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                <text>Nellie Melba as Elizabeth from Tannhäuser, 1894</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>In January 1894, Melba read an unexpected announcement in the New York Herald that she was to perform as Elizabeth in Richard Wagner’s opera Tannhäuser at the Metropolitan Opera House. Rather than cancel the performance, she determinedly learnt the role in three days. Her singing was well received in New York, but she forgot her words in a performance soon after in Philadelphia.&#13;
&#13;
In December 1896, also in New York, Melba unsuccessfully attempted to sing the role of Brünnhilde in Wagner’s Siegfried. After the performance she acknowledged the role was beyond her and she never sang it again. Melba later wrote of both experiences as salutary lessons in her career.</text>
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                <text>Photograph by Davis &amp; Sanford, New York</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
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                <text>Grainger Museum</text>
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                <text>1894</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1999.018.001 | Purchased, 1999</text>
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                <text>Nellie Melba as Marguerite from Faust, 1896; signed 1900&#13;
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>In 1889, prior to performing in Paris as Marguerite in Faust, Melba visited the famous French actress, Sarah Bernhardt, who declared: ‘You sing like an angel. I want to teach you to act like an angel too.’ Bernhardt proceeded to give Melba a lesson on how to convey the dramatic aspects of Marguerite’s character.&#13;
&#13;
This photograph was taken by Belgian-born Aimé Dupont, who was the official photographer for the Metropolitan Opera Company. </text>
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                <text>1896; signed 1900</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
2000.033.001 | Purchased, 2000</text>
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                <text>Nellie Melba as Juliette from Roméo et Juliette, 1897</text>
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                <text>Melba dated her success at Covent Garden from her 1889 performance in Roméo et Juliette opposite Jean de Reszke. It was the first time that English audiences had heard the opera sung in French. Juliette became one of the most frequently performed roles in Melba’s repertoire.</text>
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                <text>Photograph by Reutlinger, Paris</text>
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                <text>1897</text>
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                <text> Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1982.029.001 | Gift of Mary Franks, 1982</text>
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                <text>Nellie Melba as Lucia from Lucia di Lammermoor, c.1897&#13;
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>The title role of Gaetano Donizetti’s Lucia di Lammermoor highlighted Melba’s vocal abilities, particularly in the ‘mad scene’ which showcased her remarkable trill. Her 1888 Covent Garden debut in the role received a lukewarm response from critics, but at the Paris Opéra the following year, her performance was reported to have ‘fairly electrified the whole house’.&#13;
&#13;
Melba also sang Lucia for her debuts at La Scala in Milan and New York’s Metropolitan Opera in 1893. In Milan, she received a series of anonymous letters threatening her safety. Despite her fears, Melba bravely performed and she received a highly enthusiastic response.</text>
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                <text>Photograph by Felix Nadar, Paris [facsimile]</text>
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                <text>c.1897</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1979.015.002 | Purchased, 1979</text>
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                <text>Nellie Melba as Ophélie from Hamlet, c.1889</text>
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                <text>Melba’s earliest performances as Ophélie in Ambroise Thomas’ Hamlet were at the Théâtre de la Monnaie in Brussels in April 1888 and her debut at the Paris Opéra in May 1889. Thomas described her as the ‘Ophélie of my dreams’. </text>
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                <text>c.1889</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1998.048.001 | Purchased, 1998</text>
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                <text>Portrait of Nellie Melba, inscribed to Mathilde Marchesi, signed Paris, 1890</text>
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                <text>While in London in 1886, Nellie Armstrong auditioned for several singing teachers but was turned down by all of them, including Sir Arthur Sullivan. Demonstrating her resolve, she travelled to Paris to sing for Europe’s leading vocal teacher, Mathilde Marchesi, who accepted the young mother as a student. On hearing her sing for the first time, Marchesi is said to have exclaimed, 'At last I have found a star'.&#13;
&#13;
Melba’s relationship with her teacher was close and affectionate. The inscription on this photograph reads: ‘To my dear, good friend &amp; Mamma, Madame Marchesi from her loving &amp; ever grateful pupil, Nellie Melba’.</text>
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                <text>Photograph by Walery, London</text>
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                <text>Arts Centre Melbourne</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1982.005.003 | Purchased, 1982</text>
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                <text>Bonnet worn by Nellie Melba as Mimi in La Bohème, c.1924&#13;
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                <text>Made by Pauline et Cie</text>
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                <text>c.1924</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1977.001.013 | Gift of Pamela, Lady Vestey, 1977</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1997.081.001 | Purchased, 1997</text>
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                <text>This autograph book contains inscriptions and signatures from many people associated with Melba. Included are: Giacomo Puccini, Paolo Tosti, Mathilde Marchesi, Salvatore Marchesi, Haddon Chambers, Herman Bemberg, Efrem Zimbalist, Elizabeth Parkina, Toti Dal Monte and Browning Mummery.</text>
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                <text>Photograph by Reutlinger, Paris</text>
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                <text>Grainger Museum</text>
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                <text>c.1897</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1979.015.003 | Purchased, 1979 </text>
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                <text>Portrait of Dame Nellie Melba, signed 1928</text>
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                <text>New Zealand-born sisters May and Mina Moore worked in Wellington before becoming successful photographers in Australia during the 1910s and 1920s. May established a studio in Sydney and Mina worked in Melbourne. The sisters were particularly interested in capturing their subjects’ character through photography. This portrait of Melba was taken towards the end of May Moore’s career as she was forced to retire in 1928 due to illness.</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
2014.034.115 | Gift of the Kilburn Family, 2014</text>
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