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Jennifer Vyvyan | |
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| Born | Jennifer Brigit Vyvyan 13 March 1925 Broadstairs, England |
| Died | 5 April 1974(1974-04-05) (aged 49) London, England |
| Education | Royal Academy of Music |
| Occupation | Classicalsoprano |
| Years active | 1948–1974 |
| Known for | Collaboration withBenjamin Britten |
Jennifer Brigit Vyvyan (13 March 1925 – 5 April 1974) was a British classicalsoprano who had an active international career in operas, concerts, and recitals from 1948 up until her death in 1974. She possessed a beautifully clear, steady voice with considerable flexibility inflorid music. She was praised for her subtle phrasing and her dramatic gifts enabled her to create vivid individual portrayals. Although she sang a broad repertoire, she is particularly remembered for her association with the works ofBenjamin Britten; notably singing roles created for her in the world premieres of several of his operas with theEnglish Opera Group.
On the concert stage, Vyvyan was highly active as anoratorio singer. The warmth and flexibility of her voice made her an outstanding exponent of the music ofPurcell,Handel and other baroque composers. She frequently collaborated with theRoyal Choral Society, often under conductorMalcolm Sargent, and sang countless performances of Messiah throughout Britain and abroad – not least, with the Berlin Philharmonic.
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Born inBroadstairs, England, Vyvyan entered theRoyal Academy of Music in 1941 where she initially was a piano student. She was convinced by a faculty member to pursue a singing career and began her initial studies as amezzo-soprano. During her last two and a half years at the conservatory she studied withRoy Henderson who trained her in the soprano repertoire. After graduating in 1947 she went toMilan for further studies and later studied privately withFernando Carpi in Geneva in 1950. In 1951 she won theGeneva International Music Competition.
In 1948 Vyvyan became a member ofBenjamin Britten'sEnglish Opera Group (EOG), making her professional debut with the company as Jenny Diver in the première of Britten's version ofJohn Gay'sThe Beggar's Opera. She appeared in several more roles with the organisation over the next two years, including Nancy inAlbert Herring and the Female Chorus inThe Rape of Lucretia. In 1951 she created the role of the Matron in the premiere ofBrian Easdale'sThe Sleeping Children with the EOG inCheltenham.
In 1952 Vyvyan joined the roster of principal sopranos at theSadler's Wells Opera, making a triumphant debut with the company as Konstanze inWolfgang Amadeus Mozart'sDie Entführung aus dem Serail. She returned to that house later in the season to portray Donna Anna inDon Giovanni. On 8 June 1953 she made herRoyal Opera, London debut as Lady Penelope Rich in the world premiere of Britten'sGloriana, a production organised by the EOG. She sang in another EOG production for her debut atLa Fenice on 14 September 1954; this time The Governess in the premiere of Britten'sThe Turn of the Screw.
Vyvyan sang in many more world premieres during her career, including Tytania in Britten'sA Midsummer Night's Dream (Aldeburgh Festival, 1960), the Countess de Serindan inMalcolm Williamson'sThe Violins of Saint-Jacques (1966, Sadler's Wells), various roles in Williamson'sLucky-Peter's Journey (1969, Sadler's Wells) and Mrs. Julian in Britten'sOwen Wingrave (1971, BBC television). She also premiered Arthur Bliss'sThe Beatitudes in the 1962 festival for the opening of Coventry Cathedral, and gave the first UK performance of Britten'sCantata Academica in 1961 as well as the UK premiere of Poulenc's Les Mammelles de Tiresias (Aldeburgh 1958). Britten's spelling change to use Tytania inA Midsummer Night's Dream rather than Shakespeare's Titania was a tribute to Vyvyan.
In 1953 Vyvyan portrayed Elettra inIdomeneo at theGlyndebourne Festival. Further opera performances and concerts took her to the stages of Milan, Rome, Munich, Vienna, Paris and Amsterdam. In 1955 she undertook a major tour of the Soviet Union as part of a delegation of British artists organised by SirArthur Bliss. In 1969 she performed at theLucerne Festival. She remained a regular presence at theRoyal Opera House as well during the 1950s and 1960s.
On the concert stage, Vyvyan performed throughout Europe and the United States under such conductors asCarlo Maria Giulini,Leonard Bernstein,Rafael Kubelik,Pierre Monteux,Ernest Ansermet,Victor de Sabata,Josef Krips and Britten, excelling in performances of British music. She also appeared often on the radio and on television, including some of the earliest complete operas broadcast on British TV. She excelled in Handel and played a major role in the revival of his operas/oratorios – with pioneering performances ofAthalia, Samson, Amadigi, Rinaldo, Saul, and the first known staging in modern times ofRadamisto (Sadlers Wells, 1960). She was also known for her interpretations of the soprano solos inBeethoven'sSymphony No. 9, Britten'sWar Requiem, and Bach'sSt John Passion andSt Matthew Passion.
Having never retired, Vyvyan died from complications of a longstanding bronchial illness on 5 April 1974 at the age of 49.
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Vyvyan's association withBenjamin Britten was perhaps one of the most fruitful periods in her career. Britten wrote four great roles specifically for Vyvyan: Penelope Rich (Gloriana), The Governess (The Turn of The Screw), Tytania(A Midsummer Night's Dream), and Mrs Julian(Owen Wingrave). She can be heard on recordings of Britten'sThe Turn of the Screw,The Little Sweep,Owen Wingrave,Cantata Academica andSpring Symphony. Her Tytania can now be heard in an original cast recording of Britten'sA Midsummer Night's Dream on Testament records, her Lady Rich, called by John Steane "a remarkable study in edgy pride" can be found on Music Preserved and her deliciously neurotic Mrs Julian can be heard on Decca. Vyvyan is featured inBritten's realizations of Purcell'sThe Fairy-Queen and Gay'sThe Beggar's Opera. Her Handel recordings includeSemele,Saul, and two separate recordings ofMessiah; one with conductorSir Adrian Boult and the other under the baton ofSir Thomas Beecham. She collaborated with Beecham and the Royal Choral Society on a recording ofBeethoven'sMass in C with fellow singersMonica Sinclair andMarian Nowakowski. Her recital records include "Songs of England" with Ernest Lush, piano, Mozart arias conducted by Peter Maag, Scarlatti cantatas with Elsie Morison, and Haydn and Mozart concert arias conducted by Harry Newstone.
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