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                <text>Herman Sandby</text>
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                <text>Printing-out paper print.&#13;
&#13;
Photo: 14.4 x  9.9 cm&#13;
Photo and card: 16.6 x 10.6 cm&#13;
&#13;
Grainger developed a close, lifelong friendship with the Danish-born cellist and composer, Herman Sandby. Joined by Sanby’s partner Alfhild de Luce as ‘extra accompanist’, the trio made a concert tour of Denmark in 1905, which included a performance at the Royal Palace in Copenhagen.</text>
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                <text>Peter Newland, Copenhagen </text>
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                <text>Philips Electrical Industries Pty Ltd, Australia, Three speed portable twin-track tape recorder</text>
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                <text>Three speed portable twin-track tape recorder</text>
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                <text>Philips Electrical Industries Pty Ltd, Australia, Three speed portable twin-track tape recorder, late 1950s&#13;
&#13;
Grainger Museum Collection, 01.3513&#13;
&#13;
This tape recorder was part of Percy Grainger's electronic music equipment, probably used by him in the last few years of his experimentation in Free Music. </text>
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                <text>late 1950s</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>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
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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 Mimi from La Bohème, c.1918</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>The ill-fated Mimi in La Bohème was one of Melba’s most frequently performed roles. She had particular success in the opera singing opposite Enrico Caruso as Rodolfo. While impressing audiences with his sublime tenor voice, Caruso took great delight in playing practical jokes on his co-star, especially during poignant scenes.</text>
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                <text>Photograph by Baron Adolf de Meyer</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1997.076.924 | Transferred from the Dennis Wolanski Library,&#13;
Sydney Opera House, 1997</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>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>Nellie Melba as Juliette from Roméo et Juliette, signed 1911</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>This large-scale portrait of Melba as Juliette is an imposing example of the use of studio photography to portray an operatic role. A companion photograph taken at the same time, depicted Melba as the dead Juliette lying on her tomb. The diva apparently stipulated that the latter image was not to be published until after her death.</text>
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                <text>Photograph by Dover Street Studio Ltd, London</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1997.076.922 | Transferred from the Dennis Wolanski Library,&#13;
Sydney Opera House, 1997</text>
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                <text>Portrait of Nellie Melba, inscribed to Ada Berrill, 1914–15&#13;
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                <text>This portrait photograph was given to Ada Berrill, Melba’s personal maid and travel companion. </text>
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                <text> 1914–15</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1991.161.001 | Gift of Arthur Jones, 1991</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>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1998.048.001 | Purchased, 1998</text>
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                <text>Collectable cards inserted in cigarette packaging were popular from the late 19th century to the 1940s. Designed to encourage the collection of entire sets, they were issued in themed series such as plants, wildlife and sports and theatre stars. This card featured Nellie Melba as part of a series of musical celebrities.&#13;
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                <text> Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1992.124.041 | Gift of Jack Rogerson, 1992</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>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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