Melba’s Operatic Debut

After nine months of preparation in the Marchesi school, Madame Melba made her first appearance on the operatic stage at the Theatre de la Monnaie, Brussels, on Thursday, October 13, 1887, as Gilda in Verdi’s Rigoletto. The performance was admirable, she only had three stage rehearsals. News of her triumph was telegraphed all over Europe, managers and other connoisseurs hurried to Brussels to hear her. Every paper in the Belgian capital accepted her as a singer born to greatness. (1)

Madame Melba sang in Italian instead of French, the official tongue of the Monnaie stage. She had good knowledge of French, but had an objectionable English accent. This circumstance, and her inexperience, seemed to help, rather than hinder her acceptance by a generous public. Papers wrote of her as a “revelation,” her voice as unique in quality, with a remarkable trill and perfect technique; she was elegant and distinguished, and her face, mobile and sympathetic. She was complimented on her intelligence in acting. She was given “the profile of an Empress” in the same category with Patti and Nilsson. Veteran connoisseurs said they could not believe their ears when they heard her incomparable crystal voice. (2)

Within a single month the Brussels critics designated the young novice La Melba. Madame Marchesi was delighted, attending the debut. The Belgian Queen, attended the second performance, saying: “It’s the most beautiful voice I’ve ever heard,” and summoned Melba to her box to congratulate her, and was her most enthusiastic patron. Melba’s second opera in Brussels was Traviata, she was given the leading role, only three weeks after her debut, November 9, 1887. The vocal demands were reasonable to fill; but stage requirements were exacting for a novice. Melba resolved to work until she got to the top. (3)

The third character she played to the Belgian public was Lucia in Donizetti’s opera Lucia di Lammermoor. Great interest was aroused by this announcement, and the house was crowded. Her singing in the Mad Scene created an extraordinary impression. In Brussels, Monsieur Gevaert, a distinguished director, often invited Melba’s child, Master George, to Sunday lunch. (4)

For months Melba prepared Leo Delibes’ opera Lakme, studying with the composer. She devoted to perfecting herself in the French language. The production took place on March 8,1888, she sang in French publicly and was a striking success, with the composer, the critics and opera going public. Madame Melba continued studying French under Mademoiselle Tordeus. (5)

The last opera in Brussels season for Melba was Hamlet in April 1888, before a brilliant audience. The Belgian Queen sent for Ambroise Thomas, composer of Hamlet, and Madame Melba, offering them her congratulations. Melba had become the spoiled child of the public, the darling of Brussels. Melba’s success was immediate and emphatic; never had any prima donna secured a place in the hearts of the people. (6)
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In October 1888, Melba was back at the Theatre de la Monnaie for her second season in Brussels, she received a flattering reception on her appearance in Lakme was a pledge of the ever growing favour with which the Belgian public regarded her. (7)

In the third week of November Melba essayed the part of Ophelie in Hamlet, and the critics of Brussels cordial commendation of the advance she had made as an interpretative artist since her debut. All points of progress, were seized on, held up for approval, and spurred her on, she made admirable progress. Late February of 1889, Gounod’s Romeo and Juliet was staged, presenting the Australian singer as the daughter of the Capulets. Melba’s success in the new role was a triumph. During the Brussels season of 1889 the directors of the Paris Opera, endeavoured to secure Melba for their revival of Romeo and Juliet, the Brussels management refused. (8)

Melba found time to give valuable help at charity performances organized in Liege, and successful appearances in oratorio. The opera term closed in April, Melba was presented with a diamond, as a souvenir of their affection and admiration. Which she treasured always.

On the farewell evening, she felt emotional. Friends and admirers gave her more than sixty bouquets. On April 14, 1889, His Majesty the King of the Belgians presented her with the gold medal of the Brussels Conservatoire, and with this official token of the people’s esteem she left the city of her operatic birth. (9)

It is not known if Melba again performed in Belgium.

In March 1921, Nellie and Evie returned to the lovely Theatre de la Monnaie, Brussels, the place she made her operatic debut in 1887 to sing at a special concert in aid of a fund for the establishment of a dispensary for the artists.
Melba, nervous as ever, needed reassurance. She was accorded the same ovation she had received at her debut. (10)

References:

(1) A. Murphy, Melba: A Biography, , pg 27.
(2) Op. cit. pg 28.
(3) Op. cit. pg 29.
(4) Op. cit. pg 30.
(5) Op. cit. pg 31.
(6) Op. cit. pg 32.
(7) Op. cit. pg 38.
(8) Op. cit. pg 39.
(9) Op. cit. pg 40.
(10) P. Vestey, Melba A Family Memoir, Pamela Vestey, Coldstream 2000, pg 184.