Book contents
- Frontmatter
- Dedication
- Contents
- List of Plates
- List of Figures
- Foreword
- Preface to the New Edition
- Chronology
- Chapter 1 1843–1865: Childhood and Years of Study
- Chapter 2 1866–1867: Tribschen
- Chapter 3 1868–1869: Munich
- Chapter 4 1870–1871: Brussels; Tribschen
- Chapter 5 1871–1874: Budapest
- Chapter 6 1874–1875: Budapest and Bayreuth
- Chapter 7 1875: Vienna
- Chapter 8 1876: Bayreuth
- Chapter 9 1877: London
- Chapter 10 1878–1879: Vienna
- Chapter 11 1879–1880: Friends and Enemies
- Chapter 12 1880–1881: London and Vienna
- Chapter 13 1881–1882: Richter and d'Albert
- Chapter 14 1882: Richter and d'Albert
- Chapter 15 1882–1883: The Master's Death
- Chapter 16 1884: More Opera in London
- Chapter 17 1885–1886: Vienna, London and Birmingham
- Chapter 18 1887–1888 Return to Bayreuth
- Chapter 19 1889–1900: Vienna
- Chapter 20 1897–1900: Richter and Mahler
- Chapter 21 1889–1890: England
- Chapter 22 1891–1895: England
- Chapter 23 1895–1900: England
- Chapter 24 1890–1899: Bayreuth
- Chapter 25 1894–1899: Richter's Diary
- Chapter 26 1899–1900: Hallé Orchestra
- Chapter 27 1900–1902: England
- Chapter 28 1903–1904: England
- Chapter 29 1904–1906: England
- Chapter 30 1906–1908: England
- Chapter 31 1908–1909: England
- Chapter 32 1909–1911: England
- Chapter 33 1911–1914: Retirement
- Chapter 34 1914–1916: The Last Years
- Chapter 35 Finale
- HANS RICHTER'S CONDUCTING BOOKS
- Appendix 1 Works conducted by Hans Richter
- Appendix 2 Cities and towns where Richter conducted
- Select Bibliography
- Index
Chapter 27 - 1900–1902: England
Published online by Cambridge University Press: 29 April 2017
- Frontmatter
- Dedication
- Contents
- List of Plates
- List of Figures
- Foreword
- Preface to the New Edition
- Chronology
- Chapter 1 1843–1865: Childhood and Years of Study
- Chapter 2 1866–1867: Tribschen
- Chapter 3 1868–1869: Munich
- Chapter 4 1870–1871: Brussels; Tribschen
- Chapter 5 1871–1874: Budapest
- Chapter 6 1874–1875: Budapest and Bayreuth
- Chapter 7 1875: Vienna
- Chapter 8 1876: Bayreuth
- Chapter 9 1877: London
- Chapter 10 1878–1879: Vienna
- Chapter 11 1879–1880: Friends and Enemies
- Chapter 12 1880–1881: London and Vienna
- Chapter 13 1881–1882: Richter and d'Albert
- Chapter 14 1882: Richter and d'Albert
- Chapter 15 1882–1883: The Master's Death
- Chapter 16 1884: More Opera in London
- Chapter 17 1885–1886: Vienna, London and Birmingham
- Chapter 18 1887–1888 Return to Bayreuth
- Chapter 19 1889–1900: Vienna
- Chapter 20 1897–1900: Richter and Mahler
- Chapter 21 1889–1890: England
- Chapter 22 1891–1895: England
- Chapter 23 1895–1900: England
- Chapter 24 1890–1899: Bayreuth
- Chapter 25 1894–1899: Richter's Diary
- Chapter 26 1899–1900: Hallé Orchestra
- Chapter 27 1900–1902: England
- Chapter 28 1903–1904: England
- Chapter 29 1904–1906: England
- Chapter 30 1906–1908: England
- Chapter 31 1908–1909: England
- Chapter 32 1909–1911: England
- Chapter 33 1911–1914: Retirement
- Chapter 34 1914–1916: The Last Years
- Chapter 35 Finale
- HANS RICHTER'S CONDUCTING BOOKS
- Appendix 1 Works conducted by Hans Richter
- Appendix 2 Cities and towns where Richter conducted
- Select Bibliography
- Index
Summary
In the autumn of 1900 Richter was installed at Bowdon with his wife and two daughters and opened his first season as the Hallé's regular conductor. After a quick trip to Hamburg to conduct a Berlin Philharmonic concert he began with a Gentlemen's Concert at the Free Trade Hall in Manchester on 15 October, in which Muriel Foster sang three of Elgar's Sea Pictures and Stanford's arrangement of Purcell's Mad Bess. The Gentlemen's Concerts Society had been founded in 1770 and continued until 1920. When Hallé, a refugee from revolution in Paris in 1848, arrived in England he was persuaded by Hermann Leo, a Manchester business man, to come north and revive the city's musical fortunes. He took over the Gentlemen's Concerts in May 1850 and then established his own series. Richter's season of twenty Thursday concerts (the traditional concert night since 1861) began three days later on 18 October. His soloist was the soprano Blanche Marchesi, who sang La Cloche by Saint-Saëns and Leonore's aria ‘Abscheulicher’ from Fidelio. A year earlier she also sang Beethoven's aria at the first concert of the season (19 October 1899), the fourth anniversary of Hallé's death.
[Richter] turned to me in the green room and said, ‘Woman, why on earth are you not singing in opera? You would make a great Wagner singer.’ And on my reply, ‘Do you think my voice would be sufficiently powerful to represent Wagner's dramatic heroines?’ he answered, ‘It is just such singers as you that Wagner desired and wished for. He wanted classic style and perfect vocal method and it is a great mistake to think that all the people who did sing his works, ignorant of methods, were to his liking’ … When we parted that night at the Manchester Free Trade Hall I went home a new-born, perfectly happy creature, seeing a bright future before me. To be brief, after the blessing of Richter, I made my debut at Prague in the Walküre as Brünnhilde. …
To my astonishment at the rehearsal, when Richter had beaten the first bars and I came in at once with all my power with the famous words ‘Abscheulicher, wo eilst du hin’? the orchestra did not come in on the bar.
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- Hans Richter , pp. 341 - 352Publisher: Boydell & BrewerPrint publication year: 2016