Nellie Melba - Knowledge

859:'s "Good-bye", and in the encores, thoughtfully announced beforehand – "Home, sweet Home" and "Annie Laurie." Look again at the last batch of head-lines. "The Diva to go home." By all means. Why not? As the Diva has melodiously declared (only too often), there's no place like it. "And teach 100 girls herself." If the Dame can give those hundred girls her own beautiful voice, well and good, but for heaven's sake let a musician be called in to attend to their repertoire. We cannot lightly face the prospect of a hundred débutantes let loose on us a year hence full to the epiglottis with "Minnetonkas", "Jewel Songs", and "Home, sweet Homes". 1157:, singing two arias and her famous trill. She was the first artist of international renown to participate in direct radio broadcasts. Radio enthusiasts across the country heard her, and the broadcast was reportedly heard from as far away as New York. People listening on the radio barely heard a few scratches of the trill and two arias she sang. Further radio broadcasts would include her Covent Garden farewell performance, and a 1927 "Empire Broadcast" (broadcast throughout the British Empire, by radio stations AWA and 2FC, Sydney, on Monday 5 September 1927; it was relayed by the BBC London on Sunday 4 September). 22: 926: 367: 224: 384:: the Duke followed closely behind her, and they were spotted together in Paris, Brussels, Vienna and St Petersburg. Armstrong filed divorce proceedings on the grounds of Melba's adultery, naming the Duke as co-respondent; he was eventually persuaded to drop the case, but the Duke decided that a two-year African safari (without Melba) would be appropriate. He and Melba did not resume their relationship. In the first years of the decade, Melba appeared in the leading European opera houses, including Milan, Berlin and Vienna. 955: 737: 423: 245: 1166: 1358: 3667: 150:. They had one child, a son, George, born on 16 October 1883. The marriage was not a success; Charles reportedly beat his wife more than once. The couple separated after just over a year, and Melba returned to Melbourne determined to pursue a singing career, debuting professionally in concerts in 1884. She was often accompanied in concert, and some of her concerts were organised, at times throughout her career by the flautist 469: 1061: 1073:

Melba was less impressed: "'Never again,' I said to myself as I listened to the scratching, screeching result. 'Don't tell me I sing like that, or I shall go away and live on a desert island.'" The recordings never reached the general public – destroyed on Melba's orders, it is suspected – and Melba would not venture into a recording studio for another eight years. Melba can be heard singing on several

3781: 1142:(discs were frequently recorded faster or slower than the supposed standard of 78rpm, whilst the conditions of the cramped recording studios – kept very warm to keep the wax at the necessary softness when cutting – would wreak havoc with instrumental tuning during recording sessions), means that playing her recordings back in the speed and pitch she made them at is not always a simple matter. 1109: 864: 710:, who was in control of the opera house for much of the period from 1910 until her retirement. She said, "I dislike Beecham and his methods", and he thought that while she had "nearly all the attributes inseparable from great artistry ... she was wanting in a genuine spiritual refinement." Another factor in her reduced appearances at Covent Garden was the appearance on the scene of 103: 672: 2746: 714:, a soprano ten years her junior, who became a great success in London and later in New York in roles previously associated with Melba. A third reason was her decision to spend more time in Australia. In 1909 she undertook what she called a "sentimental tour" of Australia, covering 10,000 miles (16,000 km) and including many remote towns. In 1911 in partnership with the 135:) and Pietro Cecchi, an Italian tenor, who was a respected teacher in Melbourne. In her teens, Melba continued to perform in amateur concerts in and around Melbourne, and she played the organ at church. Her father encouraged her in her musical studies, but he strongly disapproved of her taking up singing as a career. Melba's mother died suddenly in 1881 at Richmond. 3769: 904:, which her father had built and where as a teenager she had sung in the choir. The funeral motorcade was over a kilometre long, and her death made front-page headlines in Australia, the United Kingdom, New Zealand, and Europe. Billboards in many countries said simply "Melba is dead". Part of the event was filmed for posterity. Melba was buried in the cemetery at 263: 1279:, during her brief cohabitation with her husband was relocated from the Marian Mill (where it was due to be demolished) to a riverbank setting along the main Eungella Road in Edward Lloyd Park, where, under the name Melba House, it was restored and now operates as a Melba museum and the Pioneer Valley Visitor Information Centre. Her home Coombe Cottage in 686:. She had first sung the part of Mimì in 1899, having studied it with the composer. She argued strongly for further productions of the work in the face of the distaste expressed by the Covent Garden management at this "new and plebeian opera". She was vindicated by the public enthusiasm for the piece, which was bolstered in 1902 when 441: 1077:, early attempts at live recording, made by the Metropolitan Opera House librarian Lionel Mapleson in the auditorium there during performances. These cylinders are often poor in quality, but they preserve something of the quality of the young Melba's voice and performance that is sometimes lacking from her commercial recordings. 973: 782: 1104:

voice with effortless coloratura, a smooth legato and accurate intonation. Melba had perfect pitch; the critic Michael Aspinall says of her complete London recordings issued on LP, that there are only two lapses from pitch in the entire set. Like Patti, and unlike the more vibrant-voiced Tetrazzini,

1072:

Phonograph Lab in New York. A reporter from Phonoscope magazine was impressed: "The next cylinder was labelled 'Melba' and was truly wonderful, the phonograph reproducing her wonderful voice in a marvellous manner, especially the high notes which soared away above the staff and were rich and clear."

946:

It is easy to sing well, and very difficult to sing badly! How many students are really prepared to accept that statement? Few, if any. They smile, and say: "It may be easy for you, but not for me." And they seem to think that there the matter ends. But if they only knew it, on their understanding

871:

In 1922, Melba returned to Australia, where she sang at the immensely successful "Concerts for the People" in Melbourne and Sydney, with low ticket prices, attracting 70,000 people. In 1924 for another Williamson opera season, she caused resentment among local singers by importing an entire chorus

309:

wrote, "Madame Melba is a fluent vocalist, and a quite respectable representative of light soprano parts; but she lacks the personal charm necessary to a great figure on the lyric stage." She was offended when Augustus Harris, then in charge at Covent Garden, offered her only the small role of the

59:

Melba studied singing in Melbourne and made a modest success in performances there. After a brief and unsuccessful marriage, she moved to Europe in search of a singing career. Failing to find engagements in London, England, in 1886, she studied in Paris, France, and soon made a great success there

1137:

made a formal address and Melba gave an emotional farewell speech. In a pioneering venture, eleven sides (78rpm) were recorded via a landline to Gloucester House (London), though in the event only three of these were published. The full series (including both speeches) was included in a 1976 HMV

1141:

As was the case in many of her performances, most of Melba's recordings were made at "French Pitch" (A=435 Hz), rather than the British early 20th century standard of A=452 Hz, or the modern standard of A=440 Hz. This, and the technical inadequacies of the early recording process

679:

By now established as a leading star in Britain and America, Melba made her first return visit to Australia in 1902–03 for a concert tour, also touring in New Zealand. The profits were unprecedented; she returned for four more tours during her career. In Britain, Melba campaigned on behalf of

941:

Despite the antipathy Melba inspired in some of her peers, she helped the careers of younger singers. She taught for many years at the Conservatorium in Melbourne and looked for a "new Melba". She published a book about her methods, which were based on those of Marchesi. The book opens:

122:

Dow (1833–1881). Mitchell emigrated from Forfarshire, Scotland, to Australia in 1852, married Isabella in 1856 and became a successful builder. Melba was taught to play the piano and first sang in public around age six. She was educated at a local boarding school and then at the

1100:(especially those made after her initial 1904 session) fail to capture vital overtones to the voice, leaving it without the body and warmth it possessed – albeit to a limited degree – in life. Despite this, they still reveal Melba to have had an almost seamlessly pure 755: 1018:, fresh from triumphs in Milan and Paris but still unheard in England or the United States, to Australia as a principal of the Melba-Williamson Grand Opera Company. After sharing the Covent Garden stage in a 1923 night of operatic extracts with another Australian soprano, 80:

During the First World War, Melba raised large sums for war charities. She returned to Australia frequently during the 20th century, singing in opera and concerts, and had a house built for her near Melbourne. She was active in the teaching of singing at the

403:

praised her performance – "one of the loveliest voices that ever issued from a human throat ... simply delicious in its fullness, richness and purity" – but the work was out of fashion, and the performances were poorly attended. Her performance in

261: 1096:. Most of these recordings, consisting of operatic arias, duets and ensemble pieces and songs, have been re-released on CD. The poor audio fidelity of the Melba recordings reflects the limitations of the early days of commercial sound recording. Melba's 76:

in New York City, debuting there in 1893. Her repertoire was small; in her whole career she sang no more than 25 roles and was closely identified with only 10. She was known for her performances in French and Italian opera, but sang little German opera.

254: 813:, a small town near Melbourne, and in 1912 she had a home built there (extending an existing cottage) that she named Coombe Cottage after a house she had rented near London. She also set up a music school in Richmond, which she later merged into the 891:

In 1929 she returned for the last time to Europe and then visited Egypt, where she contracted a fever that she never entirely shook off. Her last performance was in London at a charity concert on 10 June 1930. She returned to Australia but died in

262: 439: 199:, Brussels, but Strakosch would not release her and obtained an injunction preventing her from accepting it. She was in despair when the matter was resolved by Strakosch's sudden death. She made her operatic debut four days later as Gilda in 154:, who became a "lifelong friend and counsellor". On the strength of local success, she travelled to London in search of an opportunity. Her debut at the Princes' Hall in 1886 made little impression, and she sought work unsuccessfully from 971: 582:

Some writers expressed surprise at Melba's playing the last of these roles, since it was merely a supporting part in the opera. She played it on many occasions, saying in her memoirs, "Why on earth a prima donna should not sing secondary

1051:

were both protégés: both sang with her in her 1926 Covent Garden farewell (recorded by HMV), and Brownlee sang with her on two of her last commercial recordings later that year (a session arranged by her in part to promote Brownlee).

440: 836:

wrote, "Probably no season at Covent Garden has ever started with quite the thrill of enthusiasm which passed through the house." In her many concerts, however, her repertoire was regarded as trite and predictable. After one of them

972: 698:, in 1907, giving the enterprise a needed boost. After her initial successes in Brussels and Paris in the 1880s, Melba sang infrequently on the European continent; only the English-speaking countries welcomed her wholeheartedly. 780: 85:. Melba continued to sing until the last months of her life and made a large number of "farewell" appearances. Her death, in Australia, was news across the English-speaking world, and her funeral was a major national event. The 432: 884:. She is well remembered in Australia for her seemingly endless series of "farewell" appearances, including stage performances in the mid-1920s and concerts in Sydney on 7 August 1928, Melbourne on 27 September 1928 and 781: 753: 964: 705:

in London between 1898 and 1926. Although she called Covent Garden "my artistic home", her appearances there became less frequent in the 20th century. One reason for this was that she did not get on well with

754: 3975: 3955: 1685:, may not in fact feature her, but rather her contemporary Suzanne Adams: the sonics of the recording do not match others of the same year, and the paper evidence points to Adams; but the singer 1026:, posed no threat to Melba, a lyric soprano), Melba was effusive with her praise, describing the younger woman as "one of the wonder-voices of the world". She similarly described the American 773: 393:

at Covent Garden in 1893, soon after its Italian premiere. The composer was present and said that the role had never been so well played before. In December of that year, Melba sang at the

416:

has written, "In London she hobnobbed with royalty; in New York she was a singing menial." Assured of critical success, she set herself to achieve social recognition, and succeeded.

2171: 481:

From the 1890s, Melba played a wide range of parts at Covent Garden, mostly in the lyric soprano repertoire, but with some heavier roles also. She sang the title roles in

2153: 1395:. Nichols later complained that Melba did not cooperate in the process of writing or by reviewing what he wrote. Full-length biographies devoted to her include those by 746: 1105:

Melba's exceptional purity of tone was probably one of the principal reasons why British audiences, with their strong choral and sacred music traditions, idolised her.

380:. They were seen frequently together in London, which excited some gossip, but far more suspicion arose when Melba travelled across Europe to St Petersburg to sing for 2144:, 5 November 1891, p. 5; 6 November 1891, p. 9; 20 February 1892, p. 5; 17 February 1892, p. 13; 12 March 1892, p. 16; 14 March 1892, p. 3; and 24 March 1892, p. 3. 1570:

Melba travelled to London with her father, and her husband moved to Europe for a time and was in periodic, though often unwelcome, contact with his wife and child.

1432:. She is depicted as singing at a garden party thrown by the mother of the eponymous heroine, when she is described as having the "loveliest voice in the world". 345:. She later recalled, "I date my success in London quite distinctly from the great night of 15 June 1889." After this, she returned to Paris as Ophélie, Lucia in 3985: 33: 4000: 3995: 52:

and the early 20th century, and was the first Australian to achieve international recognition as a classical musician. She took the pseudonym "Melba" from

3357: 397:

in New York for the first time. As at her Covent Garden debut, she appeared as Lucia di Lammermoor and, as at Covent Garden, it was less than a triumph.

195:

gave her a ten-year contract at 1000 francs annually. After she had signed, she received a far better offer of 3000 francs per month from the Théâtre de

638:

thought she sang with great skill but played artificially and without sensibility. In 1896 at the Metropolitan, she attempted the role of Brünnhilde in

377: 3038: 3143: 1177: 142:, Queensland, where he built a new sugar mill. Melba soon became popular in Mackay society for her singing and piano-playing. On 22 December 1882 in 947:

and acceptance of that axiom depends half their success. Let me say the same in other words: In order to sing well, it is necessary to sing easily.

663:

Melba's marriage to Armstrong was finally terminated when, having emigrated to the United States with their son, he divorced her in Texas in 1900.

656:'s operas, for which some thought her voice ideally suited. Her repertoire across her entire career amounted to no more than 25 roles, of which, 3950: 1878: 722:

said Melba gave her apropos of a planned Australian tour: "Sing 'em muck; it's all they can understand." To another colleague and compatriot,

328:

described this as "a brilliant success", and said, "Madame Melba has a voice of great flexibility ... her acting is expressive and striking."

209:

described her Gilda as "an instant triumph of the most emphatic kind ... followed ... a few nights later with an equal success as Violetta in

3190: 1649:

Equivalent in 2008 values to £3,630,000 using the UK retail price index or £17,900,000 using average UK earnings. See Williamson, Samuel H.

718:

company, she appeared in an operatic season. Her attitude to her tour concerts and the audiences attending was summed up in the advice that

1198:

magazine, in April 1927. A stained-glass window commemorating Melba was erected in 1962 in the Musicians' Memorial Chapel of the church of

4015: 1252:

has a marble relief bearing the inscription "Remember Melba", unveiled during a World War II charity concert in memory of Melba and her

3021: 124: 3094: 2937: 215:." It was at this time, on Marchesi's advice, that she adopted the stage name of "Melba", a contraction of the name of her home city. 3965: 1623:

Melba visited New Zealand in February 1903 after her tour of Australia. She arrived in Invercargill from Hobart and was welcomed by

587:

I could not see then and am no nearer seeing to-day. I hate the artistic snobbery of it." She sang the role opposite the Carmens of

2788: 332: 821:

broke out, and she threw herself into fund-raising for war charities, raising £100,000. In recognition of this, she was created a

4010: 888:

in November 1928. From this, she is remembered in the vernacular Australian expression "more farewells than Dame Nellie Melba".

3836: 3813: 3263: 1230: 814: 82: 2978: 3915: 3690: 3533: 3478: 3440: 3424: 1119:

Melba's farewell to Covent Garden on 8 June 1926 was recorded by HMV, as well as broadcast. The programme included Act 2 of

3960: 3935: 3322: 2836: 1133:(with Aurora Rettore, Browning Mummery, John Brownlee and others). The conductor was Vincenzo Bellezza. At the conclusion 3970: 3945: 3841: 2820: 2507: 1470: 1238: 1134: 3220: 370: 2886:

Aspinall, Michael. "Nellie Melba: The London Recordings 1904–1926", Insert booklet to HMV LP set RLS, EMI, London, 1976

2714: 1245: 1089: 86: 3375: 2991: 1097: 3940: 3651: 3632: 3555: 3459: 2401: 1668:

stated, "The appointments to date from the 1st January, 1918". It is therefore correctly stated that Melba was, with

1226: 1631:) and Lady Ward. After giving one concert in Dunedin she travelled to Christchurch and gave a concert in Wellington. 1125:(not recorded because the tenor Charles Hackett was not under contract to HMV), followed by the opening of Act 4 of 2053: 1561:

In her memoirs, Melba gives her age at her debut as six, but her statements about her age were not always accurate.

893: 3125: 4005: 3990: 1284: 611:. She was generous in support of singers who did not rival her in her favoured roles, but was, as her biographer 408:, later in the season, was a triumph and established her as the leading prima donna of the time in succession to 2730: 363:

said that he did not care whether she sang in French, Italian, German, English or Chinese, as long as she sang.

3514: 3203: 1492: 1222: 1093: 174:" ("I have a star at last!"). Melba made such rapid progress that she was allowed to sing the "Mad Scene" from 3728: 2542: 1188:

the first stage performer to receive this order, for her charity work during World War I, and was elevated to

2966: 2926: 2034: 1628: 900:

which had developed after facial surgery in Europe some time before. She was given an elaborate funeral from

1037:, living in poverty in Paris and also helped him to forge connections in the artistic world. The Australian 3151: 3046: 1218: 1199: 723: 3752: 3746: 1614:

en français, en italien, en allemande, en anglais ou en chinois, cela m'est égal, mais qu'elle la chante."

1033:

as possessing "the world's most beautiful voice". She gave financial assistance to the Australian painter

3980: 3930: 3732: 1579:

A similar course was followed by some other Australian singers: Florence Mary Wilson took the stage name

1374:

Azure on a Plate between in chief two Mascles and in base a Nightingale Or, with a Cross Gules at centre.

1189: 901: 822: 634:. She received a certain amount of praise in these roles, although Klein found her unsuited to them, and 2511: 132: 3806: 3759: 1298:

Melba's name is associated with four foods, all of which were created in her honour by the French chef

316:

for the next season. She left England vowing never to return. The following year, she performed at the

2805: 1283:, passed to her granddaughter Pamela, Lady Vestey (1918–2011). It is now owned by Lady Vestey's sons, 1088:) records of her voice in England and America between 1904 (when she was in her 40s) and 1926 for the 1422:

as the character based on Melba, was for a time banned in Australia. Melba appears in the 1946 novel

1336: 847:

The real musical interest of the afternoon, however, was supposed to centre in the "Jewel Song" from

335:, whose views carried weight at Covent Garden. Melba was persuaded to return, and Harris cast her in 191:

The young singer's talent was so evident that, after less than a year with Marchesi, the impresario

1041: 115: 45: 3723: 1874: 3447: 3147: 1672:, the first stage performer to be made a DBE, although Whitty had received the honour in January. 1234: 653: 413: 2621: 2476: 1331: 412:. She had at first been nonplussed by the impenetrable snobbery at the Metropolitan; the author 72:

from 1888. She soon achieved further success in Paris and elsewhere in Europe, and later at the

872:

from Naples. In 1926 she made her farewell appearance at Covent Garden, singing in scenes from

3245: 1927: 1410:

by Nichols (1932) was based on aspects of Melba's life, drawing an unflattering portrait. The

564: 21: 3910: 3799: 3173: 2593: 2427: 1950: 1903: 1181: 531: 381: 3008: 2896: 1640:

Melba later denied giving this advice and was horrified when Butt printed it in her memoirs.

1368:

Centre portion of Melba's arms. Arms granted in 1920 (College of Arms, MS Grants 87, p. 200)

828:

After the war, Melba made a triumphant return to the Royal Opera House, in a performance of

630: 3925: 3920: 1436: 1280: 1257: 1248:

features the image of her face, and her likeness has also appeared on an Australian stamp.

925: 810: 490: 312: 128: 1121: 337: 8: 3543: 3362: 3353: 1737: 1502: 1288: 1170: 691: 644:, in which she was not a success. Her most frequent role in that house was Marguerite in 635: 569: 299: 229: 2785: 652:, which she had studied under the supervision of the composer. She never essayed any of 3886: 3685: 3413: 2158: 1754: 1664: 1475: 1400: 1276: 1074: 930: 905: 690:

joined her in the first of many Covent Garden performances together. She sang Mimì for

399: 394: 139: 111: 73: 3717: 1584: 660:

obituarist wrote, "only some 10 parts are those which will be remembered as her own."

592: 3680: 3647: 3628: 3611: 3594: 3577: 3551: 3529: 3510: 3493: 3474: 3455: 3436: 3420: 3399: 3342: 1848:, Oxford University Press, 2004; online edition, January 2011, accessed 24 May 2011. 1795: 1689:

more like the Melba rather than the Adams both known from their commercial recordings

1448: 1299: 1207: 1146: 1081: 909: 852: 839: 702: 640: 624: 495: 305: 294: 192: 167: 69: 1992: 3773: 3671: 2824: 2683:"Grand Opera – Italian Male Chorus – Engagement Resented, Hint of Strike" 1580: 1458: 1424: 1392: 1249: 1150: 1048: 1023: 1019: 1011: 715: 711: 695: 147: 146:, she married Charles Nesbitt Frederick Armstrong (1858–1948), the youngest son of 1851: 1322: 1165: 3025: 2855: 2792: 2718: 1882: 1462: 1444: 1411: 1396: 1253: 1194: 818: 366: 180: 175: 163: 155: 3737: 2858:, National Film and Sound Archive, australianscreen online, accessed 27 May 2011 1544:

incorrectly gives Melba's mother the maiden name of Dorn. "Dow" is confirmed in

1260:

freeway is named in her honour. Streets named after her include Melba Avenue in

188:

in Marchesi's house in December the same year, in the presence of the composer.

3699: 3391: 1651:"Five Ways to Compute the Relative Value of a UK Pound Amount, 1830 to Present" 1488: 1466: 1440: 1292: 1069: 1015: 707: 645: 619: 482: 342: 270: 223: 64:, Belgium. Returning to London, she quickly established herself as the leading 1841: 1339:

on 11 April 1903, which has become known as "Melba's poplar". On 19 May 2011,

360: 359:, and Juliette. In French operas her pronunciation was poor, but the composer 3904: 3615: 3598: 3403: 3297: 3068: 2682: 2048: 1975: 1945: 1592: 1517: 1497: 1480: 1344: 1261: 1203: 1101: 1068:

Melba's first recordings were made around 1895, recorded on cylinders at the

986: 832:

conducted by Beecham, which re-opened the house after four years of closure.

687: 559: 553: 474: 409: 355: 65: 49: 2711: 2609: 1898: 1357: 1321:

Melba Garniture, chicken, truffles and mushrooms stuffed into tomatoes with

588: 3878: 3785: 3712: 3581: 3497: 1681:

The cylinder Melba is most renowned for, Queen Marguerite's cabaletta from

1650: 1588: 1484: 1453: 1030: 1006:

Others also benefited from Melba's praise and interest. She passed her own

612: 206: 151: 3705: 2912:

Given, Jock. "Another Kind of Empire: The Voice of Australia, 1931–1939",

1443:, who became one of the foundation singers of the Australian Opera (later 981: 682: 543: 3862: 3857: 1624: 1596: 1429: 1419: 1315: 1306: 1214: 1112: 1034: 897: 856: 763: 608: 537: 317: 211: 170:, who instantly recognised the young singer's potential: she exclaimed, " 3336: 2075: 3742:

The Encyclopedia of Women and Leadership in Twentieth-Century Australia

3676: 3099: 1954:. Melbourne: National Library of Australia. 29 December 1882. p. 1 1669: 1269: 1185: 1154: 1085: 1060: 998: 801: 719: 460: 285: 196: 2766: 2733:, "Ten Years on Exhibition", Lutyens Trust, accessed 14 September 2018 2663: 1907:. Melbourne: National Library of Australia. 22 October 1881. p. 1 1790: 1501:(2013), performing at the abbey as a guest of Lord and Lady Grantham. 1287:

and Mark, who reside in the United Kingdom. The house was designed by

1145:

On 15 June 1920, Melba was heard in a pioneering radio broadcast from

730:

as "that city of the three P's – Parsons, Pubs and Prostitutes."

1027: 1014:, a valuable professional asset. In 1924, Melba brought the new star 596: 525: 519: 501: 389: 201: 159: 53: 1309:, a dessert made of peaches, raspberry sauce, and vanilla ice cream 1265: 1038: 727: 143: 61: 42: 41:; 19 May 1861 – 23 February 1931) was an Australian 3548:

Shaw's Music – The Complete Musical Criticism of Bernard Shaw

1610: 825:(DBE) in March 1918, "for services in organising patriotic work". 3191:"Opera, Escoffier, and Peaches: The Story Behind the Peach Melba" 1007: 885: 468: 2545:, Performance archive, Royal Albert Hall, accessed 29 March 2016 2128:"Obituary – Dame Nellie Melba – A great prima donna", 1391:, was published in 1925, largely ghost-written by her secretary 1192:

in 1927. She was the first Australian to appear on the cover of

1129:(Desdemona's "Willow Song" and "Ave Maria") and Acts 3 and 4 of 3956:

Australian Dames Grand Cross of the Order of the British Empire

3791: 3694: 1340: 1108: 863: 599:. Marguerite de Valois, too, is not the leading female role in 575: 513: 3976:

People educated at the Presbyterian Ladies' College, Melbourne

2649:"First Night of the Opera – The King and Queen Present", 2057:. National Library of Australia. 24 February 1971. p. 12 1256:

charity work and patriotic concerts. A tunnel on Melbourne's

1045: 671: 234: 102: 3780: 3376:"Music that inspired the Scotiabank Giller Prize finalists" 1202:, London. She is one of only two singers – the other being 615:

put it, "pathologically critical" of other lyric sopranos.

507: 166:. She then went to Paris to study with the leading teacher 2808:

Grove Art Online. Oxford Art Online, accessed 27 May 2011

2560: 3095:"East Link Twin Tunnels named as Melba and Mullum Mullum" 2897:"Recordings: From a Vault in Paris, Sounds of Opera 1907" 2402:"Cloak worn by Nellie Melba as Elsa in Lohengrin, c.1891" 1591:– both after Australia; June Mary Gough adopted the name 1312:

Melba sauce, a sweet purée of raspberries and red currant

3749:

at the Performing Arts Collection, Arts Centre Melbourne

2524: 48:. She became one of the most famous singers of the late 3686:

Links to recordings, images and information about Melba

3433:

Marvelous Melba: The Extraordinary Life of a Great Diva

1295:, and a close friend of Melba's father David Mitchell. 3753:

Marconi's experimental radio broadcast with Melba 1920

3757: 3644:

Nellie – The Life and Loves of Dame Nellie Melba

2184: 1221:, where she lived in 1906. She was inducted onto the 376:

In the early 1890s, Melba embarked on an affair with

303:. She received a friendly but not excited reception. 3452:

A Song of Love and Death – The Meaning of Opera

2548: 218: 3378:, CBC Books, 7 November 2014, accessed 19 July 2015 3039:"A Complete Series of Polymer Banknotes: 1992–1996" 1662:The appointment was announced on 5 March 1918, but 1512:Melba appears in a pivotal scene in the 2014 novel 1217:commemorates Melba at Coombe House, Devey Close in 1206:– with a marble bust on the grand staircase of the 1190:

Dame Grand Cross of the Order of the British Empire

3412: 2705: 2446: 1264:and Avenue Nellie Melba / Nellie Melbalaan in the 2428:"Nellie Melba as Elizabeth from Tannhäuser, 1894" 1178:Dame Commander of the Order of the British Empire 823:Dame Commander of the Order of the British Empire 547:. In the French repertoire, she sang Juliette in 3902: 2914:Historical Journal of Film, Radio and Television 2097:"A Prima Donna – Madame Melba's Memories", 1329:Melba planted a variety of poplar tree known as 1160: 2612:, Coombe Yarra Valley, accessed 4 February 2016 1237:is known as Melba Hall. The Canberra suburb of 1225:in 2001. Melba was closely associated with the 622:singer, although she occasionally sang Elsa in 3358:"How Downton Abbey got Nellie Melba all wrong" 2969:, Royal Opera House, accessed 11 December 2012 2585: 1509:, bemoaned the casting and the fact checking. 1382: 908:, near Coldstream. Her headstone, designed by 114:, the eldest of seven children of the builder 3807: 3526:Thomas Beecham – An Obsession with Music 3507:Sir Thomas Beecham – A Centenary Tribute 2721:, Scots' Church website, accessed 7 June 2010 1233:in her honour in 1956. The music hall at the 917: 205:at La Monnaie on 12 October 1887. The critic 3986:Infectious disease deaths in New South Wales 3487: 3288:, London, Hutchinson & Co (1951), p. 125 2518:. Oxford Music Online, accessed 25 May 2011 2124: 2122: 2120: 2016: 2014: 1549: 1055: 573:, which was written for her, and Micaëla in 4001:20th-century Australian women opera singers 3996:19th-century Australian women opera singers 3045:. Reserve Bank of Australia. Archived from 2882: 2880: 2866: 2864: 1971: 1969: 1869: 1867: 1865: 1863: 1861: 1435:In 1946–1947 Crawford Productions produced 1335:, or golden poplar, on the Central Lawn in 603:, but Melba was willing to undertake it as 3814: 3800: 3641: 3180:, vol. 9 (1983). Retrieved 4 February 2016 2981:, English Heritage, accessed 4 August 2012 2741: 2739: 2093: 2091: 1356: 3504: 3126:"L'avenue Nellie Melba - 1070 Anderlecht" 3069:"Music and drama | Melba Memorial Plaque" 2605: 2603: 2530: 2370: 2368: 2117: 2011: 1115:advertisement for Melba recordings (1904) 3550:. Vol. 2. London: The Bodley Head. 3327:, RadioEchoes.com, accessed 1 March 2019 2877: 2861: 2753:. Peterbassett.com, accessed 19 May 2011 2731:"Memorials and Monuments to Individuals" 2503: 2501: 1966: 1858: 1164: 1107: 1059: 924: 862: 670: 467: 365: 331:Melba had a strong supporter in London, 297:début in May 1888, in the title role in 222: 101: 20: 3724:Biography; photo of dress worn by Melba 3410: 3390: 3193:, 22 August 2012, accessed 9 April 2015 2967:"Things to do in London on a rainy day" 2779: 2736: 2724: 2566: 2135: 2088: 1928:"The Dame in the tropics: Nellie Melba" 1925: 1846:Oxford Dictionary of National Biography 1785: 1783: 1781: 1779: 1777: 1775: 1773: 1771: 1769: 1767: 1545: 1542:Oxford Dictionary of National Biography 1523: 1229:, and this institution was renamed the 3903: 3837:Melba Memorial Conservatorium of Music 3605: 3471:Great, Grand & Famous Opera Houses 3468: 3446: 2600: 2365: 2190: 2020: 1836: 1834: 1832: 1830: 1828: 1732: 1730: 1728: 1726: 1724: 1231:Melba Memorial Conservatorium of Music 912:, bears the farewell words of Mimì in 855:'s "By the waters of Minnetonka", and 499:. Her Italian parts included Gilda in 3951:Australian people of Scottish descent 3795: 3622: 3588: 3571: 3523: 2837:"Still More on the Mapleson Cylinder" 2554: 2498: 1826: 1824: 1822: 1820: 1818: 1816: 1814: 1812: 1810: 1808: 1722: 1720: 1718: 1716: 1714: 1712: 1710: 1708: 1706: 1704: 1343:celebrated her 150th birthday with a 936: 3718:Photo of Melba, her father and niece 3542: 3174:"Grainger, George Percy (1882–1961)" 3115:, San Francisco, 12 April 1987, p. 6 2925:First Empire Broadcast, held by the 2452: 1764: 1169:Statue of Melba at Waterfront City, 666: 320:in Paris, in the role of Ophélie in 3842:Melba, Australian Capital Territory 1495:of the British ITV television show 1471:Australian Broadcasting Corporation 1090:Gramophone & Typewriter Company 138:Melba's father moved the family to 16:Australian opera singer (1861–1931) 13: 4016:People from the Colony of Victoria 3565: 3178:Australian Dictionary of Biography 1875:"Melba Bashed by Cowardly Husband" 1805: 1759:Australian Dictionary of Biography 1742:Australian Dictionary of Biography 1701: 1465:. Melba was played by the soprano 1399:(1909), John Hetherington (1967), 953: 922:" (Farewell, without bitterness). 809:In 1909, Melba bought property at 800:Problems playing these files? See 735: 421: 243: 92: 14: 4027: 3661: 3576:. London & Sydney: Chappell. 3264:"The Order of the British Empire" 2821:"Nellie Melba's First Recordings" 726:, she described his home city of 219:London, Paris and New York debuts 3966:Australian women autobiographers 3821: 3779: 3767: 3693:– link to 1906 recording of the 3509:. London: Macdonald and Jane's. 3431:(US edition (2009) published as 3369: 3347: 3330: 3316: 3307: 3291: 3278: 3075:. Hobart. 19 May 1941. p. 4 3043:Reserve Bank of Australia Museum 2992:"Victorian Honour Roll of Women" 2591:Gaisberg, Fred. "Peter Dawson", 1999:, 2008, accessed 19 January 2015 1842:"Melba, Dame Nellie (1861–1931)" 1738:"Melba, Dame Nellie (1861–1931)" 997:Problems playing this file? See 969: 817:. She was in Australia when the 778: 751: 459:Problems playing this file? See 437: 387:Melba sang the role of Nedda in 378:Prince Philippe, Duke of Orléans 284:Problems playing this file? See 259: 3610:. London: Chatto & Windus. 3546:(1981). Dan H. Laurence (ed.). 3256: 3246:"Nellie Melba's 150th Birthday" 3238: 3213: 3196: 3183: 3166: 3136: 3118: 3106: 3087: 3061: 3031: 3011:. The Reserve Bank of Australia 3009:"The Australian $ 100 Banknote" 3001: 2984: 2972: 2960: 2947: 2931: 2919: 2906: 2889: 2849: 2843:, Volume 5, Issue 4, pp. 37–45 2830: 2814: 2798: 2795:, Bikwill, accessed 27 May 2011 2756: 2692: 2676: 2656: 2643: 2630: 2615: 2578:"Dame Nellie Melba Indignant", 2572: 2536: 2486: 2470: 2458: 2420: 2394: 2381: 2352: 2339: 2326: 2313: 2300: 2287: 2274: 2261: 2248: 2235: 2222: 2209: 2196: 2165: 2147: 2104: 2069: 2041: 2026: 2002: 1985: 1938: 1675: 1656: 1643: 1634: 1617: 1602: 1573: 1564: 1483:miming to the singing voice of 1403:(1986) and Ann Blainey (2009). 4011:People from Richmond, Victoria 3668:Works by or about Nellie Melba 3204:"Famous Foodies: Nellie Melba" 2870:Steane, John. "Nellie Melba", 1919: 1891: 1886:Australian Stamps Professional 1747: 1555: 1534: 1412:1934 motion picture adaptation 1223:Victorian Honour Roll of Women 1094:Victor Talking Machine Company 701:She performed 26 times at the 106:Melba, drawn by Frank Haviland 97: 1: 3625:Melba: The Voice of Australia 3528:. Woodbridge: Boydell Press. 3454:. London: Chatto and Windus. 2927:National Library of Australia 2916:2009, vol. 29, issue 1, p. 42 2751: – Addio, senza rancore" 2254:"Royal Opera – Otello", 2054:The Australian Women's Weekly 2049:"Melba – The Voice of Silver" 2035:The Times Literary Supplement 1695: 1629:Prime Minister of New Zealand 1351:Coat of arms of Nellie Melba 1161:Honours, memorials and legacy 894:St Vincent's Hospital, Sydney 341:(June 1889) co-starring with 3916:Australian operatic sopranos 2953:"Memorial Window to Melba", 2543:Search results: Nellie Melba 1852:UK public library membership 1755:"David Mitchell (1829–1916)" 1332:Populus × canadensis "Aurea" 1219:Coombe, Kingston upon Thames 1200:St Sepulchre-without-Newgate 125:Presbyterian Ladies' College 7: 3961:Singers awarded knighthoods 3936:ARIA Hall of Fame inductees 3733:State Library of Queensland 3731:– John Oxley Library blog, 3720:(1903), Library of Congress 3642:Wainwright, Robert (2021). 3492:. London: Faber and Faber. 3488:Hetherington, John (1967). 1932:Queensland Historical Atlas 1744:, accessed 11 December 2012 1383:Books, films and television 696:his opera house in New York 255:"Del ciel clemente un riso" 127:. She studied singing with 10: 4032: 3971:Women of the Victorian era 3946:Australian autobiographers 3627:. Basingstoke: Macmillan. 3384: 3225:National Trust (Australia) 2432:omeka.cloud.unimelb.edu.au 2406:omeka.cloud.unimelb.edu.au 2391:, 26 November 1906, p. 10. 1799:, April 1931, pp. 305–308 557:, Marguerite de Valois in 118:and his wife Isabella Ann 3871: 3850: 3829: 3286:Bouquets for Fleet Street 2670:, June 1921, pp. 409–411 2610:"Our Story: Nellie Melba" 2245:, 7 November 1892, p. 12. 2154:"A week's musical topics" 2132:, 24 February 1931, p. 9. 2038:, 5 November 1925, p. 738 2032:"Melodies and Memories", 1976:"Divorce of Madame Melba" 1487:. Melba was portrayed by 1337:Melbourne Botanic Gardens 1291:, father of the composer 1056:Recordings and broadcasts 618:Melba was not known as a 371:Philippe, Duke of Orléans 3941:Australian women writers 3505:Jefferson, Alan (1979). 3435:. Chicago: Ivan R. Dee. 3419:. Melbourne: Black Inc. 2791:20 February 2011 at the 2495:, 24 February 1903, p. 5 2467:, 17 February 1903, p. 6 2434:. Grainger Museum Online 2408:. Grainger Museum Online 2101:, 23 October 1925, p. 8. 1791:"Melba: An Appreciation" 1528: 1473:produced a mini-series, 1227:Melbourne Conservatorium 1135:Lord Stanley of Alderley 902:Scots' Church, Melbourne 815:Melbourne Conservatorium 83:Melbourne Conservatorium 46:lyric coloratura soprano 3747:Nellie Melba Collection 3623:Radic, Thérèse (1986). 3593:. London: Butterworth. 3148:Mackay Regional Council 2845:(subscription required) 2810:(subscription required) 2775:(subscription required) 2689:, 5 January 1924, p. 19 2672:(subscription required) 2580:The Manchester Guardian 2520:(subscription required) 2374:"Royal Italian Opera", 2332:"Royal Italian Opera", 2241:"Covent Garden Opera", 2228:"Royal Italian Opera", 2219:, 4 January 1908, p. 7. 2084:(subscription required) 1801:(subscription required) 1437:a radio series on Melba 1387:Melba's autobiography, 1235:University of Melbourne 1064:Newspaper advertisement 896:, in 1931, aged 69, of 472:Melba as Marguerite in 4006:Victor Records artists 3991:Singers from Melbourne 3606:Murphy, Agnes (1909). 3589:Melba, Nellie (1925). 3572:Melba, Nellie (1926). 3469:Gubler, Franz (2012). 3398:. London: Hutchinson. 2957:, 12 March 1962, p. 7. 2827:, accessed 27 May 2011 2717:23 August 2010 at the 2640:, 8 January 1918, p. 7 1888:, accessed 23 May 2011 1653:, MeasuringWorth, 2008 1285:Sam (3rd Baron Vestey) 1173: 1116: 1065: 958: 949: 933: 918: 868: 861: 740: 676: 517:, Luisa in Mascagni's 478: 426: 373: 248: 238: 172:J'ai enfin une étoile! 107: 26: 3646:. Allen & Unwin. 3591:Melodies and Memories 3473:. Crows Nest: Arbon. 3411:Blainey, Ann (2008). 3266:. The College of Arms 2582:, 6 August 1928, p. 7 2508:Shawe-Taylor, Desmond 2349:, 4 June 1894, p. 11. 2323:, 3 July 1899, p. 10. 2310:, 26 July 1898, p. 8. 2297:, 9 July 1898, p. 10. 2271:, 10 July 1893, p. 8. 2258:, 2 July 1908, p. 13. 2232:, 10 June 1889, p. 8. 2175:'Lucia' at the Opera" 2076:"Royal Italian Opera" 1982:, 14 April 1900, p. 5 1493:episode 3 of season 4 1447:) in 1956. In 1953 a 1389:Melodies and Memories 1246:Australian $ 100 note 1182:1918 New Year Honours 1168: 1111: 1098:acoustical recordings 1063: 957: 944: 928: 866: 851:, Puccini's "Addio", 845: 739: 674: 532:The Barber of Seville 471: 425: 369: 247: 227:Melba in costume for 226: 105: 87:Australian $ 100 note 39:Helen Porter Mitchell 24: 3524:Lucas, John (2008). 3354:Christiansen, Rupert 3202:Drummond-Hay, Lily. 3024:10 June 2011 at the 2979:"Melba, Dame Nellie" 2938:Cover – Nellie Melba 2653:, 13 May 1919, p. 14 2597:, January 1949, p. 3 2512:"Melba, Dame Nellie" 2378:, 6 July 1891, p. 8. 2362:, 1 July 1895, p. 8. 2336:, 4 June 1890, p. 8. 2284:, 20 May 1893, p. 8. 2206:, 6 July 1892, p. 9. 2114:, 10 May 1889, p. 5. 2082:, July 1888, p. 411 1997:Dictionary of Sydney 1980:The Morning Bulletin 1524:Notes and references 1281:Coldstream, Victoria 1241:is named after her. 1176:Melba was appointed 1080:Melba made numerous 563:, the title role in 505:, the title role in 491:Arthur Goring Thomas 313:Un ballo in maschera 148:Sir Andrew Armstrong 129:Mary Ellen Christian 89:features her image. 3729:Melba in Queensland 3363:The Daily Telegraph 3154:on 23 February 2014 3049:on 15 February 2016 2841:The Opera Quarterly 2773:, May 1926, p. 427 2702:11 June 1930, p. 17 2569:, pp. 170–171. 2483:, 20 February, p. 5 2477:"The Melba Concert" 1926:O'Brien, Sheilagh. 1881:7 July 2011 at the 1873:Sadauskas, Andrew. 1627:(who was later the 1503:Rupert Christiansen 1352: 1318:, a crisp dry toast 1289:John Harry Grainger 1171:Melbourne Docklands 965:"O soave fanciulla" 919:Addio, senza rancor 692:Oscar Hammerstein I 347:Lucia di Lammermoor 300:Lucia di Lammermoor 275:Lucia di Lammermoor 230:Lucia di Lammermoor 156:Sir Arthur Sullivan 131:(a former pupil of 3981:Deaths from sepsis 3931:ARIA Award winners 3608:Melba: A Biography 3490:Melba, a Biography 3093:Pilcher, Georgie. 2903:, 16 February 2009 2901:The New York Times 2804:Clark, Christine. 2786:"Florence Austral" 2698:"Court Circular", 2622:Supplement to the 2516:Grove Music Online 2181:, 5 December 1893. 2179:The New York Times 2159:The New York Times 2008:Scott, 1977, p. 28 1665:The London Gazette 1599:, New South Wales. 1585:Elsie Mary Fischer 1350: 1277:Marian, Queensland 1174: 1117: 1075:Mapleson Cylinders 1066: 959: 937:Teacher and patron 934: 931:Metropolitan Opera 869: 741: 708:Sir Thomas Beecham 677: 479: 427: 400:The New York Times 395:Metropolitan Opera 374: 249: 239: 112:Richmond, Victoria 110:Melba was born in 108: 74:Metropolitan Opera 27: 3898: 3897: 3890:(1988 miniseries) 3535:978-1-84383-402-1 3480:978-0-987-28202-6 3441:978-1-56663-809-8 3426:978-1-86395-183-8 3304:, 5 December 1934 2874:, May 2003, p. 17 2771:The Musical Times 2668:The Musical Times 2465:Otago Daily Times 2080:The Musical Times 1991:Skinner, Graeme. 1850:(subscription or 1796:The Musical Times 1550:Hetherington 1967 1548:, p. 5, and 1380: 1379: 1300:Auguste Escoffier 1210:, Covent Garden. 1208:Royal Opera House 1147:Guglielmo Marconi 1122:Roméo et Juliette 989:and Melba in 1906 974: 910:Sir Edwin Lutyens 874:Roméo et Juliette 840:The Musical Times 783: 756: 703:Royal Albert Hall 667:Twentieth century 628:and Elisabeth in 549:Roméo et Juliette 442: 406:Roméo et Juliette 338:Roméo et Juliette 306:The Musical Times 264: 233:, 1888 (photo by 193:Maurice Strakosch 168:Mathilde Marchesi 56:, her home town. 30:Dame Nellie Melba 4023: 3816: 3809: 3802: 3793: 3792: 3784: 3783: 3772: 3771: 3770: 3763: 3672:Internet Archive 3657: 3638: 3619: 3602: 3585: 3561: 3539: 3520: 3501: 3484: 3465: 3430: 3418: 3407: 3379: 3373: 3367: 3366:, 7 October 2013 3351: 3345: 3334: 3328: 3320: 3314: 3311: 3305: 3295: 3289: 3282: 3276: 3275: 3273: 3271: 3260: 3254: 3253: 3242: 3236: 3235: 3233: 3231: 3217: 3211: 3200: 3194: 3187: 3181: 3170: 3164: 3163: 3161: 3159: 3150:. Archived from 3140: 3134: 3133: 3122: 3116: 3110: 3104: 3091: 3085: 3084: 3082: 3080: 3065: 3059: 3058: 3056: 3054: 3035: 3029: 3020: 3018: 3016: 3005: 2999: 2998: 2996: 2988: 2982: 2976: 2970: 2964: 2958: 2951: 2945: 2935: 2929: 2923: 2917: 2910: 2904: 2893: 2887: 2884: 2875: 2868: 2859: 2856:"Chant Vénitien" 2853: 2847: 2846: 2834: 2828: 2825:Historic Masters 2818: 2812: 2811: 2802: 2796: 2783: 2777: 2776: 2760: 2754: 2745:Bassett, Peter. 2743: 2734: 2728: 2722: 2712:"Church History" 2709: 2703: 2696: 2690: 2680: 2674: 2673: 2660: 2654: 2647: 2641: 2634: 2628: 2619: 2613: 2607: 2598: 2589: 2583: 2576: 2570: 2564: 2558: 2552: 2546: 2540: 2534: 2528: 2522: 2521: 2505: 2496: 2490: 2484: 2474: 2468: 2462: 2456: 2450: 2444: 2443: 2441: 2439: 2424: 2418: 2417: 2415: 2413: 2398: 2392: 2385: 2379: 2372: 2363: 2356: 2350: 2343: 2337: 2330: 2324: 2317: 2311: 2304: 2298: 2291: 2285: 2278: 2272: 2265: 2259: 2252: 2246: 2239: 2233: 2226: 2220: 2213: 2207: 2200: 2194: 2188: 2182: 2174: 2169: 2163: 2151: 2145: 2139: 2133: 2126: 2115: 2108: 2102: 2095: 2086: 2085: 2073: 2067: 2066: 2064: 2062: 2045: 2039: 2030: 2024: 2018: 2009: 2006: 2000: 1989: 1983: 1973: 1964: 1963: 1961: 1959: 1946:"Family Notices" 1942: 1936: 1935: 1923: 1917: 1916: 1914: 1912: 1899:"Family Notices" 1895: 1889: 1871: 1856: 1855: 1838: 1803: 1802: 1787: 1762: 1753:Campbell, Joan. 1751: 1745: 1734: 1690: 1679: 1673: 1660: 1654: 1647: 1641: 1638: 1632: 1621: 1615: 1608:"Qu'elle chante 1606: 1600: 1587:renamed herself 1581:Florence Austral 1577: 1571: 1568: 1562: 1559: 1553: 1538: 1461:and directed by 1459:Horizon Pictures 1457:was released by 1425:Lucinda Brayford 1393:Beverley Nichols 1360: 1353: 1349: 1275:Melba's home in 1268:municipality of 1250:Sydney Town Hall 1151:New Street Works 1049:Browning Mummery 1024:dramatic soprano 1020:Florence Austral 1012:Gertrude Johnson 976: 975: 956: 921: 785: 784: 774:"Ah, fors e lui" 758: 757: 738: 716:J. C. Williamson 712:Luisa Tetrazzini 551:, Marguerite in 444: 443: 433:"Air des bijoux" 424: 382:Tsar Nicholas II 353:, Marguerite in 266: 265: 246: 186:matinée musicale 36: 4031: 4030: 4026: 4025: 4024: 4022: 4021: 4020: 3901: 3900: 3899: 3894: 3867: 3846: 3825: 3820: 3790: 3778: 3768: 3766: 3758: 3697:from the opera 3664: 3654: 3635: 3568: 3566:Further reading 3558: 3536: 3517: 3481: 3462: 3427: 3396:A Mingled Chime 3392:Beecham, Thomas 3387: 3382: 3374: 3370: 3352: 3348: 3335: 3331: 3324:The Melba Story 3321: 3317: 3312: 3308: 3296: 3292: 3284:Falk, Bernard. 3283: 3279: 3269: 3267: 3262: 3261: 3257: 3244: 3243: 3239: 3229: 3227: 3221:"Golden Poplar" 3219: 3218: 3214: 3201: 3197: 3188: 3184: 3171: 3167: 3157: 3155: 3142: 3141: 3137: 3124: 3123: 3119: 3111: 3107: 3103:, 24 March 2008 3092: 3088: 3078: 3076: 3067: 3066: 3062: 3052: 3050: 3037: 3036: 3032: 3026:Wayback Machine 3014: 3012: 3007: 3006: 3002: 2994: 2990: 2989: 2985: 2977: 2973: 2965: 2961: 2952: 2948: 2936: 2932: 2924: 2920: 2911: 2907: 2894: 2890: 2885: 2878: 2869: 2862: 2854: 2850: 2844: 2835: 2831: 2819: 2815: 2809: 2806:"Ramsay, Hugh." 2803: 2799: 2793:Wayback Machine 2784: 2780: 2774: 2761: 2757: 2744: 2737: 2729: 2725: 2719:Wayback Machine 2710: 2706: 2697: 2693: 2681: 2677: 2671: 2661: 2657: 2648: 2644: 2636:"War Honours", 2635: 2631: 2620: 2616: 2608: 2601: 2590: 2586: 2577: 2573: 2565: 2561: 2553: 2549: 2541: 2537: 2529: 2525: 2519: 2506: 2499: 2491: 2487: 2475: 2471: 2463: 2459: 2451: 2447: 2437: 2435: 2426: 2425: 2421: 2411: 2409: 2400: 2399: 2395: 2387:"Royal Opera", 2386: 2382: 2373: 2366: 2358:"Royal Opera", 2357: 2353: 2345:"Royal Opera", 2344: 2340: 2331: 2327: 2319:"Royal Opera", 2318: 2314: 2306:"Royal Opera", 2305: 2301: 2293:"Royal Opera", 2292: 2288: 2279: 2275: 2266: 2262: 2253: 2249: 2240: 2236: 2227: 2223: 2215:"Royal Opera", 2214: 2210: 2201: 2197: 2189: 2185: 2172: 2170: 2166: 2152: 2148: 2140: 2136: 2127: 2118: 2109: 2105: 2096: 2089: 2083: 2074: 2070: 2060: 2058: 2047: 2046: 2042: 2031: 2027: 2019: 2012: 2007: 2003: 1993:"Lemmone, John" 1990: 1986: 1974: 1967: 1957: 1955: 1944: 1943: 1939: 1924: 1920: 1910: 1908: 1897: 1896: 1892: 1883:Wayback Machine 1872: 1859: 1849: 1839: 1806: 1800: 1789:Klein, Herman. 1788: 1765: 1752: 1748: 1736:Davidson, Jim. 1735: 1702: 1698: 1693: 1680: 1676: 1661: 1657: 1648: 1644: 1639: 1635: 1625:Sir Joseph Ward 1622: 1618: 1607: 1603: 1578: 1574: 1569: 1565: 1560: 1556: 1539: 1535: 1531: 1526: 1463:Lewis Milestone 1445:Opera Australia 1397:Agnes G. Murphy 1385: 1254:First World War 1163: 1058: 1004: 1003: 995: 993: 992: 991: 990: 979:from Puccini's 977: 970: 967: 960: 954: 939: 929:Melba with the 819:First World War 807: 806: 798: 796: 795: 794: 793: 786: 779: 776: 770: 769: 768: 759: 752: 749: 747:"Sempre libera" 742: 736: 669: 593:Zélie de Lussan 511:, Desdemona in 466: 465: 457: 455: 454: 453: 452: 445: 438: 435: 428: 422: 293:Melba made her 291: 290: 282: 280: 279: 278: 277: 273:" (Mad Scene), 267: 260: 257: 250: 244: 221: 176:Ambroise Thomas 164:Augustus Harris 100: 95: 93:Life and career 32: 17: 12: 11: 5: 4029: 4019: 4018: 4013: 4008: 4003: 3998: 3993: 3988: 3983: 3978: 3973: 3968: 3963: 3958: 3953: 3948: 3943: 3938: 3933: 3928: 3923: 3918: 3913: 3896: 3895: 3893: 3892: 3884: 3875: 3873: 3869: 3868: 3866: 3865: 3860: 3854: 3852: 3848: 3847: 3845: 3844: 3839: 3833: 3831: 3827: 3826: 3819: 3818: 3811: 3804: 3796: 3789: 3788: 3776: 3756: 3755: 3750: 3744: 3735: 3726: 3721: 3715: 3706:1902 portrait 3703: 3688: 3683: 3674: 3663: 3662:External links 3660: 3659: 3658: 3652: 3639: 3633: 3620: 3603: 3586: 3567: 3564: 3563: 3562: 3556: 3540: 3534: 3521: 3515: 3502: 3485: 3479: 3466: 3460: 3444: 3425: 3408: 3386: 3383: 3381: 3380: 3368: 3346: 3329: 3315: 3306: 3290: 3277: 3255: 3252:. 19 May 2011. 3237: 3212: 3210:, 13 July 2003 3195: 3182: 3172:Dreyfus, Kay. 3165: 3135: 3117: 3105: 3086: 3060: 3030: 3000: 2983: 2971: 2959: 2946: 2930: 2918: 2905: 2895:Riding, Alan. 2888: 2876: 2860: 2848: 2829: 2813: 2797: 2778: 2755: 2735: 2723: 2704: 2691: 2675: 2655: 2642: 2629: 2627:, 5 March 1918 2624:London Gazette 2614: 2599: 2584: 2571: 2559: 2557:, p. 153. 2547: 2535: 2533:, p. 143. 2531:Jefferson 1979 2523: 2497: 2485: 2469: 2457: 2445: 2419: 2393: 2380: 2364: 2351: 2338: 2325: 2312: 2299: 2286: 2273: 2260: 2247: 2234: 2221: 2208: 2195: 2193:, p. 249. 2183: 2164: 2162:, 4 June 1893. 2146: 2134: 2116: 2103: 2087: 2068: 2040: 2025: 2010: 2001: 1984: 1965: 1937: 1918: 1890: 1857: 1840:Steane, J. B. 1804: 1763: 1761:, Vol. 5, 1974 1746: 1699: 1697: 1694: 1692: 1691: 1674: 1655: 1642: 1633: 1616: 1601: 1572: 1563: 1554: 1532: 1530: 1527: 1525: 1522: 1489:Kiri Te Kanawa 1469:. In 1987 the 1467:Patrice Munsel 1441:Glenda Raymond 1384: 1381: 1378: 1377: 1376: 1375: 1372: 1369: 1366: 1361: 1327: 1326: 1319: 1313: 1310: 1293:Percy Grainger 1162: 1159: 1057: 1054: 1016:Toti Dal Monte 1010:on to a young 994: 978: 968: 963: 962: 961: 952: 951: 950: 938: 935: 797: 787: 777: 772: 771: 760: 750: 745: 744: 743: 734: 733: 732: 668: 665: 541:, and Mimì in 535:, Violetta in 483:Herman Bemberg 456: 446: 436: 431: 430: 429: 420: 419: 418: 343:Jean de Reszke 310:page Oscar in 281: 271:Il dolce suono 268: 258: 253: 252: 251: 242: 241: 240: 220: 217: 116:David Mitchell 99: 96: 94: 91: 25:Melba, c. 1907 15: 9: 6: 4: 3: 2: 4028: 4017: 4014: 4012: 4009: 4007: 4004: 4002: 3999: 3997: 3994: 3992: 3989: 3987: 3984: 3982: 3979: 3977: 3974: 3972: 3969: 3967: 3964: 3962: 3959: 3957: 3954: 3952: 3949: 3947: 3944: 3942: 3939: 3937: 3934: 3932: 3929: 3927: 3924: 3922: 3919: 3917: 3914: 3912: 3909: 3908: 3906: 3891: 3889: 3885: 3883: 3881: 3877: 3876: 3874: 3870: 3864: 3861: 3859: 3856: 3855: 3853: 3849: 3843: 3840: 3838: 3835: 3834: 3832: 3828: 3824: 3817: 3812: 3810: 3805: 3803: 3798: 3797: 3794: 3787: 3782: 3777: 3775: 3765: 3764: 3761: 3754: 3751: 3748: 3745: 3743: 3739: 3738:Melba, Nellie 3736: 3734: 3730: 3727: 3725: 3722: 3719: 3716: 3714: 3711:, painted by 3710: 3709: 3704: 3702: 3701: 3696: 3692: 3689: 3687: 3684: 3682: 3678: 3675: 3673: 3669: 3666: 3665: 3655: 3653:9781760878252 3649: 3645: 3640: 3636: 3634:0-333-41478-0 3630: 3626: 3621: 3617: 3613: 3609: 3604: 3600: 3596: 3592: 3587: 3583: 3579: 3575: 3570: 3569: 3559: 3557:0-370-31271-6 3553: 3549: 3545: 3544:Shaw, Bernard 3541: 3537: 3531: 3527: 3522: 3518: 3512: 3508: 3503: 3499: 3495: 3491: 3486: 3482: 3476: 3472: 3467: 3463: 3461:0-7011-3274-4 3457: 3453: 3449: 3448:Conrad, Peter 3445: 3442: 3438: 3434: 3428: 3422: 3417: 3416: 3409: 3405: 3401: 3397: 3393: 3389: 3388: 3377: 3372: 3365: 3364: 3359: 3355: 3350: 3344: 3340: 3339: 3333: 3326: 3325: 3319: 3310: 3303: 3299: 3298:"Banned Film" 3294: 3287: 3281: 3265: 3259: 3251: 3247: 3241: 3226: 3222: 3216: 3209: 3205: 3199: 3192: 3186: 3179: 3175: 3169: 3153: 3149: 3145: 3144:"Melba House" 3139: 3131: 3127: 3121: 3114: 3113:The Chronicle 3109: 3102: 3101: 3096: 3090: 3074: 3070: 3064: 3048: 3044: 3040: 3034: 3027: 3023: 3010: 3004: 2993: 2987: 2980: 2975: 2968: 2963: 2956: 2950: 2944:18 April 1927 2943: 2939: 2934: 2928: 2922: 2915: 2909: 2902: 2898: 2892: 2883: 2881: 2873: 2867: 2865: 2857: 2852: 2842: 2838: 2833: 2826: 2822: 2817: 2807: 2801: 2794: 2790: 2787: 2782: 2772: 2768: 2767:"Book review" 2764: 2759: 2752: 2750: 2742: 2740: 2732: 2727: 2720: 2716: 2713: 2708: 2701: 2695: 2688: 2684: 2679: 2669: 2665: 2659: 2652: 2646: 2639: 2633: 2626: 2625: 2618: 2611: 2606: 2604: 2596: 2595: 2588: 2581: 2575: 2568: 2563: 2556: 2551: 2544: 2539: 2532: 2527: 2517: 2513: 2509: 2504: 2502: 2494: 2489: 2482: 2478: 2473: 2466: 2461: 2455:, p. 95. 2454: 2449: 2433: 2429: 2423: 2407: 2403: 2397: 2390: 2384: 2377: 2371: 2369: 2361: 2355: 2348: 2342: 2335: 2329: 2322: 2316: 2309: 2303: 2296: 2290: 2283: 2280:"The Opera", 2277: 2270: 2267:"The Opera", 2264: 2257: 2251: 2244: 2238: 2231: 2225: 2218: 2212: 2205: 2202:"The Opera", 2199: 2192: 2187: 2180: 2176: 2168: 2161: 2160: 2155: 2150: 2143: 2138: 2131: 2125: 2123: 2121: 2113: 2107: 2100: 2094: 2092: 2081: 2077: 2072: 2056: 2055: 2050: 2044: 2037: 2036: 2029: 2023:, p. 192 2022: 2017: 2015: 2005: 1998: 1994: 1988: 1981: 1977: 1972: 1970: 1953: 1952: 1947: 1941: 1933: 1929: 1922: 1906: 1905: 1900: 1894: 1887: 1884: 1880: 1876: 1870: 1868: 1866: 1864: 1862: 1853: 1847: 1843: 1837: 1835: 1833: 1831: 1829: 1827: 1825: 1823: 1821: 1819: 1817: 1815: 1813: 1811: 1809: 1798: 1797: 1792: 1786: 1784: 1782: 1780: 1778: 1776: 1774: 1772: 1770: 1768: 1760: 1756: 1750: 1743: 1739: 1733: 1731: 1729: 1727: 1725: 1723: 1721: 1719: 1717: 1715: 1713: 1711: 1709: 1707: 1705: 1700: 1688: 1684: 1683:Les Huguenots 1678: 1671: 1667: 1666: 1659: 1652: 1646: 1637: 1630: 1626: 1620: 1613: 1612: 1605: 1598: 1594: 1593:June Bronhill 1590: 1586: 1582: 1576: 1567: 1558: 1551: 1547: 1543: 1537: 1533: 1521: 1519: 1518:Frances Itani 1515: 1510: 1508: 1507:The Telegraph 1505:, writing in 1504: 1500: 1499: 1498:Downton Abbey 1494: 1490: 1486: 1482: 1481:Linda Cropper 1478: 1477: 1472: 1468: 1464: 1460: 1456: 1455: 1450: 1446: 1442: 1438: 1433: 1431: 1427: 1426: 1421: 1417: 1413: 1409: 1404: 1402: 1401:Thérèse Radic 1398: 1394: 1390: 1373: 1370: 1367: 1364: 1363: 1362: 1359: 1355: 1354: 1348: 1346: 1345:Google Doodle 1342: 1338: 1334: 1333: 1324: 1323:velouté sauce 1320: 1317: 1314: 1311: 1308: 1305: 1304: 1303: 1301: 1296: 1294: 1290: 1286: 1282: 1278: 1273: 1271: 1267: 1263: 1262:San Francisco 1259: 1255: 1251: 1247: 1242: 1240: 1236: 1232: 1228: 1224: 1220: 1216: 1211: 1209: 1205: 1204:Adelina Patti 1201: 1197: 1196: 1191: 1187: 1184:, along with 1183: 1179: 1172: 1167: 1158: 1156: 1152: 1148: 1143: 1139: 1136: 1132: 1128: 1124: 1123: 1114: 1110: 1106: 1103: 1102:lyric soprano 1099: 1095: 1091: 1087: 1083: 1078: 1076: 1071: 1062: 1053: 1050: 1047: 1043: 1042:John Brownlee 1040: 1036: 1032: 1029: 1025: 1021: 1017: 1013: 1009: 1002: 1000: 988: 987:Enrico Caruso 984: 983: 966: 948: 943: 932: 927: 923: 920: 915: 911: 907: 903: 899: 895: 889: 887: 883: 879: 875: 867:Melba in 1913 865: 860: 858: 854: 850: 844: 842: 841: 835: 831: 826: 824: 820: 816: 812: 805: 803: 791: 775: 766: 765: 748: 731: 729: 725: 721: 717: 713: 709: 704: 699: 697: 693: 689: 688:Enrico Caruso 685: 684: 675:Melba in 1904 673: 664: 661: 659: 655: 651: 647: 643: 642: 637: 633: 632: 627: 626: 621: 616: 614: 610: 606: 605:seconda donna 602: 601:Les Huguenots 598: 594: 590: 586: 580: 578: 577: 572: 571: 566: 562: 561: 560:Les Huguenots 556: 555: 550: 546: 545: 540: 539: 534: 533: 528: 527: 522: 521: 516: 515: 510: 509: 504: 503: 498: 497: 492: 488: 484: 477: 476: 470: 464: 462: 450: 434: 417: 415: 411: 410:Adelina Patti 407: 402: 401: 396: 392: 391: 385: 383: 379: 372: 368: 364: 362: 358: 357: 352: 348: 344: 340: 339: 334: 329: 327: 323: 319: 315: 314: 308: 307: 302: 301: 296: 295:Covent Garden 289: 287: 276: 272: 256: 236: 232: 231: 225: 216: 214: 213: 208: 204: 203: 198: 194: 189: 187: 183: 182: 177: 173: 169: 165: 161: 157: 153: 149: 145: 141: 136: 134: 133:Manuel García 130: 126: 121: 117: 113: 104: 90: 88: 84: 78: 75: 71: 70:Covent Garden 67: 66:lyric soprano 63: 57: 55: 51: 50:Victorian era 47: 44: 40: 35: 31: 23: 19: 3911:Nellie Melba 3887: 3879: 3823:Nellie Melba 3822: 3741: 3713:Rupert Bunny 3708:Madame Melba 3707: 3698: 3677:Nellie Melba 3643: 3624: 3607: 3590: 3574:Melba Method 3573: 3547: 3525: 3506: 3489: 3470: 3451: 3432: 3414: 3395: 3371: 3361: 3349: 3337: 3332: 3323: 3318: 3309: 3301: 3293: 3285: 3280: 3268:. Retrieved 3258: 3249: 3240: 3228:. Retrieved 3224: 3215: 3208:The Observer 3207: 3198: 3189:Avey, Tori. 3185: 3177: 3168: 3156:. Retrieved 3152:the original 3138: 3129: 3120: 3112: 3108: 3098: 3089: 3077:. Retrieved 3072: 3063: 3051:. Retrieved 3047:the original 3042: 3033: 3013:. Retrieved 3003: 2986: 2974: 2962: 2954: 2949: 2941: 2933: 2921: 2913: 2908: 2900: 2891: 2871: 2851: 2840: 2832: 2816: 2800: 2781: 2770: 2762: 2758: 2748: 2726: 2707: 2699: 2694: 2686: 2678: 2667: 2664:"Ad Libitum" 2658: 2650: 2645: 2637: 2632: 2623: 2617: 2592: 2587: 2579: 2574: 2567:Beecham 1959 2562: 2550: 2538: 2526: 2515: 2493:Evening Post 2492: 2488: 2480: 2472: 2464: 2460: 2448: 2436:. Retrieved 2431: 2422: 2410:. Retrieved 2405: 2396: 2388: 2383: 2375: 2359: 2354: 2346: 2341: 2333: 2328: 2320: 2315: 2307: 2302: 2294: 2289: 2281: 2276: 2268: 2263: 2255: 2250: 2242: 2237: 2229: 2224: 2216: 2211: 2203: 2198: 2186: 2178: 2167: 2157: 2149: 2141: 2137: 2129: 2111: 2106: 2098: 2079: 2071: 2061:25 September 2059:. Retrieved 2052: 2043: 2033: 2028: 2004: 1996: 1987: 1979: 1956:. Retrieved 1949: 1940: 1931: 1921: 1909:. Retrieved 1902: 1893: 1885: 1845: 1794: 1758: 1749: 1741: 1686: 1682: 1677: 1663: 1658: 1645: 1636: 1619: 1609: 1604: 1589:Elsa Stralia 1575: 1566: 1557: 1552:, p. 17 1546:Blainey 2008 1541: 1536: 1513: 1511: 1506: 1496: 1485:Yvonne Kenny 1474: 1452: 1434: 1423: 1415: 1407: 1405: 1388: 1386: 1330: 1328: 1297: 1274: 1243: 1212: 1193: 1175: 1144: 1140: 1130: 1126: 1120: 1118: 1079: 1067: 1031:Louise Homer 1005: 996: 980: 945: 940: 913: 890: 881: 877: 873: 870: 848: 846: 838: 833: 829: 827: 808: 799: 789: 762: 724:Peter Dawson 700: 681: 678: 662: 657: 649: 639: 636:Bernard Shaw 629: 623: 617: 613:J. B. Steane 604: 600: 584: 581: 574: 568: 558: 552: 548: 542: 536: 530: 529:, Rosina in 524: 518: 512: 506: 500: 494: 486: 480: 473: 458: 448: 414:Peter Conrad 405: 398: 388: 386: 375: 354: 350: 346: 336: 333:Lady de Grey 330: 325: 321: 311: 304: 298: 292: 283: 274: 228: 210: 207:Herman Klein 200: 190: 185: 179: 171: 152:John Lemmone 137: 119: 109: 79: 58: 38: 29: 28: 18: 3926:1931 deaths 3921:1861 births 3882:(1953 film) 3863:Peach Melba 3858:Melba toast 3700:Le roi d'Ys 3313:Boyd, p. 96 3302:The Mercury 3158:21 February 3079:11 December 3073:The Mercury 3053:31 December 2747:"Melba and 2191:Conrad 1987 2021:Gubler 2012 1958:21 February 1911:21 February 1597:Broken Hill 1479:, starring 1430:Martin Boyd 1420:Evelyn Laye 1418:, starring 1316:Melba toast 1307:Peach Melba 1215:blue plaque 1153:factory in 1035:Hugh Ramsay 1022:(who, as a 898:septicaemia 790:La traviata 764:La traviata 609:Emma Albani 565:Saint-Saëns 538:La traviata 523:, Nedda in 349:, Gilda in 212:La traviata 98:Early years 3905:Categories 3516:035404205X 3415:I am Melba 3100:Herald Sun 2872:Gramophone 2594:Gramophone 2555:Lucas 2008 2110:"France", 1696:References 1670:May Whitty 1371:Escutcheon 1270:Anderlecht 1186:May Whitty 1155:Chelmsford 1086:phonograph 1082:gramophone 999:media help 985:, sung by 811:Coldstream 802:media help 720:Clara Butt 680:Puccini's 631:Tannhäuser 589:Emma Calvé 461:media help 286:media help 197:la Monnaie 3774:Biography 3616:563034777 3599:556835777 3404:470511334 2955:The Times 2749:La bohème 2700:The Times 2687:The Argus 2662:"Feste". 2651:The Times 2638:The Times 2481:The Press 2453:Shaw 1981 2438:28 August 2412:28 August 2389:The Times 2376:The Times 2360:The Times 2347:The Times 2334:The Times 2321:The Times 2308:The Times 2295:The Times 2282:The Times 2269:The Times 2256:The Times 2243:The Times 2230:The Times 2217:The Times 2204:The Times 2142:The Times 2130:The Times 2112:The Times 2099:The Times 1951:The Argus 1904:The Argus 1854:required) 1439:starring 1138:reissue. 1131:La bohème 1028:contralto 982:La bohème 914:La bohème 882:La bohème 853:Lieurance 834:The Times 830:La bohème 683:La bohème 658:The Times 641:Siegfried 625:Lohengrin 597:Maria Gay 544:La bohème 526:Pagliacci 520:I Rantzau 502:Rigoletto 496:Esmeralda 390:Pagliacci 351:Rigoletto 326:The Times 202:Rigoletto 160:Carl Rosa 54:Melbourne 3450:(1987). 3394:(1959). 3022:Archived 2789:Archived 2715:Archived 1879:Archived 1416:Evensong 1408:Evensong 1406:A novel 1266:Brussels 1258:EastLink 1092:and the 1039:baritone 1008:cadenzas 906:Lilydale 728:Adelaide 144:Brisbane 62:Brussels 43:operatic 3760:Portals 3670:at the 3582:5309485 3498:7389273 3385:Sources 3270:3 March 3130:eBru.be 1451:titled 1180:in the 1070:Bettini 886:Geelong 843:wrote: 361:Delibes 60:and in 3830:Places 3695:aubade 3650: 3631: 3614: 3597: 3580: 3554: 3532: 3513: 3496: 3477: 3458: 3439: 3423: 3402: 3250:Google 3230:31 May 3015:27 May 2763:Quoted 1687:sounds 1595:after 1583:, and 1449:biopic 1341:Google 1127:Otello 880:, and 878:Otello 792:, 1907 767:, 1904 654:Mozart 646:Gounod 620:Wagner 576:Carmen 570:Hélène 514:Otello 487:Elaine 451:, 1910 322:Hamlet 269:from " 181:Hamlet 140:Mackay 37:(born 3888:Melba 3880:Melba 3872:Works 3786:Opera 3691:Melba 3338:Melba 2995:(PDF) 1611:Lakmé 1529:Notes 1476:Melba 1454:Melba 1365:Notes 1239:Melba 1046:tenor 857:Tosti 849:Faust 788:From 761:From 650:Faust 585:rôles 554:Faust 475:Faust 449:Faust 447:From 356:Faust 318:Opéra 235:Nadar 184:at a 3851:Food 3681:IMDb 3648:ISBN 3629:ISBN 3612:OCLC 3595:OCLC 3578:OCLC 3552:ISBN 3530:ISBN 3511:ISBN 3494:OCLC 3475:ISBN 3456:ISBN 3437:ISBN 3421:ISBN 3400:OCLC 3343:IMDb 3272:2023 3232:2019 3160:2014 3081:2012 3055:2015 3017:2011 2942:Time 2440:2023 2414:2023 2063:2014 1960:2014 1913:2014 1540:The 1514:Tell 1244:The 1195:Time 1044:and 595:and 508:Aida 489:and 162:and 3740:at 3679:at 3341:at 2765:in 1516:by 1491:in 1428:by 1414:of 1149:'s 1113:HMV 916:: " 694:at 648:'s 607:to 567:'s 493:'s 485:'s 178:'s 120:née 68:at 34:GBE 3907:: 3360:, 3356:. 3300:, 3248:. 3223:. 3206:, 3176:, 3146:. 3128:. 3097:, 3071:. 3041:. 3028:, 2940:, 2899:, 2879:^ 2863:^ 2839:, 2823:, 2769:, 2738:^ 2685:, 2666:, 2602:^ 2514:, 2510:. 2500:^ 2479:, 2430:. 2404:. 2367:^ 2177:, 2156:, 2119:^ 2090:^ 2078:, 2051:. 2013:^ 1995:, 1978:, 1968:^ 1948:. 1930:. 1901:. 1877:, 1860:^ 1844:, 1807:^ 1793:, 1766:^ 1757:, 1740:, 1703:^ 1520:. 1347:. 1302:: 1272:. 1213:A 876:, 591:, 579:. 324:; 158:, 3815:e 3808:t 3801:v 3762:: 3656:. 3637:. 3618:. 3601:. 3584:. 3560:. 3538:. 3519:. 3500:. 3483:. 3464:. 3443:) 3429:. 3406:. 3274:. 3234:. 3162:. 3132:. 3083:. 3057:. 3019:. 2997:. 2442:. 2416:. 2173:" 2065:. 1962:. 1934:. 1915:. 1325:. 1084:( 1001:. 804:. 463:. 288:. 237:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index