On with the Show

By Barbara Kendall-Davies

On with the Show follows on from the first volume of Love and Music, a joint autobiography of singers Christopher Davies and Barbara Kendall.

In 1965, Barbara graduated from the Guildhall School of Music and Drama in London and joined Chris in the musical profession. They had gotten married in 1963 and this is the interesting story of how they coped with what was bound to be a demanding way of life.

• Language: English
• Publisher: Austin Macauley Publishers
• Release date: Nov 30, 2021
• ISBN: 9781528992183

Barbara Kendall-Davies

The author, Barbara Kendall-Davies, was born in Birmingham and first studied Costume design at the Birmingham College of Art. In 1961 she won a place at the Guildhall School of Music and Drama to study singing. Here she met Baritone Christopher Davies and they married in 1963. Subsequently, their professional careers ran in parallel. Barbara’s writing career began in 1995 with a monograph of the French 19th century signer, Pauline Viardot Garcia and led to a two-volume biography of the singer. In 2019 her novels, Truth Will Find a Way and Worlds Within Worlds, were published by Austin Macauley. The first volume of a joint autobiographical trilogy was published as Love and Music in 2020 and On with the Show in 2021. More than Music completes the trilogy.

Book preview

About the Author

The author, Barbara Kendall-Davies, is a professional opera singer, (who collaborated with her husband, baritone, Christopher Davies), costume designer, artistic director and principal soprano of the Apollo Group of London who also worked with numerous opera companies. In addition, she is a prolific painter, though she never dreamed of becoming a writer.

However, she has written seven books, including a novel Truth Will Find a Way published in 2019 by Austin Macauley. On with the Show is the sequel to the joint autobiography, Love and Music, of herself and her husband.

Books Published:

The Life and Work of Pauline Viardot Garcia, The Years of Fame, Vol. I

The Life and Work of Pauline Viardot Garcia, The Years of Grace, Vol.2

Truth will find a Way

Love and Music

Worlds within Worlds

Dedication

I dedicate this book to all the singers and Pianists who performed with the Apollo group of London from its inception in 1965 to the fall of the curtain in the 1990s.

Copyright Information ©

Barbara Kendall-Davies 2021

The right of Barbara Kendall-Davies to be identified as author of this work has been asserted by the author in accordance with section 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publishers.

Any person who commits any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

All of the events in this memoir are true to the best of author’s memory. The views expressed in this memoir are solely those of the author.

A CIP catalogue record for this title is available from the British Library.

ISBN 9781528992176 (Paperback)

ISBN 9781528992183 (ePub e-book)

www.austinmacauley.com

First Published 2021

Austin Macauley Publishers Ltd®

1 Canada Square

Canary Wharf

London

E14 5AA

Acknowledgement

I thank my darling husband, Chris, for the consistency of his diary entries because without his archive Love and Music and On with the Show could not have been written.

Introduction

Volume I of Love and Music began in 1961, with the meeting of the singing students, Barbara Kendall and Christopher Davies, at the Guildhall School of Music and Drama in London. For the previous two years, Chris had been in love with Ann, a contralto who studied at the Royal Academy of Music; however, the relationship was going nowhere, and gradually Chris realised that Barbara was the girl he had been waiting for. She was at the beginning of a four-year course of study at the Guildhall, but Chris left in the summer of 1962 to become a student at the newly inaugurated Welsh National Opera Company Training Scheme for Young Singers in Cardiff. Nevertheless, he remained at Guildhall as a part-time student, returning frequently for lessons with Walter Gruner and singing in several of the major opera productions.

There were frequent separations, and the couple constantly changed their minds regarding marriage, though they finally tied the knot in the summer of 1963. However, for the first year of married life, Barbara commuted between Cardiff and London, and Chris was on tour with ‘Opera for All’. This led to emotional tensions due to the limited means of communication at that time. Nevertheless, they were devoted to each other and were destined for long careers in the demanding world of classical music, which resulted in an enormous quantity of correspondence between them.

Volume II covers the years from 1965 when Barbara graduated and became a fully-fledged professional singer. Their son, Giles, was born in 1970. However, though motherhood produced its own challenges, it didn’t halt Barbara’s career, though, naturally, she had to compromise. At the same time, the embryonic Apollo Group, founded by the couple with the pianist Jillian Skerry in 1965, went from strength to strength, with more operatic productions, as well as concerts. With the growing success of the group, the name was extended to the Apollo Group of London. This volume ends in 1973 when the couple moved to a house in Harrow, and Worlds Within Worlds begins in 1973 when a whole new era opens up, particularly for Barbara.

The couple moved permanently to Jersey in the Channel Islands in 2004 and Chris devoted his time to teaching singing, speaking about opera on radio, gardening and crosswords. Barbara retired from singing in 2012 and is now a full-time writer, best known for her two-volume biography of the French, 19th century singer, composer and teacher Pauline Viardot Garcia. Their son, Giles, married Kate, and in 2014, Barbara and Chris became grandparents of twin boys, Charles and Laurence. They celebrated their fifty-fifth wedding anniversary in the summer of 2013, but sadly, Chris died on December, 2018, so he did not live to read Barbara’s debut novel, Truth Will Find a Way, which was published by Austin Macauley Publishers Ltd in 2019.

1965

At the start of the year, Barbara and Chris were performing two shows a day in ‘Aladdin’, a Cyril Fletcher pantomime at the Arts’ Theatre in Cambridge, but as Chris was under contract to the Arts’ Council’s ‘Opera for All’ Group 3, he caused consternation by signing a contract for the pantomime without asking permission. Barbara had gone ahead and accepted the panto through an agent because they did not expect to have other work over the Christmas period. Chris said that he and his wife had been apart a good deal, so it was an opportunity for them to work together for a short period. The situation was eventually smoothed over, but Barbara felt guilty for causing problems for Chris with the Welsh National. However, managements have little consideration for domestic issues.

As well as performing two shows a day, they were also studying and preparing a variety of other music, as well as having lessons at Guildhall, and relaxing when they could by going to the cinema and the theatre.

For a while, there were no letters, as they were together; however, Chris consistently kept up his diary entries.

Friday, January 1st, New Year’s Day.

The New Year ’s Eve Party didn’t end until almost 3.00 am so we stayed in bed most of the morning.

Saturday, January 2nd, New Moon.

Barbie did some practise while I went to meet my folks at Cambridge station but I missed them. Fortunately, they arrived at the theatre before the start of the show and managed to get tickets. Barbie’s parents arrived at 5.00 pm and we had a happy tea together. After the evening show we all had a meal at the Han Chow restaurant.

Sunday, January 3rd

I gave Mum and Pop coffee to speed them on their journey to Harrow. We had lunch at the Gardenia, but it was so cold that Barbie and I spent the afternoon in bed, reading and sleeping.

In the evening we saw the film The Importance of Being Ernest; well-made, stylishly set and acted, particularly by (Michael) Dennison, as Algy, and (Dorothy) Tutin as Cecily – (Edith) Evans I found too heavy and artificial, and (Michael) Redgrave stodgy.

Monday, January 4th

Barbie bought the first thing for our new flat – a lovely orange lamp – I visited (Dr Peter) Tranchell and got permission to use the Bateman Room (at Gonville and Caius College where Chris had been an undergraduate) for private practice. I did a few scales before lunch and felt the voice was better for it.

Tuesday, January 5th

I sang exercises for half an hour – up to B’s and down to E’s – then looked at three of the Pierrot Lunaire songs – did an hour’s good work on Constanza (Il Seraglio) arias with Barbie; the second one Martern aller arten doesn’t need my ideas of phrasing as she does it instinctively very well and the first one, Traurigkeit, was impressive too – all of a quality and stylish.

Thursday, January 7th

After half an hour of exercises – I sang through and worked on Eri tu, which was in good trim – it also helped me sing the Pierrot songs well, more fully. I looked at Renato (Masked Ball), all of which I find more easy to cope with now.

As usual 45 minutes on Barbie’s Constanza proved fruitful – her coloratura in Marten really polished – and she has the strength for it too.

Friday, January 8th

As well as further work on Eri tu, I worked on the second album of Kowalski, Lanterne Heimwarts and love them the more I hear of them – more work on Constanza arias too – Barbie can certainly sing them consistently to a professional standard.

Saturday, January 9th

As before, I went to the Bateman Room in Caius and worked on the Kowalski songs for me and Constanza for Barbie. I looked at O du mein holder Abendstern and put Barbara to sleep! She liked Quand era paggio (Falstaff) – a style I find easier, as she remarked. Two shows of Aladdin, as usual.

Sunday, January 10th

The morning was spent in refreshing sleep, and being brushed and cleaned.

BALLET FOR ALL, 3.00 pm The Giselle peasant dance was the most interesting and entertaining – I christened my new sweater and tie; beautiful I looked too, mmm! We met handsome Peter Wright, the Director of Ballet for All. (Later Sir Peter, who became an important choreographer of the Royal Ballet at Covent Garden. He died in his nineties in 2017, while still working.) We found him very approachable and charming, though many ballet dancers keep very much to themselves.

In the evening we saw the Orson Welles version of Othello; which made more impression on me after five years – all of a piece.

Monday, January 11th

I didn’t do more than a few exercises before Barbie’s first run-through of her arias – which was disappointing; but after a good lunch she was back on form, and both Traurigkeit and Martern show good hopes for tomorrow. In the afternoon I worked on songs from the Kowalski cycle.

Tuesday, January 12th

9.15 am train to London.

12.00 lesson with Walter Gruner at Guildhall. Very good. He was pleased with the exercises and my voice which was in very good shape. I sang the first seven of the Pierrot Lunaire songs by Kowalski. Gruner said they had a beautiful vocal quality. Barbie’s audition of Constanza went well. (Vilem) Tausky (conductor) and (Brian) Trowell (director of Opera Course) were pleased.

Wednesday, February 14th

I went to the Bateman Room and worked on Alla Vita, which is becoming more stylish and easier each time, while the tricky F’s are going smack into place.

TARTUFFE: the film from the Comedie Francaise was very interesting and amusing, though the style of their acting seemed rather stiff and slow to me – with no reactions during the speeches from one character to another – yet it was still excellent of its kind.

Thursday, January 14th

I worked in the morning on the voice and then sang through the Pied Piper which should be very enjoyable to do, despite the low E’s and F’s – I also played and coached Barbie in Allelujah for Sunday. In the afternoon I gave Alla vita a further working over; also, numbers 8 and 9 of the Kowalski – as well as working at the Purcell duets.

Friday, January 15th

I worked on the Allelujah with Barbie again – and looked at the Acht Zigeunerlieder of Brahms.

In the evening we saw MODERATO CANTABILE – which was an interesting study with some very striking and poetic shots – about boredom, frustration, the search for love, and death, which didn’t come off for Barbie or me.

Saturday, January 16th

I worked on the Purcell duets Let us wander and Lost is my quiet,

as well as Alla vita and Quand la flame de l’amour. The organist at Barbie’s church rehearsal of her song for the service was terrible – though she sounded fine herself – I persuaded Glynne Hale to play for her.

(She was taking part in a service by some members of the pantomime cast).

Sunday, January 17th

Barbie sang her Allelujah well – despite difficulties in organ accompaniment.

THE IMMORTAL LAND– was an excellent, intelligent documentary about Greece.

LADY WITH THE LITTLE DOG was a very touching, gentle love story in the Chekov manner.

Monday, January 18th

A total of four hours singing and working with Barbie – Cara Nome coming along well – I looked at our Purcell duets again, seeing where the phrases start from and where they end then sang Wolfram’s Blick ich umher as well as Alla vita and Son Pereda.

Wednesday, January 20th

We caught the 9.15 am train to London to find Gruner ill in bed at his home in Canfield Gardens – still we chatted about duets, Barbie’s Midland audition, and Opera for All.

Thursday, January 21st

I went to Caius to work on various arias and songs.

At the end of the run party, Cyril’s (Fletcher) hilarious cafe sketch with Peter (Aladdin) was a little dampened by Sylvia (Rhys Thomas) mother’s death. We left an l.00 am

Saturday, January 23rd

We saw the film TOPKAPI – an enjoyable crime comedy and thought that Peter Ustinov was outstanding.

We had a good last night and finish to the show but everybody was sad and some of the younger ones had tears in their eyes – only Barbie and I were pleased.

Sunday, January 24th

At the GUILDHALL, CAMBRIDGE at 2.30 pm we saw SIMONE BOCCANEGRA (Verdi).

It was an excellent performance under Guy’s rhythmic baton. (Guy Wolfenden, a fellow Cambridge graduate and friend). (Raimond) Herincx matched the part with care, despite the occasional thinning at the very top of the voice. (Pauline) Tinsley was magnificent in forte and piano sections. (Noel) Mangin was very coarse; Mike (Michael Rippon, another Cambridge alumni and friend) was very competent. Afterwards we went home to Harrow.

Monday, January 25th

Both Barbie and I are wanted for Supreme Opera.

Mrs Clarice Brooksbank phoned to ask me to do a rehearsal on Tuesday before the concert then I went into the Guildhall and had an interview with the Principal about the possibilities of further Scholarships. I saw (Brian) Izzard (GH secretary) and (Dr Brian) Trowell asked me to do Michele in Tabbaro by Puccini. I then went over to the new flat to measure things.

Tuesday, January 26th

OPERA CLASS – GUILDHALL – I sang the Almaviva /Figaro duet with Keith (Erwen) – in good voice top G and all – then the opening of the Germont/Violetta scene with Barbie – also good. Marcello Act IV was most enjoyable although the rest of the men were groping – the Rosina/Figaro scene with Barbie was also very right.

7.30 pm coaching with Cyril Gell on the Pied Piper.

Wednesday, January 17th

The ARABELLA dress rehearsal, at the Royal Opera House, Covent Garden, was stolen by (Dietrich Fischer) Dieskau: marvellous acting, singing, presence, everything!!!

11.00 GRUNER. So-so lesson – he said he was now trying to make the voice grow – I sang Alla vita which he said I was darkening too much, and Quand la flame which he thought would make an excellent piece for auditions – but said No to Michele as we expected – John Moody phoned with work for O.F.A. Group 3!!! Hooray!

Thursday, January 28th

(Pop’s Birthday)

I spent it over at Flat 9, Bewley Court (their newly built flat, the first they bought together) waiting for things to arrive. The electric cooker and demonstrator did, and the divan mattress. I had a good coaching session with Cyril Gell on the Pied Piper and looked at Quand la flame.

Friday, January 29th

I went up to Harrow for a haircut then looked for a kitchen table and chairs, and a wardrobe, the latter of which Barbie found; then packed up household goods in the afternoon and evening.

Saturday, January 30th

I painted the chairs, all three of them. Cataloguing and packing the books, history and biography. Mum and Barbie worked on curtains.

Sunday, January 31st

I spent the afternoon painting the new bookcase and bedside table then packed all our pictures and art books – Barbie making curtains.

Monday, February 1st

I phoned Mrs Brooksbank and arranged a rehearsal before going away – then I worked on the Pied Piper in more detail – the first six sections. From 11.00 – 1.00 – I painted the bookcase overcoat.

Tuesday, February 2nd

OPERA CLASS 2.00 pm– I sang the Germont/Alfred then Germont/Violetta duets; not feeling happy vocally. 6.20 pm EXTRA CHORUS AUDITON AT THE ROYAL OPERA HOUSE, COVENT GARDEN. Chris thought that he sang the Largo al factotum badly, but that Barbie sang Martern aller arten marvellously. They sang their audition pieces to the chorus master, Douglas Robinson, in Room 45 at the rehearsal studios in Floral Street opposite the Stage Door. After she had sung, Robinson said You sing very well, young lady. Barbara accepted the compliment but did not realize that it was highly unusual for such a comment to be made at an audition. Both singers sight read the modern music competently, and were offered a contract to perform in the extra chorus in the British premiere of Moses and Aaron by Schönberg.

Wednesday, February 3rd

I saw Ben (Luxon) and had a chat.

11.00 GRUNER (3) – not too good a lesson – all the painting is affecting my voice – Se vuoi balare poor. Rosina/Figaro duet not much better – still we had a chat about voice types – I’m a spiel baritone, both Figaros, Papageno, Guglielmo, Harlequin, Malatesta. Went to flat via Guildhall and did a few things, then home to Harrow.

Friday, February 5th

Over to Harrow Labour Exchange then went home and practiced. I cleared out the top drawer of all letters.

7.30 pm I had coaching with Cyril Gell at Guildhall; worked on the Secret Marriage by Cimarosa, Act I – and soon got into the style of the thing.

Sunday, February 7th

9.30 am Barbie and I had a rehearsal at St Paul’s Church, Knightsbridge and service at 9.45 am I enjoyed being back – with all the old chants and responses – I hoped that Bernard would give us a lift back and forth. I wrote a letter to John Forsyth, (Welsh National Opera Company) and listened to the Secret Marriage.

Monday, February 8th

I pottered around the flat, put Fablon on the record-box and it looked very smart.

Also, I put up pictures in the kitchen.

To Guildhall where I did a couple of hours on the Secret Marriage.

Tuesday, February 9th

I did a few jobs in the flat in the morning then sang Marcello, at the start of Act IV – and was in good voice. Later I had production with Trowell (4).

4.00 pm COACHING with GELL; worked on Act II of the Secret Marriage and now I have the whole role in perspective.

6.00 – The Rosina/Figaro scene with Barbie went very well – and the Violetta/Germont scene did too. Mr Mastroianni was tickled pink with us. We stayed at home in the evening.

Thursday, February 11th

2.30 pm to 5.00, Chester Drive, North Harrow, for a rehearsal of the Pied Piper with Clarice Brooksbank.

A good run-through. She seems happy with my tempi and quite pleased with my work.

Friday, February 12th

10.00 am Guildhall, with Tausky for a call on the School for Father’s the main opera of the Guildhall year. Barbara was cast as Lucietta, a daughter, and Chris as Simon, one of the fathers.

2.30 pm W.N.O.C, call at Dinely Studios to rehearse the Secret Marriage and La Traviata with Eric Wetherell. We managed to get through all of it and I think Eric was pleased.

6.45 pm Coaching with Gell on the Pied Piper which still feels strange as I sight read the whole of it.

Saturday, February 13th

My parents came for the afternoon and my Mum and Barbie made cushions while I framed a couple of our soldier prints

7.00 pm Dinner at Clive Wearing’s; very pleasant and it wasn’t too far to go. We chatted over this and that: apparently not much deputy work at the Abbey but St Paul’s Cathedral is very possible.

N.B. Clive Wearing was another friend from Cambridge. He was a fine singer and conductor but developed a rare syndrome where his memory was severed and he could not remember anything for more than a few seconds, greeting his wife whom he had seen moments before as if she had returned after years away. There is no cure.

Sunday, February 14th

9.45 am St Paul’s, Knightsbridge. The Vaughan-Williams’ was most enjoyable but the bus journey to and fro was a little nerve wracking. I wrote a letter to Forsyth asking for the tour schedule.

6.00 pm Evensong. My little bits of solo slightly rough but ready in the Creation – to Ted’s (Edward Sadler, tenor) for a very pleasant evening.

Monday, February 15th

10.30 am Music call on La Traviata and the Secret Marriage with Wetherell.

12.30 pm Secret Marriage production rehearsal with Harry Powell-Lloyd at Dinely Studios.

Very warm after the S.M. rehearsal so Barbie and I took Angie (Moran) home so she could try on Barbie’s dress.

Tuesday, February 16th

GUILDHALL 11.45 am Music Call with Cyril Gell on School for Fathers

2.00 pm Opera Class, Marcel, Act IV La Boheme

8.00 Clarice Brooksbank’s rehearsal at Bessborough Road Methodist Church, Lecture Hall, for the Pied Piper.

I was surprised how well I knew the first half but had to keep my wits about me for the second part.

Wednesday, February 17th

11.00 am Gruner (6). A good lesson on technique. I looked over the role of Simon in School for Fathers and he approved of the tessitura. I also worked on Count Robinson and the Germont duet, which were good.

2.30 – 4.30 pm LA TRAVIATA production with Michael Alfreds at Dinely’s, good session. W.N.O.C.

To Simmon’s for costume fitting.

7.30 pm coaching with Gell (6) for School for Fathers.

Thursday, February 18th

10.30 am – 1.30 pm the SECRET MARRIAGE with director, Harry Powell Lloyd

2.30 – 5.30 pm A good day’s work done with everything plotted except one scene. Home early: wrote several ‘networking’ letters.

Friday, February 19th

10.30 am – 1.30 pm, Tausky rehearsal at Guildhall, the School for Fathers Act I, Scene II.

2.30 pm to Simmons to fit the costumes for the Tour.

3.45 Dental appointment.

I did some work at home (Harrow) before returning to the flat (Brixton) and trying to do the pelmets (they kept falling down). I fixed the bedroom one temporarily but we need professional men on the job.

Saturday, February 20th

11.00 am Costume fitting at Simmons. The colours were not right – but the clothes fitted well.

I spent the afternoon at Guildhall and worked on the voice and the role of the Baron in La Traviata.

In the evening we saw the film: King and Country – well-made, finely acted, particularly by (Dirk) Bogarde, (Tom) Courteney and (Peter) Copley.

Sunday, February 21st

9.45 am St PAUL’S, KNIGHTSBRIDGE service.

I phoned the station and decided on the morning train (to Cardiff next day)

I fixed the hall carpet (at the flat) in the afternoon,

6.00 pm EVENSONG, S.P.K.

We saw the Peter Seller’s film, Shot in the Dark which was most enjoyable although the thriller side was not tense enough.

Monday, February 22nd

8.00 am Train to Cardiff. Opera for All Group 3 rehearsal week.

11.00 Traviata Rehearsal at St David’s Hall and I did all my scenes in the morning. At 2.30 pm I saw John Forsyth about my expenses.

The first letter of the year from Barbara to Chris in Cardiff.

Guildhall, E.C.4

February 22nd

My dearest Liebling,

I hope you managed to get your 8 o’clock train. Poor darling, I did feel sorry for you going off at that hour. I felt dead to the world. I fell asleep again and was hard put to it to get up at 9.15 am

Mr Gell didn’t arrive until late so I wrote some letters and did some exercises until he came. I dropped a line to Joan T.S. (Thompson Smith at the Arts’ Council,) and sent your photo.

Also, Keith and Margrit wrote asking us to go to tea next Sunday. I’ve sent a little note, explaining things.

Well, I’ll drop this to the post then go to Mr Murchie (piano professor). I missed Acting because of Mr Gell (being late).

I must try to do a bit of shopping too; we’re running a little short on food; haven’t any bread! I’ll stay here and do some practise after tea, and try not to be home too late.

My voice felt very foggy this morning. Let’s hope it’s improved by this evening. A lot of the right sort of work is what it needs.

I do hope your work is shaping up well, and that you’re not too tired. I do love you, darlingest, and am longing for next week. Take care and sing well. I’ll write as often as I can.

Give my best wishes to all who remember me. With all my heartfelt love and affection, Your Barbie.

8, Merches Gardens, Cardiff

February 23rd

My Own Dearest Barbiekind,

Thanks for your very prompt and sweet letter. Sorry I haven’t been so prompt at this end but you’ll understand how busy I’ve been, I’m sure.

Yes, I caught the train in plenty of time – about three minutes to spare, and had a very good, uneventful journey, reading the Observer magazine section and Tropic of Capricorn. When I went along to the buffet, I met Mike Alfreds, the producer, and Jim Hawthorne, so it was lucky I didn’t catch the later train.

The rehearsal of the Traviata scenes I was involved in, didn’t take very long and I think Alfreds was pleased with how quickly I was fitting in. (He was rehearsing with Opera For All Group 3, based in Cardiff) By lunchtime I was not so much tired, as very hungry, which was soon taken care of by a tasty pork chop at the Model Inn.

In the afternoon I had to see John Forsyth about expenses, etc., as well as chatting to Bill and Alma (music coach) about all our news. David was in London at a Moses rehearsal. (David was Chris’ Cambridge friend, Alma’s husband, and chorus master of the main company.) Everybody asked after you and wanted to know how the flat was coming along. I’m writing this in Bill’s office (he’s in charge of the school now you know) while he’s sorting out all the props he needs for Pasquale which he’s producing for the tour next year.

Then I went along to Mrs Arcos and was given a cup of tea and talked to for half-an-hour or more, after which I thought I would have a nap before going down to the Hall to work on Lord Robinson. But believe it or not, I was so tired I slept from 5.00 to 10.00 pm so bang went my intention to do some vocal work.

First thing this morning, as a result, I was down here at the Hall, singing away in Studio 2 before this year’s students arrived for their various coaching lessons. I did an hour’s good work too, the voice being in pretty good trim. Since then I’ve been writing letters – to Caius about my M.A., to Glyndebourne, and the Ministry of Labour – and when I plant my kisses at the bottom of this page, I’m off to the Post Office to post this and t’other letters.

I haven’t seen Malcolm (Williams) yet (he’s had to replace Bruce Lochtie as Ramiro with Group I as well as his Welsh National rehearsal commitments) but Bill told me he had seen Olwen who said Tell Chris to come up and see me and Liz. So perhaps I shall.

I’ll phone you tonight in Harrow, my love. Till I hear your voice then, all my fondest and deepest love and multiplicity of kisses. Your Own Liebling.

Guildhall, E.C.4.

Tuesday, February 23rd

My dearest Love,

I do hope your first day was successful and that you enjoyed yourself.

I went to bed quite early last night and was up at 8.15 am Before breakfast I swept through the flat, tidied all the rooms. Then I had breakfast and put the radio on, I did some ironing, but it’s difficult without an ironing board. Also, the sewing machine is playing up again. It seems a hopeless case! I tried to do the cushion covers for the lounge and the pussy cat (a cushion in the shape of a cartoon cat). However it wouldn’t work so I’m taking the items with me to do at your mother’s. I managed to do a few vocal exercises before I left but haven’t really sung yet.

I did a bit of work with Keith (Erwen, a tenor who was the former boyfriend of her first flatmate, Sue) on Abu (Hassan by Weber) then we sang the Faust, Butterfly and Seraglio duets. I finished off with a jolly good performance of Martern aller arten which Keith thought was super.

The Rates Office sent in a bill of £5.10.6 for us to pay from February 4th to the end of the Financial Year – 31st March. I’ve written a cheque from my own account. It will be about £30 a year in all.

I haven’t rung Day’s yet, because I want to have a word with Uncle Reg. It’s going to be extremely costly to get a man in, (to fix the pelmets) because labour costs a terrific amount.

I do wish I could get more time for private practise, but until I get the piano over, there’s not much chance of that. I had a word with Mr (Leslie) Murchie about the waste of time sitting around in classes, but I don’t reckon it did much good.

Dr T says I don’t have to do the Spinning Chorus (The Flying Dutchman by Wagner). My name cropped up by accident. He wants me to do Rosenkavalier after School for Fathers, but I dread working with Sylvia (Rhys Thomas). She’s a pain in the neck. She’s so bloody insulting, and I’m keeping out of her way (as most folks seem to be doing).

Well, I haven’t left much space to tell you that I love you very truly, and I’m so looking forward to having you back. With all my love and kisses – Barbie.

8, Merches Gardens, Cardiff

Wednesday, February 24th

My Own, Dearest Barbie,

Bless you for the letter which arrived so promptly to be waiting on my breakfast table for me this morning. Hope mine arrived safely!

I’ve got this afternoon off, having finished all the Baron scenes this morning; so I’m using it to catch up on a few more letters. I must write to (Richard) Latham and tell him I shan’t be there on Sunday, and that I’m asking Rhys to do the services for me.

Sorry to hear the machine’s playing up again; let’s trust you were able to do them at Mum’s (make cushions). Yes, perhaps you’re right about the pelmet fittings: all we need is a really good drill to do the job ourselves.

So Keith liked your Constanza eh? So he should ’cos it’s very good. And what about all the duets you sang with him? Don’t forget you’ve all our duets to be working on as well! But I know you haven’t a piano to work on in the flat yet, or perhaps you’ve asked Uncle Reg about the likelihood of Danby taking the one from Harrow, as well as Aunt Dot’s carpet and chest of drawers.

I was down here at the Hall just after 9.30 am again today, but the voice needed more warming up than yesterday. I have a touch of the old catarrhdiff!!!

I’ll bet you were pleased Brian (Trowell) doesn’t want you in the Dutchman excerpt! Who’s doing Senta now? According to the Times; (I think) criticism of Verity’s (Ann Bates) recital – a Santuzza or a Senta in the making were his words – Verity ought to be singing Senta as well as Giorgetta!!! (Haven’t people ears anymore?)

Well, my own favourite and best soprano, more from me tomorrow. Do take care of your dear self ’cos I love you so very much. Your Chris.

Flat 9, Bewley Court, S.W.2

Thursday, February 25th

My dearest, truest Love,

Thank you for your lovely little letter. I’m so awfully sorry I didn’t manage to get one to you yesterday. I should really have written one before lunch, but I went mad getting to the piano again, and worked all morning. However, Mr Gruner still thought the voice sounded neglected. It’s hard work just lately, although the top is coming on splendidly now, and I’m producing some really firm E’s.

I’m so glad things seem to be going well with you; best of luck, darling. Oh, it will be lovely to see you again; I’m getting impatient for next week.

Gruner thought Verity’s recital was one of the worst things he had ever heard, and after she had belted her way through Von Ewige Liebe, he just had to leave. He said it was the most inhuman singing imaginable, and so hard. He reckons she’ll have an outsize wobble within two years. The trouble is people think that that is singing legato, and it’s nothing of the kind. The voice has no life. Sylvia does the same kind of thing, you’ll notice. He thought the Times crit was very kind. But said as it’s a young concert artists’ recital, (I forget the actual title) they wouldn’t slate it. However, they did say there were some things she should learn.

I’ve just had a couple of very nice letters from Mum and Dad. It’s Sue’s (Barbie’s youngest sister) birthday today. They want to come to hear me in Abu on the Saturday. Also want to come to see me here. However, I don’t know yet when they’ll come. I did want to get everything in order before they arrived, but at this rate it will still look like this in a month’s time, so they will have to take potluck.

Uncle Reg says he’ll help you with the pelmets. He reckons you haven’t used enough pressure. You should balance the drill on your chest but you really need a pair of steps.

I haven’t had breakfast yet. I got up at 8 o’clock and have just written, although I’ve had a cup of tea. I have a letter to write to a Times box number, someone wants to give a piano away, so I’ll see what it’s all about.

I want to get some painting done before I do some practise and dash off to the church (to sing at a service). There’s no time today for real practise, and it’s Tausky again in the morning; I’ve hardly looked at the thing since last week. I must get myself better organised next term. I can’t do anything well at present; although as you say, I’m jolly glad to be off Dutchman.

Here is a letter from Caius – (his Cambridge College.)

I think I put Sylvia in her place yesterday. They were working on the scene with Germont, which she didn’t know, and wasn’t sight reading very well. Trowell fetched me in and Sylvia said I knew it very well, so she thought I could do it in the production class. I tried not to be nasty but as jokingly as I could manage, said Not at all, not at all. You know it as well as I do, so don’t expect me to be your scapegoat. Trowell laughed and they plodded on. Really, she is the limit, if she’d known it, she’d have been only too happy to have showed off and I wouldn’t have got a look in. It may seem nasty, but I’m not being used by anybody anymore. Why should she learn it from me? Let her get down to it herself.

I do hope we’re in better voice today, darling. I do love you. Please hurry back.

Yes, I made the cushions, and little pussy. He’s sitting beside the bed now on your little table, waiting for you.

Well, I’ll drop a line to this man about the piano now, and have some breakfast.

The dressing table was waiting for me when I arrived last night, but it’s in pieces, and the screws are all contained inside but there’s no booklet of instruction, so there’s not much I can do about getting it into one piece at present. We’ll sort it out between us when you come home.

Take care, my dearest love. I’m sorry I’m so helpless. I did want to have things looking nice by the time you came home, but it looks as if it will be just the same. I won’t tack the carpet down, because if we like aunt D’s for the hall, we can cut the one we have there now and use it to piece around the bedroom carpet.

I’ll do my very best to get a letter to you as often as possible, dearest love. Until next time, with all my tenderest love and kisses, Your Barbie.

8, Merches Gardens, Cardiff

Thursday, February 25th

My Very Own, dearest Barbie,

How are you today? I didn’t have a letter this morning so I hope it was just too much work and not feeling poorly that kept you from penning something to me.

I’ve just had a hard, concentrated day of work on the Secret Marriage with Harry, and I’m feeling rather weary. Still the role is shaping well and I’m already enjoying playing and singing Robinson. David Edwards has a nasty cold, but he came along to rehearse so that we could do all the scenes in which he appears. It was very good of him as he’s been told not to sing until the weekend. Did I tell you we’re doing the Cimarosa in the Congress Theatre at Eastbourne? I must write to Mrs What’s – her name in Pevensey Road (Mrs Stagg) to put us up for the night there. You did say you’d come to see my Robinson there didn’t you, my love?

I stayed at the Hall last night and went right through my part, so that I could start well this morning by not forgetting it. Then I listened a little to the chorus rehearsal of Macbeth which David (Sutton) was taking and a good job he was making of it too, with Alma at the piano. I’m so glad he’s fallen on his feet at last, and in so many ways it was all due to us. It makes you feel good, that sort of thing. They’ve invited me over on Saturday evening, after the Marriage run-through.

I took out the score of Pagliacci last night, and sang through Silvio in the love duet with Nedda. You know we must work at that – lovely soaring phrases for both of us. Just our cup of tea!!!

I enclose the cutting from yesterday’s Times about Verity’s recital, in case you’re interested. I make no comment!!! I do love you, my squirrel. A week today and I’ll be with you. Your Chris.

Guildhall, E.C.4

Thursday, February 25th

My darling Chris,

Just a little note before I go to sleep as I’m unlikely to have time to write tomorrow.

I have just had the C.G. stint; (Moses & Aaron at R.O.H.) Margaret Clark is in it too! They had an Equity Meeting after the rehearsal, but I sneaked off without voting either way; regarding more pay. I’m loath to get involved as I am still a student.

I could have cried earlier in the day because I missed the wedding! No guinea; and we need all the money we can get so much. I am sorry, love. I did my best. I thought I was in good time, but the 36th bus stopped at Victoria and I had to wait quite a while for another bus. I arrived just before half past, but the organ was playing and the vestry door was locked so I had to go away. I left a note for Latham, and met the curate on my way so told him too. Really it wasn’t worth the nervous energy!

Gruner was in fine fettle this afternoon. I had a merry time, though I didn’t sing! However, I almost lost faith in him because a girl got up to sing and she was terrible – a pupil of his! She sounded as if she was gargling!!!

I met your friend Maureen at the Garden (R.O.H.). She’s Extra Chorus now. She’s been married to a policeman for two and a half years, and has a year-old baby. She says Anne (sic) (Chris’ former girlfriend) married a tax inspector (Eric?), and she has given up music altogether, and is working in Income Tax. She (Maureen) thought I was rather like Anne – I don’t think I’m very pleased about that!!! Could I be typecast, I wonder?

Anyway, my darlingest darling, I’m going to have a good sleep now. I’ve painted the kitchen chairs again, and the bedroom one, and your table, also the card table; fetched down a pelmet to paint: the brackets fell out, so we’re without curtains again. Never mind. One day everything is going to be in order – (my really big dream!!!)

I do love you so truly, and am so longing to cuddle up to you again. Hurry home. Your ever-loving Squirrel.

Friday, February 26th

SECRET MARRIAGE Rehearsal 10.30 am started off with Act II buffo duet – a joy working with Dai Edwards and the natural feeling for these sorts of roles that we both have, I suppose.

I saw Malc (Malcolm Williams) and went back to the flat for tea after the evening Macbeth rehearsal. Wonderful to be with old pals again, Pauline (Tinsley) said, "singing in ‘Electra’ (Richard Strauss) was a voice shattering experience."

Flat 9, Bewley Court S.W.2

Saturday, February 27th

My darling Chris,

No letter from you today, but I expect you were busy yesterday. I know how difficult it is to get a letter written sometimes.

I have to send this letter to Cardiff, because I don’t know where you’ll be next. I hope all is still going well.

Well, I’ve had a field day today. I went to bed early last night, so was up at 8.30 am, getting cracking. Just imagine, I had a ticket for De Los Angeles concert last night, but she was ill and had to cancel it, so I returned my ticket. John Ogden took her place, but I didn’t go along as I did a little work with Keith instead on Abu Hassan. I am still in extremely poor voice. I don’t know of any remedy for it though until everything is straight at home, and I can detach my mind, and work happily. I have done no music today, and it must be about 8.30 pm by now. However, I’m feeling happier because I have done so many jobs. I started the day shopping for groceries then got down to painting almost everything in sight!

You’ll be glad to know I’ve fixed up the bedroom pelmet again and it’s painted and has its strip of material in the centre, and looks lovely, I think. I have also had a go at the wardrobe. I’ve polished in the oak crystals, and painted the handles gilt. It really looks quite new and shining! I’ve painted your table and the bedroom chair white and touched up the gilt again. I’ve also made the curtain to go around the dressing table when it’s assembled. I’ve painted the hall chair, picture frames and other pelmets, and when I come back from church tomorrow, I’ll re-do the gilt work, and put curtain material in the pelmets. I do want to get as much cleared up as I can whilst you’re away. I have painted the card and kitchen tables too, but I won’t try to put the Formica top on until you’re here. I have put the Fablon on the other windowsill, and shortened all the net curtains.

It won’t be long before I’m in bed now. I am going to get into a lovely hot bath. I may do a little work on Abu, listen to the record and memorise dialogue, but not very much because it’s been an exhausting day. However, I have to get everything done in one go, because there is so very little time.

I must prepare something for the scholarships; I really don’t know what to do except Traurigkeit. I expect you’re in the same boat. Oh, dear I haven’t done my German!!!

I have written to Pontings asking them to send me instructions for assembling the dressing table, and to the Carpet factory, asking for delivery.

Please darling, can you try and let me know your movements, and if and when I am to expect you on Wednesday? I wouldn’t like to miss you.

I was in Guildhall at 9 am yesterday, and did far too much singing all at once. I’ll try to be more sensible tomorrow, sorry Monday. I shall get in at the same time so that I can get a room to work on my own music, before I have to go through the boredom of the respective opera classes.

I’m so looking forward to seeing you again, darling. It seems ages already. However, it’s not too long now, is it? You are a sweetie!

I feel so disorganised. But I know things will begin to get better when home is more complete and the piano is here. I’m a bit worried about the Garden – (Royal Opera House, Covent Garden) because I think I’ll probably tear myself to ribbons on this dreadful Schönberg (Moses and Aaron.)

I managed to get to the wedding yesterday (to sing) and quite enjoyed it, especially the guinea part! I’m getting terribly mercenary, but I live in fear and dread of ending in the Debtor’s Prison!!!

Well, darling, I’ll drop a little line to Mummy, and then drop myself into the bath. As you might imagine, I haven’t just painted the furniture, I’ve given myself a right old going over too. I have white hair, smudges everywhere, have torn the seat out of my blue pants, and made my green jumper, a green and white one. Oh, well, I did manage to do a bit of washing earlier on, so as the water is hot, I can always chuck a few more things in the sink.

What a terribly boring letter this is, I’m sorry darling, but I’ve got so bogged down with domesticity today. Let me get on with it, because the sooner I get it out of my system, the sooner I’ll be producing better work again.

Hurry on Wednesday!!! Oh, just to cuddle you close again, whoopee!!!

I adore you, you gorgeous darling. With my tenderest love. Your Barbie.

Central Hall,

Welsh National Opera Company

Monday, February 28th

My Own, Dearest Love,

I’m so sorry I didn’t manage to get a letter to you for Saturday morning. I was so busy rehearsing the Secret Marriage all day Friday, and when I did have a spare half-hour it was by then too late to expect the G.P.O. to deliver it by the morning.

Anyway here I am now dashing you off a couple of sides before jumping in the mini-bus and doing a 200-mile trek to Swanage (the same place I stayed last year) – so if you haven’t a copy of this year’s schedule, you can find the address in last year’s, which is among my things in the box in the lounge!

You’ll be pleased to know I have talked to John Moody about not doing the servant in (Cosi) and he’s on my side. I should have been told earlier, not at the last minute. And now, Paul Fosbery, the manager, will be doing it! So with any luck I’ll catch a morning train from Winchester and be with you for lunch on Wednesday if you take my lesson with Walter on Wednesday