Ferrier, Kathleen. (1912–1953). Important Autobiographical Autograph Letter. A very rare and highly important autograph letter from the great contralto who died tragically young. Signed "Kathleen Ferrier," five pages, 8vo, Hampstead, n.d. (early 1946), to Mr. Giddy. Ferrier writes to her correspondent providing extensive details of her career, remarking "Here is everything I can think of that is neither libellous nor imprintable!" The singer informs Giddy, "Worked in the Civil Service by day and studied piano & accompanied & played solos at concerts in and around Lancashire at night…Also won piano in National Competition run by Daily Express in which many, now famous, pianists also entered and won. Entered Musical Festival at Carlisle for wager, and won Contralto Solo, & Rose Bowl for best singer of Festival & first prize piano….Had my first singing lesson in 1940 from Dr. J. E. Hutchinson of Newcastle-on-Tyne & under his conductorship sang first big Messiah performance at the City Hall, N'castle. The next year Dr. Malcolm Sargent heard me sing and recommended me to Mr. Tillett of Ibbs & Tillett. In 1942 (Xmas) removed to London and studied & (still studying) with Mr. Roy Henderson who has helped me more than I can say….and am supposed to have had meteoric rise! (fingers crossed!). Most exciting dates include two Xmas Messiah broadcasts (1944 & 1945) & the last Prom. Performance (1945) in the R. Albert Hall. The latter rather wearing as the parts for my aria were in the wrong key - 3rd too high - & the right ones only arrived at 1pm making very hurried rehearsal. Never forget the sight of the R.A.H. crammed to suffocation." Ferrier further recounts an amusing anecdote about the difficulties she encountered when travelling by train to a small village in Yorkshire in order to sing Messiah and in concluding states that she will be "having first shot at opera" in the summer when she appears in the title role of Benjamin Britten's new work The Rape of Lucretia.
An extraordinary rare letter of outstanding content. Some minor tape stains and small tears in the upper left corner of each page, only slightly affecting the text but not signature, otherwise fine.
Benjamin Britten wrote his two act opera The Rape of Lucretia for Kathleen Ferrier and it is the first work to which the composer applied his term "chamber opera." The opera was first performed at Glyndebourne on 12th July 1946, with Ferrier in the title role.
Bruno Walter wrote of Ferrier “No summit of solemnity was inaccessible to her, and it was particularly music of spiritual meaning that seemed her most personal domain.”
An extraordinary rare letter of outstanding content. Some minor tape stains and small tears in the upper left corner of each page, only slightly affecting the text but not signature, otherwise fine.
Benjamin Britten wrote his two act opera The Rape of Lucretia for Kathleen Ferrier and it is the first work to which the composer applied his term "chamber opera." The opera was first performed at Glyndebourne on 12th July 1946, with Ferrier in the title role.
Bruno Walter wrote of Ferrier “No summit of solemnity was inaccessible to her, and it was particularly music of spiritual meaning that seemed her most personal domain.”
Ferrier, Kathleen. (1912–1953). Important Autobiographical Autograph Letter. A very rare and highly important autograph letter from the great contralto who died tragically young. Signed "Kathleen Ferrier," five pages, 8vo, Hampstead, n.d. (early 1946), to Mr. Giddy. Ferrier writes to her correspondent providing extensive details of her career, remarking "Here is everything I can think of that is neither libellous nor imprintable!" The singer informs Giddy, "Worked in the Civil Service by day and studied piano & accompanied & played solos at concerts in and around Lancashire at night…Also won piano in National Competition run by Daily Express in which many, now famous, pianists also entered and won. Entered Musical Festival at Carlisle for wager, and won Contralto Solo, & Rose Bowl for best singer of Festival & first prize piano….Had my first singing lesson in 1940 from Dr. J. E. Hutchinson of Newcastle-on-Tyne & under his conductorship sang first big Messiah performance at the City Hall, N'castle. The next year Dr. Malcolm Sargent heard me sing and recommended me to Mr. Tillett of Ibbs & Tillett. In 1942 (Xmas) removed to London and studied & (still studying) with Mr. Roy Henderson who has helped me more than I can say….and am supposed to have had meteoric rise! (fingers crossed!). Most exciting dates include two Xmas Messiah broadcasts (1944 & 1945) & the last Prom. Performance (1945) in the R. Albert Hall. The latter rather wearing as the parts for my aria were in the wrong key - 3rd too high - & the right ones only arrived at 1pm making very hurried rehearsal. Never forget the sight of the R.A.H. crammed to suffocation." Ferrier further recounts an amusing anecdote about the difficulties she encountered when travelling by train to a small village in Yorkshire in order to sing Messiah and in concluding states that she will be "having first shot at opera" in the summer when she appears in the title role of Benjamin Britten's new work The Rape of Lucretia.
An extraordinary rare letter of outstanding content. Some minor tape stains and small tears in the upper left corner of each page, only slightly affecting the text but not signature, otherwise fine.
Benjamin Britten wrote his two act opera The Rape of Lucretia for Kathleen Ferrier and it is the first work to which the composer applied his term "chamber opera." The opera was first performed at Glyndebourne on 12th July 1946, with Ferrier in the title role.
Bruno Walter wrote of Ferrier “No summit of solemnity was inaccessible to her, and it was particularly music of spiritual meaning that seemed her most personal domain.”
An extraordinary rare letter of outstanding content. Some minor tape stains and small tears in the upper left corner of each page, only slightly affecting the text but not signature, otherwise fine.
Benjamin Britten wrote his two act opera The Rape of Lucretia for Kathleen Ferrier and it is the first work to which the composer applied his term "chamber opera." The opera was first performed at Glyndebourne on 12th July 1946, with Ferrier in the title role.
Bruno Walter wrote of Ferrier “No summit of solemnity was inaccessible to her, and it was particularly music of spiritual meaning that seemed her most personal domain.”