Rusalka). CG début 1983 (Princess in L’Enfant et les sortilèges), Glyndebourne 1989 (Susanna in Le nozze di Figaro). Salzburg début 1991 (Mozart Matinée). NY Met début 1995 (Pamina). Concert repertoire includes Mahler, Vaughan Williams, Elgar, Britten, Bruckner, Mozart, Rachmaninov, and Musorgsky. CBE 2001.

Sellars, Peter

(b Pittsburgh, 1957). Amer. theatre and opera dir. Produced Gogol's The Inspector General, Cambridge, Mass., 1980 in modernist style. Produced Handel's Orlando, Cambridge, Mass., 1981–2 and The Mikado for Chicago Lyric Opera 1982. Dir. of Boston Shakespeare Company 1983, producing f. Amer. p. of Maxwell Davies's The Lighthouse. Dir., Amer. Nat. Theatre Co., Washington DC, 1984. At Purchase, NY, produced contemporary Amer. settings of Così fan tutte (1986), Don Giovanni (1987), and Le nozze di Figaro (1988). British début GTO 1987 (f.p. of Osborne's The Electrification of the Soviet Union), followed by Die Zauberflöte, minus dialogue, Glyndebourne 1990. Produced f.ps. of Adams's Nixon in China, Houston 1987, The Death of Klinghoffer, Brussels 1991, and Dr Atomic (for which he also wrote libretto), San Francisco 2005; Saint François d’Assise, Salzburg 1992; Pelléas et Mélisande, Amsterdam 1993; Aeschylus’ The Persians, Salzburg and Edinburgh 1993; Mathis der Maler, CG début 1995; Theodora, Glyndebourne 1996, Tristan und Isolde, Paris 2005.

Tear, Robert

(b Barry, Glamorgan, 1939). Welsh ten. In 1960 appointed lay vicar, St Paul's Cathedral, and worked with Ambrosian Singers. International chair of vocal studies, RAM 1986–94. Operatic début with Eng. Opera Group 1963 (Quint in The Turn of the Screw) and was member of Group 1964–70. CG début 1970 (Lensky in Eugene Onegin). Created Dov in The Knot Garden, CG 1970, and The Deserter in We Come to the River, CG 1976. Has sung with Scottish Opera in Verdi and Mozart. Sang the Painter in f.p. of complete Lulu, Paris 1979. Salzburg Fest. début 1985 (Eumeo in Henze's vers. of Monteverdi's Il Ritorno d’Ulisse in patria). GTO 1989 (Aschenbach in Death in Venice), Glyndebourne 1992 (Aschenbach). Also a cond. with various British and European orchestras. Autobiography Tear Here (1990). CBE 1984.

Terfel, Bryn

(b Pantglas, N. Wales, 1965). Welsh bass-bar. Won Ferrier Memorial Scholarship 1988, Cardiff Singer of the World Lieder prize 1989. Opera début Cardiff (WNO) 1990 (Guglielmo in Così fan tutte). Sang Figaro in Le nozze di Figaro WNO and Sante Fe (his USA début) 1991. London (ENO) début 1991 (Figaro in Figaro's Wedding (The Marriage of Figaro)). CG début 1992 (Masetto in Don Giovanni). Salzburg Festival début 1992 (Spirit Messenger in Die Frau ohne Schatten and Jochanaan in Salome). Chicago début 1993 (Donner in Das Rheingold), Vienna 1993 (Count in Le nozze di Figaro), NY Met 1994 (Figaro). First stage Wotan, CG 2004. Concert repertoire includes Elgar, Britten, Vaughan Williams, Handel, Monteverdi, Schubert. CBE 2003. Queen's Medal for Music, 2006.

Tomlinson, (Sir) John

(b Oswaldtwistle, 1946). English bass. Opera début 1972, GTO (Colline in La bohème) and kent Opera (Leporello in Don Giovanni). Sang Reade in f. Eng. p. of Goehr's Arden Must Die, London 1974 (New Opera Company). ENO début 1974 (Monk in Don Carlos). CG début 1979 (5th Jew in Salome). S. Francisco 1983 (Pimen in Boris Godunov). Opera North 1986 (Méphistophélès in Faust), Scottish Opera 1987 (Claggart in Billy Budd). Sang his first Bayreuth Wotan in 1988 and every year for the next twelve years, also at CG, Munich, etc. Salzburg Easter Fest. 1990 (Rocco in Fidelio). Created Green Knight in Gawain, London (CG) 1991, title-role in The Minotaur, (CG) 2008. Sang Hans Sachs (Die Meistersinger) at CG 1993. Also a noted Ochs (Der Rosenkavalier). CBE 1997. Knighted 2005.

Uppman, Theodor

(b Pao Alto, San Jose, Calif., 1920; d NY, 2005). Amer. bar. Opera début Stanford Univ. 1946 (Papageno in Die Zauberflöte). Sang Pelléas (with Maggie Teyte as Mélisande) in concert performance conducted by Pierre Monteux, S. Francisco 1947. S. Francisco Opera 1948, NY City Opera 1948 (Pelléas). Created Billy Budd in Britten's opera, CG 1951. NY Met 1953–77 (début as Pelléas). Sang Billy Budd in f. Amer. stage p., Chicago, 1970. Created Bill in Bernstein's A Quiet Place, Houston 1983.

Vaughan Williams, Ursula

(b Valletta, 1911; d London, 2007). English poet and librettist. Married composer Ralph Vaughan Williams 1953. For him wrote texts of masque The Bridal Day (1938), Hymn for St Margaret (1948), cantata The Sons of Light (1950), verses for The Pilgrim's Progress (1951), part-song Silence and Music (1953), March of the 3 Kings in cantata Hodie (1954), Four Last Songs (1954–8), libretto of unfinished opera Thomas the Rhymer (1957–8). Wrote RVW: A Biography (1964). Also wrote texts for Maconchy's opera The Sofa (1956–7), and for works by Ridout, D. Barlow, Williamson, and others. Author of three novels, five volumes of poetry, and autobiography Paradise Remembered (2002).

Walton, Susana

(Lady Walton) (b Buenos Aires, 1926; d Forio, Ischia, 2010). Met and married the composer Sir William Walton in 1948 and settled with him on the island of Ischia in the Bay of Naples, where they built their home and one of the world's most beautiful private gardens. After Sir William's death in 1983, she built a recital room next to his study and for ten years held an annual course for young English and Italian singers at which they received three weeks’ intensive tuition from first-rate producers and conductors in the art of acting in opera. She also appeared regularly as one of the reciters in Walton's Façade. Her biography of Walton, Behind the Façade, was published in 1988.

From A Dictionary of Opera Characters in Oxford Reference.

Subjects: Opera.

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