British Contralto Carmen Hill ~ Rose in the Bud (c. 1913?)
British Contralto Carmen Hill (1883--1952) / Rose in the Bud (Dorothy Forster) / Recorded: c.1913? --
The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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Barbie - Go To Sleep! | Ep.125
The twins keep waking up at night so Barbie and Ken need to find a way to make them sleep!
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British Contralto Carmen HILL: The Green Hills o' Somerset (1913)
British Contralto Carmen Hill (1883-1952) / The Green Hills o' Somerset (Eric Coates) / Recorded: 1913) --
THE GREEN HILLS 'O SOMERSET (Eric Coates)
Oh the green hills o' Somerset
Go rolling to the shore;
`Twas there we said that we'd get wed,
When spring came round once more.
`Twas there we kissed and said goodbye
Beside the kirkyard wall,
And the song the blackbird sang to us
Was the sweetest song of all.
Green hills o' Somerset!
Green hills o' Somerset!
When shall we walk by you,
Green hills, once more!
Oh the green hills o' Somerset
Go rolling to the sea,
And still today the violets
Are blooming there for me.
The shadows kiss the waving grass,
Beside the kirkyard wall,
But the song the blackbird sings to me
Is the saddest song of all.
Green hills o' Somerset!
Green hills o' Somerset!
No more we'll walk by you,
Green hills, once more!
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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GARDENING ! Elsa and Anna toddlers plant flowers and vegetable seeds
This toys dolls parody video shows toddlers Elsa and Anna gardening for the first time! They have some pretty flowers and also tomatoes. They plant some vegetable seeds , too. They love being outdoors in the garden and watering the plants ! What tools do they use to dig the soil ? They bring their LOL surprise dolls outside, as well. Enjoy !
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Music Sound Effects Credits:
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Prelude and Action, Carefreee, Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
British Contralto Carmen Hill ~ Roses of Forgiveness (1915)
British contralto Carmen Hill (1883-1952) / Roses of Forgiveness (d'Hardelot) / Recorded: 1915 --
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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British Contralto Carmen Hill ~ Gipsies (c.1915?)
British contralto Carmen Hill (1883-1952) / Gipsies / Recorded: c.1915 (?)
ITEM: (AUDIO) Some blasting....
The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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EMMA Audiobook by Jane Austen | Full Audio book with Subtitles | Part 1 of 2
Jane Austen famously described Emma Woodhouse, the title character of her 1815 novel, as a heroine whom no-one but myself will much like. Yet generations of readers have loved Emma, as much for her blunders as for her wit and vivacity. Emma, handsome, clever, and rich, has nothing else to do but try to pair off her friends, and she consistently mis-reads the relationships and situations around her as much as she mis-reads her own heart. The novel features a wonderful cast of characters, including Emma's hypochondriac father, the odiously prideful Mrs. Elton, the mysterious and reserved Jane Fairfax, and Miss Bates, who never stops talking. (Summary by Elizabeth Klett).
Emma (version 3)
Jane AUSTEN
Genre(s): General Fiction, Romance
Chapters:
0:27 | Volume 1, Chapter 1
19:32 | Volume 1, Chapter 2
29:24 | Volume 1, Chapter 3
40:05 | Volume 1, Chapter 4
58:43 | Volume 1, Chapter 5
1:10:16 | Volume 1, Chapter 6
1:25:31 | Volume 1, Chapter 7
1:39:12 | Volume I, Chapter 8
2:02:28 | Volume I, Chapter 9
2:28:48 | Volume I, Chapter 10
2:42:26 | Volume I, Chapter 11
2:53:54 | Volume I, Chapter 12
3:12:00 | Volume I, Chapter 13
3:28:13| Volume I, Chapter 14
3:41:22 | Volume I, Chapter 15
3:59:40 | Volume I, Chapter 16
4:10:20 | Volume I, Chapter 17
4:16:45 | Volume I, Chapter 18
4:30:33 | Volume II, Chapter 1
4:45:58 | Volume II, Chapter 2
4:59:59 | Volume II, Chapter 3
5:22:22 | Volume II, Chapter 4
5:31:45 | Volume II, Chapter 5
5:49:52 | Volume II, Chapter 6
6:06:14 | Volume II, Chapter 7
6:18:20 | Volume II, Chapter 8
6:54:06 | Volume II, Chapter 9
7:10:11 | Volume II, Chapter 10
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----------------------------------------------------------------------------------------------------- Audio Book Audiobooks All Rights Reserved. This is a Librivox recording. All Librivox recordings are in the public domain. For more information or to volunteer visit librivox.org.
First Day Back to Toy School for Addy and Maya
Addy and Maya are going back to school after a long end of the summer. But this isn't your normal classroom, this is the Toy School. Instead of regular school supplies, the girls have to bring candy and toys to their class. It's important to learn how to identify different toy characters and have good toy hunting skills. As for homework, the kids need to eat candy, watch their favorite YouTube channels like Tic Tac Toy and Tic Tac Toy Family, and play with new toys for at least 20 minutes! Will these children enjoy the school year at this new fake school? We sure hope so!
Music Credits:
Fly by Collin G Scudder courtesy of Soundstripe
It's Always Sunny by Matt Wigton courtesy of Soundstripe
The Game by Mike Arnoult courtesy of Soundstripe
Mists by The Frozen Ocean courtesy of Soundstripe
99 Bananas by Stephen Keech courtesy of Soundstripe
Sweet Coffee Valdi Sabev courtesy of Soundstripe
Portlandia by Finn's Fandago courtesy of Soundstripe
Case of the Bubblies by Brique a Braq courtesy of Soundstripe
Your Heart by Jonathan Roye courtesy of Soundstripe
Hickory Hallow by Matt Wigton courtesy of Soundstripe
No One Like You by Jacob Walker courtesy of Soundstripe
Alive and Free by Hawksilver courtesy of Soundstripe
Escape by OBOY courtesy of Soundstripe
The Eclipse Hurt My Eyes by Fidget Spinner courtesy of Soundstripe
Tree Tops by TituS courtesy of Soundstripe
British Mezzo-Soprano Carmen Hill: At Parting (1920)
British mezzo-soprano Carmen Hill (1883-1952) / At Parting (Frederic Peterson; James H. Rogers) / Recorded: 1920 --
Sound file from CHARM (The AHRC Research Centre for the History and Analysis of Recorded Music)
At Parting (Frederic Peterson; James H. Rogers ~1906)
The sweetest flower that blows
I give you as we part.
For you, it is a rose!
For me, it is my heart!
The fragrance it exhales
Ah! if you only knew!
Which but it dying fails
It is my love for you!
The sweetest flower that grows
I give you as we part.
You think it but a rose!
Ah me! it is my heart!
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883-1952) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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English mezzo-soprano Carmen HILL: The Lute Song (c.1920?)
English mezzo-soprano Carmen Hill (1883-1952) / The Lute Song (Charles Villiers Stanford) / Recorded: c.1920?)
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883-1952) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'. Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
***************************************************************
British Contralto Carmen HILL: Two Songs (c.1915?)
British contralto Carmen Hill (1883-1952) / A song of May (Bath) / It is only a tiny garden (Haydn Wood) / Recorded: c.1915?
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'. Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
******************************
English mezzo-soprano Carmen HILL: A little twilight song (c.1920?)
English mezzo-soprano Carmen Hill (1883-1952) / A little song at twilight (Coningsby-Clarke) / Recorded: c.1920?)
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883-1952) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'. Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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British Contralto Carmen HUILL: Two Songs (1913)
British contralto Carmen Hill (1883-1952) / (a) Away on a hill there runs a stream; (b) A little winding road / Four Songs of the Hill (Landon Ronald) / Recorded: 1913 --
The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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British Contralto Carmen Hill ~ 'Tis the hour of farewell (c.1915?)
British contralto Carmen Hill (1883-1952) / 'Tis the hour of farewell (Lehmann) / Recorded: c.1915 (?)
The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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British Contralto Carmen Hill ~ If I might only come to you (1916)
British contralto Carmen Hill (1883-1952) / If I might only come to you (Squire) / Recorded: 1916 --
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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Sibelius: The First Kiss - Carmen Hill
Madame Adami, piano
Recorded 1922
Found at The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) was established on 1 April 2004, supported by a 5-year grant of just under £1m from the Arts and Humanities Research Council.
The First Kiss (Den forsta kyssen) is a poem by J. L. Runeberg, the national poet of Finland, one of Sibelius' favorite poets. A girl asks the evening star what heaven thinks of a first kiss. The star replies that heaven sees its joy reflected, that only death weeps. The setting is rapturously romantic.
British contralto Carmen Hill (1883-?)
The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teye and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
British Contralto Carmen Hill ~ Four By The Clock; To An Isle In The Water (1924)
British contralto Carmen Hill (1883-1952) / Four by the clock; To an isle In the water (Mallinson) / Piano: Miss Colclough / Recorded: 1924 --
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The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.
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British Contralto Carmen Hill - Tennent: The Spring is in My Garden
Recorded 1923
Found at The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) was established on 1 April 2004, supported by a 5-year grant of just under £1m from the Arts and Humanities Research Council.
British contralto Carmen Hill (1883-?)
The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979)
We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teye and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'.
Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light.