531:
745:
915:'The tenor part... is in many places so unvocal, and the intervals are so awkward to take, that I was obliged to re-note it: without, of course, disturbing the accents or making it in any way unsuitable to the existing harmony. As soon as I had finished my work, to which I had devoted the greatest possible care, I submitted it to Bennett, who, except in one place, approved of all that I had done; and it was my version of the tenor part which was sung at Bennett's memorable performance, and which is still sung even to this day.'
1157:
1839, and the early reviews saying that he would inherit Braham's mantle, both shaped a prophecy and helped to fulfil it. Braham was a virtuoso of the old
Italian school, able to deliver florid passages with intensity, accuracy and declamatory power. In 'assuming his mantle', Reeves consciously imitated his breadth of repertoire, and at his best had a very powerful and flexible declamation combined with great sweetness of tone and melodic power.
935:(her first appearance in oratorio), Miss Palmer, and Santley. The quartet "Honour and Glory" was repeated by immediate and spontaneous demand. Both oratorios probably owed their original success, and later comparative obscurity, to the fact that Reeves was their ideal interpreter, and with changing vocal fashions no successor could replace him adequately. In 1869 Reeves, Santley and Tietjens sang in the premiere of Arthur Sullivan's cantata
1067:
effects of colds on his fragile vocal equipment, and through an unhappy susceptibility to the effects of nervousness. This also caused him financial difficulties: Besides the loss of income from the engagements, legal judgments for failure to perform were rendered against him, including in 1869 and 1871. The accusation (which gained some currency) that he was given to drink was disavowed by his friend Sir
Charles Santley.
1011:
1998:
800:) at Her Majesty's, again under Hallé's direction. This new composition had several very effective passages written for Reeves in his role as Locksley, including "Englishmen by birth are free", "The grasping, rasping Norman race", "Thy gentle voice would lead me on", and a grand prison scena. This proved more successful in ticket sales than the alternate Italian nights of
1204:, a singer whose rare musical instinct and intelligence have always partially atoned for his uneven scale and his lack of ringing head-notes.' (Possibly this suggests some comparison to their great predecessors, in Lloyd's and Davies's style of declamation.) However Klein later admitted that neither Lloyd nor Davies ever laid claim to be Reeves's successor.
33:
884:
thought that it was still in its prime in 1866: 'a more exquisite illustration of what is termed the true
Italian tenor quality it would be impossible to imagine: and this delicious sweetness, this rare combination of 'velvety' richness with ringing timbre, he retained in diminishing volume almost to
1270:
parish baptism record (not birth) for 26 September 1818, of one John Reeves. If that was really the singer, that makes Reeves' and his oldest friends' statements unreliable, and postpones his voice breaking to age 16 against his direct statement this occurred age 12 (ibid. p. 20). John Reeves (1818)
1138:
The arrest of Mrs Sims Reeves in
Kalgoorlie, and the fact that she has been placed under restraint on a suspicion of her being insane, will not surprise those who saw her perform in Melbourne. Her singing of her husband's songs was an extraordinary thing to see, if not to hear, and was accompanied
1001:
made similar demands. However Sir
Michael Costa resisted the change, and Reeves finally withdrew his services from the Crystal Palace Handel Festivals, performed by the Sacred Harmonic Society, before the 1877 festival. For this reason he did not appear with the Sacred Harmonic Society thereafter.
1081:
Klein said much the same as Shaw: 'To hear him, long after he had passed the age of seventy, sing "Adelaide" or "Deeper and Deeper Still" or "The
Message" was an exposition of breath control, of tone-colouring, of phrasing and expression, that may truly be described as unique.' Reeves sang in two
1066:
It is certain that Reeves stayed before the public long after his greatest powers had waned. He invested his savings in an unfortunate speculation, and he was compelled to reappear in public for a number of years. In his later career, he frequently withdrew from promised appearances owing to the
1156:
was prominent in Reeves' concert repertoire. Reeves was naturally aware that his career mirrored that of Braham, and remarked that, like Braham, his success had been many-sided, in opera, oratorio and ballad concerts. The coincidence that his career had begun in the year of Braham's retirement,
1070:
In 1890 Shaw stated that Reeves's many cancelled appearances were made entirely for the sake of pure artistic integrity 'which few appreciate fully', but left him at the head of his profession, and had required enormous efforts of artistic conviction, courage, and self-respect. He wrote of a
549:'s opera, and remained on the stage for four or five years after their marriage. Emma Reeves idolised her husband and in later years became almost obsessively attentive to his comfort and reputation. In February 1851 they returned to Dublin, where Reeves was to have performed with the soprano
62:
Reeves began his singing career in 1838 but continued his vocal studies until 1847. He soon established himself on the opera and concert stage and became known for his interpretation of ballads. He continued singing through the 1880s and later taught and wrote about singing.
1200:" and "Come into the Garden, Maud") – all closely identified with Reeves – in the first years of the twentieth century. In 1903 Herman Klein wrote that 'The mantle of Braham and Sims Reeves, worthily borne by Edward Lloyd, was resting more or less easily upon the shoulders of
1078:, 'In spite of all his husbandry, he has but few notes left now; yet the wonderfully telling effect and unique quality of those few still justify him as the one English singer who has worked in his own way, and at all costs, to attain and preserve ideal perfection of tone.'
871:
and was especially complimented for the dramatic instinct of Faust's soliloquy in Act I and the superb energy of the duet with
Mephistopheles which closes the Act. Reeves's reviewer in this role remarks on the fine condition of his voice at this date. Although the critic
984:
Reeves's declamation in The
Crystal Palace was a main attraction and was repeated at each succeeding triennial festival until 1874. During the later 1860s Reeves felt it necessary to make public representations against the constantly increasing rise in English
544:
On 2 November 1850, he married
Charlotte Emma Lucombe (1823–1895), a soprano who had a brief but brilliant season at the Sacred Harmonic Society and had joined the same company as Reeves at Covent Garden. There she appeared with success as Haydee in
111:
1139:
with the most eccentric act imaginable. The audiences were deeply puzzled, striving quite earnestly to take the lady seriously because of the name she bore, but unable to reconcile the singer's extraordinary conduct with anything but low comedy.
1105:, describes his pedagogic methods. After the death of his wife in 1895, he quickly married one of his students, Lucy Maud Madeleine Richard (b. 1873), and the couple toured South Africa the next year. Reeves died in
1143:
and repeated in other newspapers, resulted in a libel case, which she won but was left with a ruined reputation and loss of livelihood. At some stage she had remarried was using the name Maud
Allison Hartley.
659:
concert. Reeves's concert association with Santley continued until the last year of his life. Mapleson, who became an important theatre manager, promoted Reeves's operatic appearances of the 1860s.
189:) octave of his voice into the famous rich and brilliant head notes. From October 1843 to January 1844 Reeves appeared in a very varied programme of musical drama, including the roles of Elvino in
207:
theatre, and over the next two years also performed in Dublin, Liverpool and elsewhere in the provinces. In the same period, especially from 1845, he continued his studies abroad, notably under
240:
paid his respects in person. (This role became Reeves's greatest, and his wife therefore nicknamed him 'Gardie'.) For six months he sang at the principal Italian opera houses, and finally in
945:
Festival. Santley considered Reeves's performance of the passage "I will arise and go to my father" a once-in-a-lifetime experience. Reeves also sang in the premiere of Sullivan's oratorio,
75:, in Kent, England. His parents were John Reeves, a musician of Yorkshire origin, and his wife, Rosina. He received his earliest musical education from his father, a bass soloist in the
1039:
Reeves's retirement from public life, at first announced as to take place in 1882, did not actually occur until 1891. Then a farewell concert for his benefit was given at the
505:
was generally considered his finest role in Italian opera. In the winter of 1849 he returned to English opera, and in 1850 at Her Majesty's he made a further great success in
136:(baritone parts). Later he performed at the Grecian Saloon, London, under the name of Johnson. He continued to study voice with Messrs. Hobbs and T. Cooke and appeared under
1090:
in 1895 (at which the lower continental pitch was employed). They were the only two concerts of that season that were sold out: all the others made at least £50 loss.
655:
friendly encouragement, recommending that he should contact Lamperti in his forthcoming studies in Italy, and they were afterwards introduced during the interval of a
640:
and the other leading British composers of the period wrote tenor parts specifically for him. He could command fees as high as £200 per week for his appearances.
2219:
83:
church and performed organist's duties. He seems to have studied medicine for a year but changed his mind when he gained his adult voice: it was at first a
2018:
2013:
2214:
662:
During the 1850s, Reeves's career moved away from the stage and increasingly focused upon concert work. Reeves sang throughout the English provinces.
403:
1128:, then after the termination of her contract continued to perform in Western Australia, but became increasingly erratic. A paragraph in the Adelaide
2163:
1731:
451:
Reeves toured in Dublin at Theatre Royal in 1849, for Mr Calcraft. After his successful engagement he attended the debut there of the Irish soprano
1262:(1889), p. 20, 'In 1839, when I had just entered upon my eighteenth year...' (i.e., his 17th birthday was in October 1838). But C. E. Pearce, in
993:. The pitch of the organ at the Birmingham Festival was (of necessity) lowered, after a similar reduction had been forced by senior artistes at
2189:
643:
Reeves was generous to younger singers, and this generosity later redounded to his own benefit. In around 1850, Reeves gave encouragement to
2160:, The Gilbert and Sullivan Archive (2004) (a song dedicated by Sullivan to Reeves in 1866, with photograph of, and information about, Reeves)
2204:
911:, with Mme Sainton-Dolby, and Willoughby Weiss. Of this performance Reeves (who usually respected a composer's scoring absolutely) wrote:
671:
709:, and these were repeated at the Handel centennial festival of 1859, when he was in company with Willoughby Weiss, Clara Novello, Mme
947:
920:
527:, who was about to embark on an American tour at the invitation of Jenny Lind. In encores, the cry of 'Reeves!' became widespread.
2184:
577:
Emma and Sims Reeves had five children, of whom Herbert Sims Reeves and Constance Sims Reeves became professional singers.
387:
in April and May. He was, meanwhile establishing himself as the leading ballad-singer in England. In September 1848 at the
710:
1176:
In the Handel tenor roles, his immediate successor in the Crystal Palace performances, until 1900, was the English tenor
2209:
171:
1060:
1036:, in a performance of the trio for tenor voices 'Evviva Bacco' by Curschmann, at a concert in St James's Hall in 1889.
1212:
937:
624:
During the next three decades, Reeves was the leading tenor in Britain. He had the honour of singing privately for
1895:
787:
524:
482:
79:
Band, and probably through the bandmaster, George McKenzie. By the age of fourteen he was appointed choirmaster of
954:
Reeves claimed close and primary association with several of the great tenor leads in the oratorios of Handel and
908:
779:
771:
753:
733:
663:
633:
452:
365:
269:
233:
162:
1725:
678:, was presented in 1855, and (unusually in oratorio) encores were demanded. The effect of the solo and chorus
463:, Sig. Paglieri, was hissed from the stage, and Reeves was obliged to stand in for the performance. His London
237:
1043:
in which Reeves himself performed, supported by Christine Nilsson, and at which he received a eulogy from Sir
530:
307:
1197:
553:: she, however, was indisposed, and Mr. and Mrs. Reeves appeared together there instead in the lead roles in
1161:
classed his 'beautiful firmness and purity of tone' with Patti's and Santley's. Sir Henry Wood compared the
1101:
in 1889. At the same time, he became a teacher at the Guildhall School of Music and Drama. His 1900 book,
758:
744:
602:
428:
257:
123:
989:, which was by then half a tone higher than elsewhere in Europe and a full tone higher than in the age of
967:
842:
629:
167:
2152:
809:
2119:
1130:
1032:, who took Reeves's place as principal tenor at the Handel Festivals, sang with him, and with the tenor
904:
828:
683:
285:
265:
104:
1020:
338:, days after Lind appeared in the same works there, and Reeves obtained the better houses. Reeves sang
2199:
2194:
2166:, The Gilbert and Sullivan Archive (2004) (a song written "expressly for" Reeves by Sullivan in 1872)
1232:
1180:, who recorded "Sound an Alarm", "Lend me your Aid" (Gounod – "Reine de Saba"), the tenor solos from
1177:
1029:
850:
644:
398:
293:
88:
2157:
2147:
1158:
1048:
536:
443:
wrote that Reeves had created 'a positive revolution in the interpretation of Handel's oratorios.'
436:
228:
182:
150:
119:
1059:), 'he can still leave the next best tenor in England an immeasurable distance behind.' The song "
717:
during that festival, Reeves created a sensation, and the audience stood to applaud him. Yet the
199:
1201:
1120:
to Australia where, as Maud Sims Reeves, she performed songs made famous by her husband, such as
1072:
1033:
942:
899:
846:
694:
656:
388:
312:
894:
728:
At the opening of the Leeds Town Hall in 1858 he was a soloist in the premiere of the pastorale
1010:
284:, who conducted the performance. (Berlioz mistook him for an Irishman.) In the same season, in
2169:
1040:
998:
955:
464:
393:
223:
211:(1813–1877), the dramatic composer and teacher then newly appointed singing instructor at the
208:
156:
72:
260:, and in June at one of the 'Antient Concerts'. In September 1847 he sang in Edinburgh with
1359:
972:
897:, Reeves took part in what he believed was the first complete performance in England of the
813:
775:
763:
687:
647:, who applied to him for advice as a singer, sending him off to study with Mazzucato at the
593:
472:
383:
374:
355:
317:
277:
137:
1220:
1216:
873:
838:
783:
767:
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637:
613:
423:
303:
253:
76:
1087:
1867:
1236:
1224:
1166:
1117:
833:
625:
506:
409:
298:
281:
194:
178:
2178:
2009:
2004:
1735:
1193:
986:
932:
859:
797:
477:
440:
334:
321:
145:
132:
56:
1802:
2153:
Sims Reeves, My Jubilee: 50 Years of Musical Life, facsimile text from Open Library
1228:
1208:
1044:
881:
550:
546:
682:
was electric, and was witnessed in the audience by the three great Italian tenors
1063:", which Balfe had written for him in 1857, appeared often in his late concerts.
853:
and Santley. After touring that winter as Huon, Edgardo and in the title role of
370:
17:
1363:
1890:
1862:
1351:
994:
792:
261:
204:
141:
110:
80:
1083:
1970:
H. Klein, 'Sims Reeves:"Prince of English tenors",' in R. Wimbush (comp.),
752:
After a period of absence from the stage, in 1859–60 an English version of
693:
Reeves scored his greatest triumphs in oratorio at the Handel Festivals at
1500:
Reeves 1888, p. 82. Braham made his formal farewell to the public in 1839.
1267:
1106:
350:
219:
84:
48:
44:
2022:. Vol. 22 (11th ed.). Cambridge University Press. p. 976.
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32:
824:
608:
414:
360:
96:
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864:
854:
511:
241:
177:
In summer 1843 Reeves studied in Paris under the tenor and pedagogue
2003:
This article incorporates text from a publication now in the
1009:
990:
918:
743:
648:
529:
264:. His first principal role on the English operatic stage was with
244:, where he was rescued from his contract and returned to England.
212:
186:
109:
100:
52:
31:
1173:(Handel) without thinking of his lovely inflection and quality.'
185:. Bordogni was responsible for opening and developing the upper (
2137:, 7 November 1868, p. 610; and 3 November 1900, p. 586
1899:. No. 298. Queensland, Australia. 8 October 1905. p. 3
1018:
In the winter of 1878–1879, he appeared with immense success in
92:
280:, winning immediate and near-universal acclaim, not least from
976:), his Samson and his Acis ("Love in her eyes sits playing").
958:. The songs "Men, Brothers and Fathers, Hearken to me" (from
328:
opposite Jenny Lind. But that autumn in Manchester he sang in
2148:
Sims Reeves, His Life and Recollections, text on Google Books
2063:
Annals of the Norfolk and Norwich triennial musical festivals
1871:. No. 7824. Tasmania, Australia. 20 June 1906. p. 4
1671:
Reeves 1888, pp. 231–33: Santley 1892, pp. 201–03 and 206-07.
1358:, Oxford University Press, 2004, accessed 26 September 2008,
778:
home of Lord Ward. Mapleson had obtained Reeves, Santley and
725:
surpassed even that, and was the vocal feat of the festival.
580:
Dublin was followed immediately by Lumley engagements at the
1974:(General Gramophone Publications Ltd, Harrow 1973), 109–112.
1756:
Reeves 1888, pp. 203–05: see also Klein 1903, pp. 7 and 462.
2084:
Sims Reeves, His Life and Recollections, Written by Himself
363:, Scotland, during 1844. In February 1848 he sang Handel's
218:
His debut in Italian opera was made on 29 October 1846 at
144:(1841–1843) in subordinate parts in spoken theatre and in
1401:
Reeves 1888, p. 32: Rosenthal & Warrack 1974, p. 331.
931:(first performed autumn 1864), the soloists were Reeves,
489:): he made a great effect of full lyrical declamation in
302:), he created the part of Lyonnel. In May 1848 he joined
2105:
Student and Singer, The Reminiscences of Charles Santley
831:. In July 1863 Reeves appeared for Mapleson as Huon in
697:. At the inaugural festival of June 1857 he delivered
2072:(Belford, Clarke & Co, Chicago and New York 1888).
1303:
1301:
1299:
774:, and two private performances were also given at the
674:
with lead tenor parts written for Reeves. The first,
1939:(London: Victor Gollancz Ltd 1946 edition), p. 82–83.
1554:
Santley 1909, pp. 79–87: Mapleson 1888, I, pp. 74–76.
252:
He returned to London in 1847, appearing in May at a
103:
and other instruments. He later studied piano under
1051:remarked that even then, in such Handelian airs as
276:, in English text, with Mme Doras Gras (Lucia) and
43:(21 October 1821 – 25 October 1900) was an English
1109:, England, on 25 October 1900 and was cremated at
962:), and "The Enemy has Said" and "Sound an Alarm" (
966:) were particular favourites, and his friend Rev
951:, together with Tietjens, Trebelli, and Santley.
540:, which he first performed in 1852 at Drury Lane.
1482:Reeves 1888, pp. 80–81; Pearce 1924, pp. 112–14.
1293:(Simpkin, Marshall & Co, London 1888, p. 16.
1014:The pictorial cover of Reeves's Memoirs of 1888.
491:Tutto e sciolto... Ah! perche non-posso odiarti?
1211:, where in his younger days he associated with
927:In Michael Costa's second oratorio for Reeves,
837:– the role written for Braham – with Tietjens,
1291:The Life of J. Sims Reeves, Written by Himself
1256:The Life of J. Sims Reeves, Written by Himself
1192:and ballads of the declamatory style (such as
616:'s Leonore, and some thought he outshone her.
248:1844–1848: English debuts in opera and concert
2077:Sims Reeves – Fifty Years of Music in England
1264:Sims Reeves – Fifty Years of Music in England
808:despite the rival attractions of the soprano
114:Reeves with Catherine Hayes at La Scala, 1846
8:
2091:My Jubilee: Or, Fifty Years of Artistic Life
1271:was possibly a sibling deceased before 1821.
1099:My Jubilee, or, Fifty Years of Artistic Life
2051:, 2nd edn (Constable & Co, London 1992)
2035:The life and artistic career of Sims Reeves
880:that the voice had already 'gone' in 1862,
1907:– via National Library of Australia.
1879:– via National Library of Australia.
867:, in 1864 he appeared at Her Majesty's in
786:, and in 1860 they had a major success in
721:considered that his "The Enemy Said" from
170:'s pastoral was mounted on the stage with
1857:
1855:
1738:, The Gilbert and Sullivan Archive (2008)
439:is destined to fall' (on Reeves). Critic
2093:(Music Publishing Co. Ltd, London 1889).
1307:
670:Michael) composed two oratorios for the
651:conservatory. In 1855 he gave the young
427:. After his November appearance at the
2129:Music in London 1890–94 by Bernard Shaw
1765:Reeves 1888, pp. 242–52.: cf also ODNB.
1356:Oxford Dictionary of National Biography
1247:
1169:'s, adding, 'I never hear the title of
1095:Sims Reeves, his Life and Recollections
2056:Thirty Years of Musical Life in London
1266:pp. 17–18, (followed by most) shows a
970:also extolled his "Waft her, angels" (
680:Philistines, Hark the Trumpet Sounding
407:, and packed the hall in a recital of
2049:Arthur Sullivan: a Victorian musician
1972:The Gramophone Jubilee Book 1923–1973
1346:
1344:
1342:
1340:
1338:
1336:
1334:
1196:'s "I'll sing thee songs of Araby"; "
997:. Singers such as Adelina Patti and
320:, but he severed the connection when
7:
2220:Academic staff of Milan Conservatory
782:for a summer and winter season from
236:: he received a fine reception, and
122:in 1838 or 1839 as the Gipsy boy in
2028:Thirty Years' Musical Recollections
1803:"Come into the Garden, Maud" (1857)
1774:Reeves 1888, pp. 213–14 and 252-55.
672:Birmingham Triennial Music Festival
606:. In 1851 Reeves sang Florestan in
118:He made his earliest appearance at
2030:(Hurst and Blackett, London 1862).
762:by H. F. Chorley was presented by
485:(the creator of the title role in
324:was brought in to sing Edgardo in
25:
2215:19th-century British male singers
1644:Reeves 1888, pp. 214 and 220–228.
1352:"Reeves, (John) Sims (1818–1900)"
923:"To Arthur from his Prodigal Son"
435:, a critic wrote, 'the mantle of
1996:
1258:(1888), p. 15: see also Reeves,
1082:concerts in the first season of
27:British opera singer (1821–1900)
2061:R. H. Legge and W. E. Hansell,
1680:Quoted by M. Scott 1977, p. 49.
417:Festival he was sensational in
2170:Portraits of Sims Reeves (NPG)
467:Italian debut was in 1849, as
1:
2107:(Edward Arnold, London 1892).
404:Christ on the Mount of Olives
346:at Covent Garden in October.
2070:The Mapleson Memoirs, 2 vols
2065:(1896), pp. 116 and 144
2058:(Century Co., New York 1903)
1849:(Rider, London 1944), p. 25.
766:at Manchester, with Reeves,
569:. Reeves also played there
534:Reeves in the title role of
268:'s English Opera company at
172:Clarkson Frederick Stanfield
2124:(London, Duckworth), 48–49.
1926:Shaw 1932, iii, pp. 255–56.
1863:"Supreme Court of Tasmania"
1827:G. B. Shaw 1932, i, p. 191.
1698:S. Reeves 1889, pp. 178–79.
1328:See Pearce 1924, pp. 28–30.
1213:William Makepeace Thackeray
1207:Reeves was a member of the
1126:Come into the Garden, Maude
713:and Giovanni Belletti. In
391:festival he took a solo in
2236:
2190:People from Shooter's Hill
1896:Truth (Brisbane newspaper)
1662:Santley 1892, pp. 199–200.
1280:C. Pearce 1924, pp. 18–22.
1093:In 1888, Reeves published
1061:Come Into the Garden, Maud
819:In 1862, Reeves presented
748:1860s photograph of Reeves
483:Fanny Tacchinardi Persiani
130:, and as Count Rodolfo in
2131:, Standard Edition 3 Vols
1792:Shaw 1932, i, pp. 191–92.
1716:Santley 1892, pp. 277–78.
1581:Chorley 1862, II, p. 142.
1165:nature of his voice with
1116:His widow was brought by
909:William Sterndale Bennett
780:Helen Lemmens-Sherrington
734:William Sterndale Bennett
292:(based on the subject of
2205:Artists' Rifles soldiers
2112:Reminiscences of my Life
1983:Reeves 1889, pp. 146–47.
1818:Santley 1909, pp. 88–97.
1747:Reeves 1888, pp. 219–20,
1707:Reeves 1888, pp. 216–19.
1626:Reeves 1888, pp. 229–31.
1617:Reeves 1888, pp. 214–16.
1572:Reeves 1888, pp. 201–02.
1545:Reeves 1888, pp. 177–78.
1536:Reeves 1888, pp. 175–77.
1527:Reeves 1888, pp. 161–65.
1518:Reeves 1888, pp. 125–34.
1491:Pearce 1924, pp. 124–27.
1464:Pearce 1924, pp. 128–29.
1455:Pearce 1924, pp. 117–23.
1419:Santley 1909, pp. 83–87.
1148:Vocal example and legacy
620:1850s: focus on concerts
238:Giovanni Battista Rubini
71:Sims Reeves was born in
55:vocalist during the mid-
2185:English operatic tenors
2086:(8th Edn, London 1888).
2019:Encyclopædia Britannica
1689:Klein 1903, pp. 460–61.
1590:Mapleson 1888, I, p. 4.
1446:Reeves 1888, pp. 65–68.
1437:Reeves 1888, pp. 60–65.
1428:Pearce 1924, pp. 83–84.
1392:Pearce 1924, pp. 68–74.
1171:Deeper and deeper still
584:, Paris, where he sang
429:Sacred Harmonic Society
258:William Vincent Wallace
222:in Milan as Edgardo in
2158:"Sigh no more, Ladies"
2042:Queen's Hall 1893–1941
1847:Queen's Hall 1893–1944
1728:The Light of the World
1364:10.1093/ref:odnb/23308
1198:Alice, Where Art Thou?
1141:
1015:
968:Archer Thompson Gurney
948:The Light of the World
924:
917:
749:
541:
154:("Come if you dare"),
115:
37:
2120:The Record of Singing
2098:On the art of singing
1635:Santley 1892, p. 169.
1350:Biddlecombe, George.
1254:Date thus in Reeves,
1136:
1103:On the Art of Singing
1013:
922:
913:
863:, (with Tietjens) in
829:Michael William Balfe
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533:
308:Her Majesty's Theatre
266:Louis-Antoine Jullien
113:
105:Johann Baptist Cramer
35:
2079:(Stanley Paul, 1924)
2044:(Rider, London 1944)
1917:Reeves 1888, p. 214.
1734:16 December 2008 at
1653:Reeves 1888, p. 231.
1608:Santley 1892, p. 36.
1599:Santley 1893, p. 60.
1563:Reeves 1888, p. 190.
1383:Pearce 1924, p. 37).
1028:, at Covent Garden.
980:Concert pitch debate
889:Oratorio and cantata
759:Iphigénie en Tauride
645:James Henry Mapleson
582:Théâtre des Italiens
519:of Mdlle Parodi and
353:, Reeves first sang
272:in December 1847 in
89:Thomas Simpson Cooke
2210:Musicians from Kent
2075:Charles E. Pearce,
1836:Klein 1903, p. 462.
1809:, 10 September 2007
1783:Pearce 1924, p. 24.
1509:Reeves 1888, p. 83.
1473:Pearce 1924, p. 69.
1410:Reeves 1888, p. 33.
1374:Pearce 1924, p. 44.
1319:Reeves 1888, p. 16.
1154:The Death of Nelson
1049:George Bernard Shaw
827:written for him by
740:Return to the stage
690:with astonishment.
555:Lucia di Lammermoor
229:Lucia di Lammermoor
183:Paris Conservatoire
2127:G. B. Shaw, 1932,
2110:C. Santley, 1909,
2103:C. Santley, 1892,
1122:Sally in Our Alley
1021:The Beggar's Opera
1016:
925:
900:St Matthew Passion
847:Alessandro Bettini
750:
695:The Crystal Palace
657:Royal Philharmonic
590:Linda di Chamounix
542:
313:Linda di Chamounix
290:The Maid of Honour
270:Drury Lane Theatre
160:(as Ottokar), and
116:
67:Musical beginnings
38:
2114:(London, Pitman).
2082:S. Reeves, 1888,
2014:Reeves, John Sims
1807:The Victorian Web
1041:Royal Albert Hall
999:Christina Nilsson
907:. This was under
525:Giovanni Belletti
209:Alberto Mazzucato
140:'s management at
91:. He also learnt
87:, training under
16:(Redirected from
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814:Antonio Giuglini
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707:Judas Maccabaeus
688:Enrico Tamberlik
594:Henriette Sontag
433:Judas Maccabaeus
379:Acis and Galatea
375:John Pyke Hullah
366:Judas Maccabaeus
318:Eugenia Tadolini
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163:Acis and Galatea
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2012:, ed. (1911). "
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893:In May 1862 at
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839:Marietta Alboni
784:Benjamin Lumley
772:Catherine Hayes
770:, Belletti and
768:Charles Santley
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703:Israel in Egypt
653:Charles Santley
638:Arthur Sullivan
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614:Sophie Cruvelli
603:Lucrezia Borgia
600:in Donizetti's
575:Beggar's Opera.
515:, opposite the
453:Catherine Hayes
449:
424:Israel in Egypt
304:Benjamin Lumley
254:benefit concert
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1991:
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1961:, pp. 467–68).
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812:and the tenor
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686:, Gardoni and
626:Queen Victoria
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565:and Bellini's
448:
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397:, and sang in
306:'s company at
282:Hector Berlioz
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2164:"Once Again"
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1935:H. J. Wood,
1931:
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1901:. Retrieved
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161:
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124:Henry Bishop
117:
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40:
39:
29:
2200:1900 deaths
2195:1821 births
2096:S. Reeves,
2089:S. Reeves,
1948:Scott 1977.
1190:Tom Bowling
1188:, Dibdin's
1184:, Braham's
1076:The Message
1006:Later years
956:Mendelssohn
885:the last.'
588:, Carlo in
537:Fra Diavolo
481:, opposite
371:Exeter Hall
151:King Arthur
51:and ballad
2179:Categories
2054:H. Klein,
2040:R. Elkin,
1903:14 January
1875:14 January
1845:R. Elkin,
1260:My Jubilee
1243:References
1202:Ben Davies
1034:Ben Davies
995:Drury Lane
905:J. S. Bach
793:Robin Hood
592:(opposite
567:I Puritani
501:, Reeves'
262:Jenny Lind
205:Manchester
142:Drury Lane
99:, violin,
81:North Cray
1163:caressing
1152:Braham's
1084:The Proms
943:Worcester
941:, at the
796:(text by
776:Park Lane
413:. At the
399:Beethoven
389:Worcester
310:and sang
224:Donizetti
203:, at the
120:Newcastle
1732:Archived
1268:Woolwich
1107:Worthing
571:Macheath
351:oratorio
220:La Scala
85:baritone
49:oratorio
45:operatic
2122:to 1914
2007::
1990:Sources
1024:and in
973:Jephtha
960:St Paul
825:cantata
821:Mazeppa
699:Messiah
609:Fidelio
598:Gennaro
573:in the
495:Edgardo
473:Bellini
461:Edgardo
415:Norwich
384:Jephtha
361:Glasgow
356:Messiah
181:of the
97:bassoon
2100:(1900)
2037:(1881)
2001:
1182:Elijah
1131:Critic
1111:Woking
1057:Samson
929:Naaman
865:Dublin
855:Gounod
834:Oberon
596:) and
586:Ernani
563:Ernani
517:Elvira
512:Ernani
503:Elvino
469:Elvino
459:: her
437:Braham
419:Elijah
410:Oberon
394:Elijah
299:Martha
294:Flotow
242:Vienna
168:Handel
1086:, at
991:Gluck
869:Faust
860:Faust
754:Gluck
684:Mario
649:Milan
547:Auber
521:Carlo
507:Verdi
499:Lucia
487:Lucia
457:Lucia
455:, in
369:, at
344:Lucia
330:Lucia
326:Lucia
316:with
286:Balfe
274:Lucia
213:Milan
187:tenor
101:cello
53:tenor
1905:2024
1877:2024
1235:and
1159:Shaw
1124:and
878:told
876:was
823:, a
804:and
705:and
628:and
421:and
373:for
342:and
332:and
256:for
93:oboe
2016:".
1360:doi
903:of
857:'s
790:'s
756:'s
732:by
676:Eli
668:Sir
632:.
612:to
523:of
509:'s
497:in
475:'s
471:in
431:in
401:'s
359:in
349:In
296:'s
288:'s
226:'s
197:'s
148:'s
126:'s
2181::
1893:.
1865:.
1854:^
1805:,
1354:,
1333:^
1298:^
1239:.
1231:,
1227:,
1223:,
1219:,
1215:,
1113:.
1047:.
849:,
845:,
841:,
816:.
736:.
701:,
636:,
561:,
557:,
377:,
107:.
95:,
59:.
47:,
1362::
1310:.
1134:,
1055:(
20:)
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