Passing of Nellie Melba’s granddaughter

Sad to note the death in Australia at 92 of Pamela, Lady Vestey, at her home, Coombe Cottage at Coldstream in Victoria’s Yarra Valley.

She was the adored granddaughter of the great Australian diva, Dame Nellie Melba. Coombe Cottage had been built by Melba in 1910, and Lady Vestey lived there, guardian of Melba’s legacy, for the last four decades of her life.

I met her some ten years ago at a talk on Melba’s recordings at the Athenaeum Theatre in nearby Lilydale. I had been advised that she was quite deaf and would probably not hear much of it. But, of course, the difficulty in hearing among the elderly is at its most severe in social situations, where there is a lot of ambient noise. I noticed this chatting with her before the talk.

Then, when I started, the theatre fell silent and her face turned towards me. And when I played the first of the Melba recordings – the “Mad Scene” from Donizetti’s Lucia di Lammermoor – she positively beamed with pleasure. Clearly she heard it well enough, the memory of her grandmother’s voice flooding back.

We have lost a gracious lady, one of the last links with that Golden Age.

Giving thanks for Dame Joan

Went yesterday to the Thankgiving Service at Westminster Abbey for the great Australian soprano, Dame Joan Sutherland. Packed house. Wonderful occasion.

She had a career spanning half a century, singing in all the great opera houses of the world, but her artistic home was always the Royal Opera House, Covent Garden. I was lucky enough to see and hear her often, both there and later at Sydney Opera House. Unassuming and full of fun, she was the most undivaish of divas.

After hearing the Abbey choir sing Byrd and we had mumbled a hymn, suddenly, there she was - recorded early in her career, singing Handel’s “Let the Bright Seraphim”. Dazzling technique. Incredible flexibility. Gorgeous creamy voice. Fabulous breath control.

Coached throughout her career by her husband, the conductor Richard Bonynge, she had brought a new dimension to the singing of 18th and early 19th century music.

It occurred to me, listening to that stream of notes, that she and Bonynge had not only re-introduced the opera world to a hatful of forgotten masterpieces, particularly the so-called bel canto operas of Donizetti and Bellini, but also that together they had re-created the substantially forgotten art of vocal ornamentation – the kind of thing that pop stars like Mariah Carey and Christina Aguilera aim to do, by comparison rather crudely, nowadays.

Re-discovery can be just as powerful as discovery in innovation.