Sunday, March 4, 2012

A man in the wings


Usual topics in this blog are about forgotten or marginalised women of history, but I'm also interested in men who might not quite have been bucket carriers in the same sense but had difficulty in tagging behind their prominent spouses.
My previous blog on Australian opera divas brought one to mind: Charles Nesbitt Frederick Armstrong, husband of Dame Nellie Melba. 
He doesn't rate a mention in his own right at Wikipedia or in other biographical listings and seems to have been an athletic but short-tempered, independent and largely solitary individual who preferred a life of adventuring and living close to nature rather than swanning about in high society and sitting in plush opera houses. He was the youngest son of an Irish baronet and probably sent out to Australia as a remittance man in his early twenties.* But even by then he was already an experienced world traveller, having been first apprenticed in a sailing ship while still only in his teens.
In Queensland, he was a jackaroo on a cattle station where he became an expert horseman and later took various casual jobs in the bush and in cities. In Sydney, he honed his bare-knuckle boxing skills to championship levels.
There is a story that when he was married and returned to England some years later, he went along to Buffalo Bill’s Wild West Show and took on the standing challenge to any horseman to ride their prize buck-jumper for a prize of £50. With Buffalo Bill himself in the audience, Charles Armstrong rode the buck-jumper for several minutes until the horse gave up the fight and thus he won the prize.
One of the few known photographs of Charles Armstrong, from  Nellie Melba Museum, Lilydale, Victoria
When the young Nellie Mitchell first went to Queensland in 1882 and met "Kangaroo Charlie", this dashing aristocrat turned bushman, the physical attraction between them was immediate and passionate but also ultimately doomed, as is so often the case between two strong-willed and charismatic individuals. Armstrong’s taste in music was burlesque, rather than grand opera. He loved the wide open spaces and masculine pursuits. She adored the finer arts and was destined for the grand stages and salons of Europe. 
Nellie did try to cope with life she described as "barbaric" in Mackay, Queensland, where Charles took on the job of a sugar mill manager and where their only child, George, was born, but she knew she was made for higher things and it was inevitable the marriage could not take the strain. 
The couple struggled to stay together as Nellie's fame grew but eventually bitter battles ensued over George’s upbringing and Armstrong spirited the boy away to the wilds of America for some years. The divorce became final in Texas, USA, in 1900.
Charles Amstrong lived to the age of 90, and spent the latter part of his life on Vancouver Island, British Columbia, where he had an isolated cedar cabin on the shores of Shawnigan Lake. He never remarried and died on 2 November 1948.
Nellie and Charles’ son George also had only one surviving child, Pamela, who later became Lady Vestey. She too had a long life, living in Melba’s old home at Coombe Cottage in the Yarra Valley, Victoria, Australia.  Lady Vestey died in September 2011.

Details about the tempestuous marriage of Dame Nellie Melba and Charles Armstrong taken from:

Melba, by John Hetherington
and
I am Melba, by Ann Blainey (Marvelous Melba in USA)

Some web links to Melba’s life with Charles Armstrong:

The church where they married.

Their home at Marian, Queensland and the church were Nellie is said to have sung

History of Lake Shawnigan, British Columbia

A couple of reports on the recent passing of Lady Vestey

* Remittance men were often younger sons of the British upper classes who were a burden to their family being spendthrifts, gamblers, womanisers or just hotheads who had got into trouble at home, and who were sent abroad "to the colonies" to find their own way in life, although usually cushioned with a generous allowance.

Sunday, February 19, 2012

Struth! It's Stralia - forgotten Down Under diva


There was once a fashion for ballerinas to adopt Russian or French stage names and, so too, opera singers felt they needed something out of the ordinary so that people would remember them. In particular those from Australia chose names connected with their homeland. In eras when being an independent woman was still slightly frowned upon, they often confused the issue by also being known by their maiden names or various husbands' surnames as well.
The most famous was Dame Nellie Melba, born Helen Porter Mitchell, then Nellie Armstrong by marriage, and she took her stage name from her home-town of Melbourne.
Others were Florence Austral (Mary Wilson, Florence Amadio, Florence Fawaz) and Marie Narelle (Catherine Mary Ryan, Molly Callaghan, Catherine Mary Currie) who acquired her surname from that of an Aboriginal queen who lived in the Moruya area of New South Wales, and Narelle was been a popular girl's name in Australia ever since.
Interestingly, Marie's cousin born at Tuross Heads near Moruya was also an opera singer but she didn't bother to change her name. She was Eva Mylott (Eva Gibson) and the grandmother of actor Mel Gibson.
June Bronhill (June Gough) manufactured her name as a contraction of Broken Hill, New South Wales. Fortunately, she was born in a later era and didn't confuse the issue by using either of her two husbands' names.
But the strangest concoction must be Madame Elsa Stralia (Elsie Fischer, Elsie Mary Moses, Elsie Mary Christensen). It's difficult to say the name out loud these days without it sounding like a joke or a striptease act, but in a newspaper report of 1934, Elsa says it was Nellie Melba of all people who suggested it. What was she thinking?!
This star-studded 1919 patriotic photograph of "Elsa Stralia as Australia" (State Library of NSW) is a pretty bizarre costume too!



But she must have been a great singer. A 1925 newspaper report gives this gushing report:
'A well-known musical critic, in writing of a recent concert given by Elsa Stralia, said:- "Last night Sydney heard a voice ! Not a voice with merely an Italian veneer, or a French polish, but an honest, fortnight voice of the timbre, power, and quality such as is given to few of us to hear more than once or twice in a lifetime. That voice was Elsa Stralia's - the voice of a genuine Australian woman and great artiste. It is good to see so big a house at the Town Hall last night to welcome home erstwhile Elsie Fischer, now the world celebrity, Stralia, of whose voice no less an authority than Albert Coates has said that it was " the greatest voice in England.'' The great dramatic soprano was in splendid form, and her voice rang out strong and sonorous. She hits every note right in the middle, and holds it truly. There is never a question of doubtful pitch here, no exaggerated portamento, but a splendid, forceful, and, at times, a tender tone shading that is altogether delightful and always completely satisfying. While there may be those who find in her electrifying upper registers and power their principal delight and astonishment, there are many others who recognise in all her work a careful and intelligent artistry and a sincere appreciation for the nuance and a just sense of the possibilities of the mezzo voice. But all found Madame Stralia finely equipped as a singer with gift for apt character portrayal, and she made a deep impression by the beauty and dramatic force of her singing. While in some numbers her voice rings out with stupendous clarion force, there is flame-Iike brilliance in its pure soprano tone. Despite its weight it remains an organ of lovely quality, and is sufficiently elastic to meet the demands of florid music. As the singer of so many famous Wagnerian roles, it is not surprising to find that she is the possessor of the voice of a heroic Brunhilde - rich, full, and vibrant, but it is unusual to discover in so heavy a voice a capacity for tender things." '
Elsa died at Belgrave, Victoria in 1945. Her obituary lists her as Mrs A. Christensen.

Finding recordings of all these women isn't easy. A few have found their way onto Youtube.

June Bronhill's amazing version of The Holy City (Jerusalem) ... wait a few seconds for this one to start, it's worth it.

Florence Austral is well-represented. Here is her Last Rose of Summer.

Ditto Melba. This is particularly associated with her many "farewells".  Home Sweet Home.

A quavery few by Marie Narelle, including this rather ponderous Auld Lang Syne.

But I can find NOTHING on the magnificent Elsa Stralia!

Australia's National Film and Sound Archive have a collection on her but nothing is available to listen to online. I'll have to make do with a program and sheet music cover from the National Library of Australia archives:





Wednesday, February 8, 2012

Saturday, February 4, 2012

The Dark Underside

An article  this week by American journalist Joseph B. Atkins about Ella May Wiggins has caught my eye.

I was surprised I hadn't heard of her before (my partial excuse not being an American) but when I researched further and read her story that exposes what Atkins calls "the dark underside of class in America", I was almost moved to tears.

What a woman! She truly deserves to be world famous for her guts in standing up for the rights of female and black workers in the 1920s. But the combined forces of American big business, politics, anti-communism and racism have all been determined to leave her holding the bucket since her murder at the age of only 29. It appears that even today controversy still surrounds her.

I won't reproduce here what is available online elsewhere, but please follow the links below to read or hear more about this remarkable woman and the violent history in the Carolina textile mills.
The strike at Loray Mill,  Gastonia, resulted in violence, including the shooting death of leader Ella May Wiggins, depicted in this drawing from Labor Age, October 1929


Two Youtube presentations telling Ella May's story by Sherry Lovett. One. Two.

Article on Ella May's music.


Ella May's grave.


The Mill Mother's Song

by Ella May Wiggins

(This song was sung at the funeral of Ella May by one of the women strikers)

We leave our home in the morning,
We kiss our children good bye,
While we slave for the bosses,
Our children scream and cry.

And when we draw our money,
Our grocery bills to pay,
Not a cent to spend for clothing,
Not a cent to lay away.

And on that very evening,
Our little son will say,
"I need some shoes, dear mother
And so does sister May."

How it grieves the heart of a mother,
You every one must know,
But we can't buy for our children,
Our wages are too low.

Sunday, January 15, 2012

National Women's History Museum, Washington DC

One high profile woman with a passion for history can do so much.


Meryl Streep has donated her entire salary from The Iron Lady to help build the first museum dedicated to women's history in Washington. 


See this clip from the Ellen Show.


Read here about the new museum.

Sunday, January 1, 2012

"The Forgotten Army"

It never ceases to amaze me that there are still women around who don't get any recognition for their groundbreaking or vital achievements during World War II until late in life and, probably in many cases, not at all. 


How many of them in the "Forgotten Army" like Joan Turnour will have passed on, with even their families remaining unaware of what they did?


Recently Joan received "out of the blue" a medal from the British Prime Minister, David Cameron for her work in breaking Japanese codes in Australia and only now is she able to speak about her secret work for the first time. 


Read about Joan here:


http://www.smh.com.au/it-pro/security-it/code-of-silence-lifts-on-world-war-iis-crack-unit-20111229-1pedx.html

Saturday, December 24, 2011

First female war correspondent of World War I

Jacqueline Winspear is a favourite author of mine. Her Maisie Dobbs series of books are excellent and although they are often categorised as crime or mystery novels all of them are historically accurate and contain perceptive insights into human nature and the lingering psychological results of war. Jacqueline has recently started a Maisie Dobbs blog that includes items on women's history and I was particularly interested in her discovery of Louise Mack, the Australian writer who is credited with being the first female war correspondent of World War I and who wrote a book about her experiences.
Not knowing anything about Louise either, I went in search of her and tracked down the biography written by her niece, Nancy Phelan, The Romantic Lives of Louise Mack.
Google Books calls this book "fictional" and perhaps it is as much of Louise's life remains a mystery and Nancy draws mainly on family memories and her own personal recollections of her aunt to round it out.
The book does succeed in an intimate look at a woman full of flaws and contradictions and who was determined to live a Bohemian existence as a free spirit. This naturally resulted in difficulties for many of those whose lives crossed with hers. Her first husband, John Creed, totally gave up drink in order to win her but when her writing career became more important than her marriage, he tragically defaulted and died a broken man. Likewise, Louise's youthful exuberant and close association with another Australian writer, Ethel Turner, fell on hard times. Yet Louise's unswerving attention and devotion to her second, much younger, husband Allan Leyland who was gassed in the First World War couldn't be faulted.
Ethel followed a more conservative life and is still well-known to many Australians due to her classic book Seven Little Australians, but Louise seems to have been completely forgotten.
She was often her own worst enemy and many times came close to starving and penury, being forced to write serials and romantic potboilers under various aliases to earn a living and she never quite reached her potential as a serious author. Perhaps one of her greatest sins was in using real characters in her books and not bothering to disguise family, friends and the socialites and other prominent individuals whom she hijacked. She was for a time the "agony aunt" at the Australian Women's Weekly and Nancy Phelan wickedly suggests she was also the author of many of the letters sent in and the "advice" given was often at odds with the morals and standards of the day and more in keeping with her own somewhat haphazard attitude to life and her neglected family relationships. Needless to say, she didn't last long in the position. Also when she travelled and lectured widely later in life, Nancy says she tended to fantasy when it came to her war experiences as well as the famous people she may (or may not) have known and thus couldn't be completely trusted.
An obituary of Louise Mack can be read here. Although she didn't have descendants, at one time she stated that she did have a living child. Nancy Phelan's book explores the possibility that there was a child born in Italy during one of her aunt's long "disappearances" but proved inconclusive.
Links to some of Louise's books including her most famous A Woman's Experiences in the Great War are available through the Internet Archive.
In keeping with her family's tradition (Louise's sister Amy Mack was also a writer) Nancy Phelan herself was equally talented and colourful individual, a winner of the Patrick White Award. Only when I read her obituary from 2008 did I realise I'd failed to notice that she was the co-author of the most reliable Russian Cookbook that has been a staple of my recipe collection for many years.