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                <text>Bonnet worn by Nellie Melba as Mimi in La Bohème, c.1924&#13;
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>Melba learnt the role of Mimi in Giacomo Puccini’s La Bohème with the composer and her performances helped to make the opera famous. She wore this bonnet in the 1924 Melba–Williamson Grand Opera Season in Australia and probably other productions of the opera. </text>
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                <text>Made by Pauline et Cie</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>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>Portrait of Nellie Melba, inscribed to Mathilde Marchesi, signed Paris, 1890</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</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>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
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                <text>1890</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>Nellie Melba as Ophélie from Hamlet, c.1889</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</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>Photograph by Dupont</text>
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                <text>c.1889</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1998.048.001 | Purchased, 1998</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>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
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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 Juliette from Roméo et Juliette, 1897</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</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 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>Photograph by Aimé Dupont, New York</text>
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                <text>1896; signed 1900</text>
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                <text>Arts Centre Melbourne&#13;
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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 Elizabeth from Tannhäuser, 1894</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>1894</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1999.018.001 | Purchased, 1999</text>
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                <text>Programme for concert at Buckingham Palace, London, 14 July 1893</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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1993.166.001 | Purchased, 1993</text>
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                <text>Programme for Melba Coronation Concert, Royal Albert Hall, London, 27 May 1911</text>
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                <text>This concert was part of the celebrations in London leading up to the coronation of King George V. Three young male performers also appeared in the concert: German pianist, Wilhelm Backhaus; Irish-Canadian bass, Edmund Burke; and Irish tenor, John McCormack. Melba later sang with them again at the coronation gala, which also included Sergei Diaghilev’s Ballet Russe. </text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1979.004.002 | Gift of Mr David McIlwraith, 1979</text>
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                <text>Nellie Melba as Violetta from La Traviata, inscribed to Mr Southwell, 1909&#13;
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                <text>Melba’s earliest performance as Violetta in La Traviata by Giuseppe Verdi was during her first season in Brussels in 1887. At the time, her inexperience in acting was noted but the role later became a staple in her repertoire.&#13;
&#13;
It was as Violetta that Melba made her first appearance at Oscar Hammerstein’s Manhattan Opera House in early 1907. She was among the key stars he temporarily enticed away from the rival Metropolitan Opera House. In 1910, the Metropolitan Opera paid Hammerstein a sum of $1.2 million to stop producing grand opera in the United States&#13;
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                <text>Photograph by M. Shadwell Clerke</text>
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                <text>1909</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1991.042.004 | Purchased, 1991</text>
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