Ferrier, Kathleen. (1912–1953) & Sargent, Malcolm. (1895–1967) & Walker, Norman. (1907–1963) & Baillie, Isobel. (1895–1983) & Nash, Heddle. (1894–1961). "Messiah" at the Royal Albert Hall - Signed Program Cover. Original program cover from a performance of Messiah at the Royal Albert Hall on Saturday, January 8, 1949, signed by conductor Malcolm Sargent and all four vocal soloists: Isobel Baillie, Kathleen Ferrier, Heddle Nash, and Norman Walker. Left edge rough; overall toning and one small tear; otherwise in very good condition. 7.25 x 9.75 inches (18.2 x 24.6 cm).
English contralto singer Kathleen Ferrier achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer in 1953, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death. Bruno Walter wrote of Ferrier “No summit of solemnity was inaccessible to her, and it was particularly music of spiritual meaning that seemed her most personal domain.”
Ferrier, Kathleen. (1912–1953) & Sargent, Malcolm. (1895–1967) & Walker, Norman. (1907–1963) & Baillie, Isobel. (1895–1983) & Nash, Heddle. (1894–1961). "Messiah" at the Royal Albert Hall - Signed Program Cover. Original program cover from a performance of Messiah at the Royal Albert Hall on Saturday, January 8, 1949, signed by conductor Malcolm Sargent and all four vocal soloists: Isobel Baillie, Kathleen Ferrier, Heddle Nash, and Norman Walker. Left edge rough; overall toning and one small tear; otherwise in very good condition. 7.25 x 9.75 inches (18.2 x 24.6 cm).
English contralto singer Kathleen Ferrier achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer in 1953, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death. Bruno Walter wrote of Ferrier “No summit of solemnity was inaccessible to her, and it was particularly music of spiritual meaning that seemed her most personal domain.”