Moran Caplat Correspondence, General Correspondence, 1951/1952
- Reference code
- G/CC/8/1/6
- Level
- File
- Title
- Moran Caplat Correspondence, General Correspondence, 1951/1952
- Date
- 1951/1952
- Quantity & Format
- 1,960 letters & documents in 03 boxes
- Repository
- Glyndebourne Archive
- Creator(s)
-
Caplat, Moran
Christie, John (Occasional correspondent)
Busch, Greta - Scope and content
-
Some letters are written on behalf of Moran Caplat by Anthony Besch or Janet Moores
Box 1
Folder 1
A
Eleanor Abbey (01 letter)
Accommodation (25 letters, 02 documents)
[Documents = Proof of an advert; List of Artists’ Accommodation]
Charles & Lili Adams (01 letter)
Hervey Alan (03 letters)
John Allen (01 letter)
Ambassadors Scenic Studios (09 letters)
Moran Caplat writes, 25 June 1952, “Thank you for Cenerentola. It is like all the work you turn out for us beautifully painted and in every way up to the standard we set ourselves. I cannot really say more except how grateful I am personally for your attention to our work while it is under way and readiness to help us in every way at all hours of the day and night.”
Ambassador Publishing (02 letters)
Reginald J Amos, Old Vic Theatre Workshops (03 letters)
Monsieur Andre, Cassino Muncipal de Cannes (01 letter)
Moran Caplat writes, 16 October 1951, “I have recently been staying…at Mouans Sartoux, and while there we discussed in general terms the possibility of Glyndebourne’s arranging an English Festival for the Winter Season at Cannes.”
Kay Arnold (02 letters)
The Arts Council of Great Britain (11 letters)
Silvia Ashmole (02 letters)
Automobile Association (05 letters)
Nellie Ayre (02 letters)
Folder 2
BAL - BRI
Bryan Balkwill (04 letters)
Barratt’s Photos (05 letters)
Patricia Bartlett (08 letters)
Ballet (17 letters)
Harry Beard (04 letters)
Margaret Bellamy (11 letters)
Berit Berling (07 letters)
Berit Berling writes, 06 November 1951, “Oh Moran! How I LOVE Glyndebourne! Without exaggeration I think I can say there is no other place on earth I love as much! The beauty of everything; the scenery, the buildings, the purpose, the spirit which all you leaders inspired in the whole organisation, which throbbed with every “workers” contentment and eagerness to do nothing short of their very best, the actual performances, of which I imbibed every tone, sitting blissfully in the trombone-box…I can’t tell you what a deep impression all this made in me!...Small wonder I love you all, brim over with gratitude “to Glyndebourne” and am convinced that my Glyndebourne stay will remain one of the wonderful “peaks” of my life.”
Anthony Besch (13 letters)
Rudolf Bing (03 letters)
Lady Rhoda Birley (03 letters)
[Lady Birley was a signatory on the Glyndebourne Festival Society]
Boosey & Hawkes (16 letters)
[Re: Glyndebourne’s production of Rosenkavalier]
Box Office (06 letters)
Mr Bradshaw, The County Grammar School for Boys (13 letters)
[Re: Licences for boys aged less than 14 taking part in Macbeth)
Brighton Education Office (02 letters)
[01 letter is addressed to John Christie]
Brighton Philharmonic Society (04 letters,09 documents)
[Documents = Minutes of Committee meetings; Annual General Meeting document; Programme for a Mozart - Tchaikovsky Festival 1952]
British Actors’ Equity Association (13 letters, 01 document)
[Document = Equity Standard Contract for Opera]
British & Continental Music Agencies (12 letters)
The British Council (05 letters)
British Travel Association (12 letters)
Folder 3
BRO - BUS/BBC
Peter Brook, Artistes Alliance Ltd (02 letters)
Moran Caplat writes, 26 May 1952, “...if you need a really first class coach who understands actors where singing is concerned, I can recommend Jani [Strasser] very very highly. Beside his work at Glyndebourne, although he does not attract much attention on the programme, most of the excellence of the musical ensembles here have been due to him…”
Brookes’ Coaches (19 letters)
Sesto Bruscantini (13 letters)
[Some of the letters are written in Italian]
B.Burnet & Co. Ltd (04 letters)
Greta Busch (19 letters)
Moran Caplat writes, 30 July 1952, “Please believe that I will do all I can to protect both the names of your husband and Glyndebourne., which are so inseparably linked in history to the resounding glory of both.”
[NB: 01 letter is written by Greta Busch to Moran Caplat on 15 September 1951 and makes reference to Fritz Busch being “much improved since yesterday morning.” However, the date of Fritz Busch’s death is officially recorded as 14 September 1951]
BBC (62 letters, 12 documents)
[Documents = Schedule for 11 & 12 June 1952; 02 x BBC contracts for Macbeth; 03 x BBC contracts for Cenerentola; 01 BBC contract for Cosi Fan Tutte; 01 BBC contract for Idomeneo; Programme for ‘Four Mozart Concerts’ at The Royal Festival Hall; Invitation to a concert performance of Mozart’s ‘Il Re Pastore’; 02 x copies of an account of a BBC meeting]
Frank Anderson, BBC, 16 July 1952 writes “I think this was because one’s eye was considered almost as much as one’s ear, which I see…is one of Mr Christie’s main aims…I did appreciate seeing the opera in such delightful surroundings. I also enjoyed my excellent dinner and my walk after in the gardens in the pleasant summer evening.”
BBC, Engagement for Glyndebourne Chorus (08 letters, 03 documents)
[02 schedules on thin blue paper; Provisional Reservation of Services]
Folder 4
C
Fernanda Cadoni (15 letters)
[Some of this correspondence is written in Italian. There are also some letters relating to Fernanda Cadoni written to and from Olivia Bromley Martin]
Caledonian Hotel, Edinburgh (11 letters)
John Cameron (02 letters)
J.M.Candy (01 letter)
Cannes Municipal Casino, Monsieur de Valmalete (02 letters)
[01 letter is written in French]
Moran Caplat writes, 23 October 1951, “Glyndebourne’s tradition, if I may remind you of something which no doubt you already know very well, is founded on the production of operas with an international cast in the original language of the opera and with the most scrupulous attention to artistic integrity. Although Glyndebourne Opera is one of the most outstanding contributions of Great Britain to Europe’s artistic life, it does not specialise in English operas or operas sung in English, unless that happens to be the language in which the opera was originally composed.”
Angel Hotel, Cardiff (02 letters)
Carfax Hire Service (04 letters)
Joseph Carl (01 letter)
Carl Rosa Opera Co. (07 letters)
C.Cassy (01 letter)
Catering (03 documents)
[Documents = Notice about ‘Catering on Days of Public Dress Rehearsals and Performances'; Notice concerning ‘Catering on Days of Public Dress Rehearsals and Performances'; Notice about ‘Boarding Allowance at Glyndebourne’]
Centropa Concert Organisation (04 letters)
Centre European de la Culture (02 letters, 04 documents)
[Documents = Minutes of a meeting on 4-5 December which are written in French; Document about ‘The creation of the European Association of Music Festivals' + 02 copies of a translation]
Robin Chichester-Clark, Press Officer (08 letters)
John and Audrey Christie (11 letters)
[These letters provide John and Audrey with regular updates about everything happening at Glyndebourne]
Moran Caplat writes, 11 June 1952, “On the whole things are going well but we have got to that stage where tempers get a bit thin. There was, for instance, quite a nice little flare-up this morning because Ebert started producing in the middle of one of Gui’s orchestral rehearsals.”
Moran Caplat writes, 24 June 1952, “Ebert is working well but (and this may be a good thing, I don’t know) does not seem to have anything to add or change in his production which now dates from a good many years ago. Gui is not very happy as in every day’s rehearsals he finds he disagrees fundamentally more and more with what he considers to be a German approach to Verdi. However, he tells me that he realises that this is one of Ebert’s greatest achievements and he will not upset him. He is not really patient enough, however, to keep his feelings in complete control. Maybe all will be well when the orchestra gets going with the stage. I don’t want to exaggerate the differences., They are there but at the moment not apparent to anyone but the most inside observer, I think.”
Moran Caplat writes to John Christie, 19 July 1952, “ …I feel I must write if only to say again how much you are missed and how often I and everybody else enquire after you. Here we are on almost the last day of the Season, the first Season of which you have heard hardly a note.”
Christmas Gift Vouchers (11 letters)
John Claridge (02 letters)
Josephine Clegg (04 letters)
[Re: The Glyndebourne Festival Programme Book]
Cloakroom (09 letters)
Thomas Cook & Son (04 letters, 02 documents)
[Documents = Brochure for Thomas Cook; Glyndebourne advert with Thomas Cook]
Reggie Cornish (11 letters)
Michael Cott (02 letters)
Covent Garden, The Royal Opera House (21 letters, 03 documents)
[Documents = 03 copies of Royal Opera House programmes for 1952]
James Cox (01 letter)
Douglas Craig, The Arts Council of Great Britain, Touring Manager (09 letters)
Joan Cross, The Opera School (02 letters)
Cuts in Music (01 document)
[Document = 02 pages of cuts for La Cenerentola]
Folder 5
D
Frances Dakyns (03 letters)
Moran Caplat writes, 24 May 1952, “Of course you know that as Glyndebourne’s oldest friend you are always welcome here and we shall always be glad to see you and be grateful for your help.”
Frederick Dalberg (03 letters)
June Dandridge (08 letters)
Henry Davis (02 letters)
Marina de Gabarain (13 letters)
Dean & Dawson (02 letters)
R.E.Dennison (05 letters)
Alfred Denville (03 letters)
[01 letter is addressed to John Christie]
Peter Diamand, Holland Festival (18 letters)
Dinley Rehearsal Studios (10 letters)
Thea Dispeker (14 letters)
Dorothy Dow (11 letters)
Colonel Eric Dunstan (07 letters)
E
Eaton Press Limited (02 letters)
East Sussex County Council (02 letters)
East Sussex Education Committee (01 letter)
Peter Ebert, Assistant Producer 1952 Glyndebourne Festival (05 letters)
Edinburgh Festival Society (39 letters)
Alison Edwards, Wardrobe & Property Assistant (01 letter)
W.E.Edwards (21 letters)
Emerson Mills Ltd (05 letters)
English Opera Group, Basil Douglas (02 letters)
Dezso Ernster (20 letters)
Estate Office (08 letters)
Folder 6
F
The Favil Press Ltd (36 letters)
Flinn & Son Ltd (02 letters)
David Franklin (01 letter)
Box 2
Folder 7
G
Erna Gal (09 letters)
Dr Hans Gal (02 letters)
Messrs Gamba (01 letter)
Ghiringhelli, La Scala Milan (02 letters)
Alfonso Gibilaro (07 letters)
Tom Goff (05 letters)
Berthold Goldschmidt (01 letter)
Leon Goossens (02 letters)
Gore Hotel (01 letter)
Jock Gough (03 letters)
The Gramphone Company (25 letters, 01 document)
[Document = Article about Glyndebourne for potential publication in the Victor magazine]
Moran Caplat writes on page 3 of the article, “Glyndebourne has widened its scope in the years since the war with its visits to the Edinburgh Festival and with such artistic triumphs as ‘Ariadne auf Naxos’ in 1950 and ‘La Forza del Destino’ in 1951 and its scope may become wider yet if, as hoped, the opera visits the United States in 1952. But it is from its home in Sussex that the Glyndebourne tradition will always derive and that the perfection of its performances are conceived and executed.”
[Letter of 17 October also includes notes on the designs of Oliver Messel for Idomeneo]
Pauline Grant, Choreographer (12 letters)
Guy Gravett, Photographer (05 letters)
Vittorio Gui (63 letters)
[Some of this correspondence is written in Italian]
[Letters of 06 December 1951, 05 & 10 January 1952 are addressed to both Maestro Gui and Professor Ebert]
Moran Caplat writes, 02 May 1952, “This is to introduce to you Mr and Mrs Mikki Sekers…They are not only charming people and personal friends of ours but some of the best friends that Glyndebourne has ever had. Mr. Sekers designs and makes the most beautiful silk materials and all our new dresses for the opera are made of material presented by him. In addition, to that, he has done more than any other person to promote the new Glyndebourne Festival Society and the scheme for encouraging industry to support us.”
Folder 8
H
John Hamilton (03 letters)
Hamsey House (01 letter)
Harland & Son Ltd, Printed the Glyndebourne tickets (04 letters)
Frank Harvey, Gardener (03 letters)
[01 letter is addressed to John Christie]
Thomas Hemsley (01 letter)
Roy Henderson (04 letters)
H.G.Herrington (02 letters)
David Hobman (02 letters)
[01 letter is addressed to John Christie]
Alec Hodson Ltd, Harpsichord maker (13 letters, 01 document)
[Document = Notes on the Regulation of Clavichords, Harpsichords and Virginals]
J.Hogg (01 letter)
Horton Manufacturing Co. Ltd (04 letters)
Frank Howes, The Times (10 letters)
Re: Howes writing an article about Idomeneo for the first programme book in 1952] The programme book is described by Moran Caplat in his letter of 09 January 1952 as being “along the lines (somewhat improved I hope) of the Aix-en-Provence Book…”
Hunt, Barnard & Co Ltd, Printer of the first Programme Book (09 letters, 02 documents)
[Documents = Draft of a ‘Coronation Year Announcement’ leaflet; Details about the printing of the leaflet]
Sol Hurok (09 letters)
[Re: Future Glyndebourne performances in Paris and the USA]
Moran Caplat writes, 13 November 1951, “The tragic death of Dr. Busch of course alters our plans, but Glyndebourne is too well established for it to fall apart now, any more than it fell apart on the departure of Mr. Bing.”
Leslie Hurry, Designer (02 letters)
Dynely Hussey (09 letters)
[Re: Hussey writing an article about Macbeth for the first programme book in 1952]
I
Ibbs & Tillett (04 letters)
Incorporated Society of Musicians (07 letters)
Ingpen & Williams (11 letters)
International Music Association (02 letters)
J
Bert Jackson (03 letters)
[01 letter is addressed to Jock Gough]
Horace Jackson & Sons (10 letters, 01 document)
[Document = List of ‘Pianos at Glyndebourne, Summer 1951', with handwritten notes and annotations by Audrey Christie and Moran Caplat]
James Johnston (05 letters)
Sena Jurinac (16 letters)
K
Dr Alfred Kalmus (01 letter)
[This letter is written in German]
Norman Kay (01 letter)
John Kentish (03 letters)
Robert Keys (02 letters)
Maria Kinasiewicz (02 letters)
[01 letter is written in German and probably by Ellen Morgenthau]
King’s Theatre (01 letter)
Erich Kunz (01 letter)
Folder 9
L
Ministry of Labour (18 letters)
[Contains the work permit applications for Sesto Bruscantini, Fernanda Cadoni, Carl Ebert, Dezso Ernester, Vittorio Gui, Alda Noni and Romeo Olivieri. Also contains professional histories for Dezso Ennster and Dorothy Dow]
Stewart Lack (05 letters)
Lewes Music Festival (09 documents)
[Documents = Copies of Meeting Minutes; An entry form; Programme for the choirs]
Richard Lewis (02 letters)
Spedan and Beatrice Lewis (09 letters)
Moran Caplat writes, 08 February 1952, “The Festival Society has begun very well and the membership in the three categories is most encouraging.”
Moran Caplat writes, 26 June 1952, “We are indeed hopeful that the effort stemming from your initial suggestion and initiative will succeed in establishing Glyndebourne as permanently as any such institution can be established in these days. Every sign points to the success of our efforts in this direction, and it is inspiring to us to have the [John Lewis] Partnership not only as a friend and invaluable helper but as an example of what can be done in a different field to adapt private ownership to modern conditions.”
I’Italiana in Algeri (01 document)
[Document = Breakdown of the opera]
Dr O.W.Loeb (03 letters)
[Re: Champagne for the first nights]
The London Model House Group (04 letters, 02 documents)
[Documents = Confidential notes about Glyndebourne staging a semi-private Gala of La Cenerentola; Confidential notes about a ‘Proposed Gala Performance for London Model House Group during London Fashion Fornight']
The London Name Plate Manufacturing Co. Ltd (05 letters)
The London Office (05 letters)
The London Opera Club (06 letters, 03 documents)
[Documents = Publicity pamphlet about the London Opera Club; Information sheet about The London Opera Club Annual Dinner 1952; The London Opera Club Constitution and Rules; Civic Arts Week documents 1949/1950]
London Press Exchange (02 letters)
Lost Property (08 letters)
Ruth Lynam (03 letters)
M
Frederick Mancini, Sculptor (10 letters)
[Re: The bronze memorial of Fritz Busch at Glyndebourne]
Pauline Maule (04 letters)
Oliver Messel (11 letters, 02 documents)
[Documents = Invoices]
[Some of the correspondence is written to and from Vagn Riis Hansen]
Miscellaneous (05 letters)
[These letters mainly relate to the post-war catering arrangements]
Peter Moores, Littlewoods (11 letters)
Jack Morris, Honorary Fire Officer (07 letters, 02 documents)
[Documents = Fire safety plans for the house and stage]
Mr Morris died in the summer of 1952. Moran Caplat writes, 07 August 1952 “His help and loyal support of Glyndebourne were always given so completely and so willingly, and he was very much one of the family here.”
Music Parade, Magazine of Musical Britain (02 letters, with a publicity document for ‘Voices of the Opera’ by Frank Granville Barker which is mentioned in a letter)
“Music” (01 letter)
The Music Review, Geoffrey Sharp (08 letters)
Angus Mcbean, Photographer (03 letters)
Folder 10
N
National Car Parks (07 letters)
National Concert & Artists Corporation (02 letters)
Caspar Neher (20 letters)
[Much of this correspondence is written in German, with some English translations provided by Ellen Morgenthau, a member of the Glyndebourne staff]
Alda Noni (20 letters)
[Much of this correspondence is written in Italian, with some English translations]
Nuthalls, Caterers (07 letters, 03 documents)
[Documents = 02 documents concerning catering arrangements; Application for dinner or supper reservations]
O
Kathleen O’Farrall (01 letter, 01 document)
[Document = Request for a reference from British Home Stores]
The Old Times Furnishing Co (03 letters)
Romeo Olivieri (06 letters)
Juan Oncina (02 letters)
Opera (10 letters, 04 documents)
[Documents = Proofs for advertisements]
Opera News (04 letters)
[The letter of 17 March references the first edition of the Festival Programme Book]
Hans Oppenheim (01 letter)
Organisation Artistique Internationale (03 letters)
[Re: Glyndebourne possibly performing in Amsterdam, Brussels, Copenhagen, Paris and USA]
Moran Caplat writes, 13 November 1951, “[the] main source of backing for our visit to America has not materialised…”
Folder 11
P
C.H.Patrick (05 letters)
[Includes correspondence with Lady Boughay of Glynde Combe]
Maria Pedrini (03 letters)
[Some of this correspondence is written in French]
Moran Caplat writes, 23 January 1952, “Fees are generally lower than those prevailing in Italy…If…you sing the part [Lady Macbeth] at Glyndebourne you will no doubt appreciate that you could not possibly have a better opportunity of introduction to British audiences…the artistic atmosphere of work at Glyndebourne gives great satisfaction to all those artists, of whom I am sure you are one, who enjoy really careful preparation of every part of a performance.”
Mirto Picchi (04 letters)
John Piper, Designer (01 letter)
Moran Caplat writes, 25 October 1951, “Our plans for next year have been a bit shot about by the really sudden loss of Fritz Busch, and I cannot quite say yet how things will work out or what repertory we shall choose.”
He continues, “I am still anxious to keep in touch with Osbert Lancaster in case there is any chance of our doing a light opera next year with him. This is an idea which I have not yet discussed with anyone, and it if should come off I would anxious to have the right examples of O.Lancaster’s work to put before Ebert and others who, if they know him at all, will probably only know him as a caricaturist.”
Dr Alfred and Helene Poell (03 documents)
Robert Ponsoby (19 letters, 02 documents)
[Documents = Draft of a new leaflet for the Festival Society; Draft of a leaflet about arrangements at Glyndebourne and the Coronation]
Police (02 documents)
John Pritchard (10 letters)
L.Protheroe Smith (03 letters)
Publicity - Concerts (23 letters with some proofs attached)
Publicity (13 letters with some proofs attached)
Folder 12
R
Railway Executive (22 letters)
Dr Rennert (03 letters)
G.Ricordi & Co, Music Publishers (03 letters)
Ringmer Building Works (20 letters)
Ringmer Motor Works Ltd (11 letters, 01 document)
[Document = Sketch drawing for a ‘Proposed new orchestra stands for Glyndebourne Productions’]
K.G.Ritherden (02 letters)
[Re: Making a model of the Glyndebourne stage]
Rossini Operas (06 documents)
[Documents = Notes on L’Italiana in Algeri]
Marko Rothmuller (09 letters, 02 documents)
[Documents = Copy of a review in the Western Mail & South Wales News; Newspaper clipping from an unknown publication]
[Some of this correspondence is between Marko Rothmuller and Janet Moores]
The Royal Philharmonic Orchestra (20 letters, 01 documents)
[Documents = ‘Personnel List’ of orchestra members]
Box 3
Folder 13
S
Sadler’s Wells (06 letters, 03 documents]
[Documents = 03 copies of Sadler’s Wells programmes for the 1951 - 1953 seasons]
Samson Menzies Ltd, Insurance brokers (02 letters)
Savitiri (02 letters)
Schott & Co, Music publishers (02 letters)
Elisabeth Schwarzkopf (01 letter)
Scottish Daily Record (01 document)
[Newspaper clipping from the Daily Record 23 June 1952]
Brian Seaton, Assistant in the wardrobe and property department (01 letter)
Nicholas Thomas “Miki” Sekers (19 letters)
[Some of this correspondence is concerned with the first Festival Programme Book]
Moran Caplat writes, 29 April 1952 “If only Rossini had known about you, he would certainly have written the part of Alidoro in “La Cenerentola” rather differently. Nobody is or could be as good as you are at producing all the right things and all the right people at the same time.”
Desmond Shawe-Taylor (13 letters)
[Re: Desmond’s article about “La Cenerentola” for the first programme book]
Mary Shore (02 letters)
Maurits Sillem, Musical Staff (14 letters)
Giulietta Simionato (03 letters)
Leopold Simoneau (24 letters)
Hon. James Smith (03 letters)
Smith Dalby Welch (08 letters)
Georg Solti, Conductor (01 letter)
Moran Caplat writes, 29 November 1951, “As you know, our plans for 1952 are complete, but I very much hope that there may be some opportunity of collaborating with you in the future.”
Southdown Motor Services (03 letters)
Southover Manor School (03 letters)
Edward H Sparrow, Tailor and Costumier (05 letters)
Agnes Spetzler (03 letters)
[01 letter is written in German and addressed to Audrey Christie. 01 letter is written to Moran Caplat from Audrey Christie]
Stage Play Licence (05 letters, 01 document)
[Document = ‘The Rules Within Referred To’]
Statsradiofonien Copenhagen (02 letters)
William L. Stein Inc (11 letters)
James Strachey (09 letters)
(Re: Commissioning Strachey to write an article about Fritz Busch for the first Programme Book)
The Strand Electric and Engineering Company (12 letters)
Jani Strasser (17 letters, 01 document)
[Document = Programme of Poetry, Song and Dance at The Old Vic School]
Sussex Express and County Herald (05 letters)
Sussex Rural Community Council (02 letters)
[01 letter is addressed to John Christie]
Folder 14
T
Telephones (04 letters)
Tempo (02 letters)
The Theatrical Managers’ Association (24 letters, 04 documents)
[Documents = Agreement between the BBC and The Theatres’ National Committee; Tenth Annual Report of the Provincial Theatre Council; Report of the Council of Management of the Association; New ‘Getting-Down’ and ‘Getting-Out’ Agreement]
Blanche Thebom (01 letter)
Madame Denise Tual (01 letter)
Moran Caplat writes, 26 October 1951, “Glyndebourne is very interested in the possibility of visiting Paris, and I am at the moment in correspondence with Mr. Sol Hurok’s Paris representative…to explore the possibilities of a joint visit to Paris and Cannes in March or April next year.”
Norman Tucker, Sadler’s Wells (04 letters)
John Turner (04 letters)
[01 letter is addressed to Professor Ebert]
Mrs Turner Inman (02 letters)
V
Wilfrid van Wyck (07 letters)
(Re: Marina de Gabarain)
Rosemary Vercoe, Head of Costume (03 letters)
W
Judy Waddington (02 letters)
Ian Wallace (05 letters)
[Includes a letter addressed to Richard Stone, Messrs. De Wolfe & Stone]
Wardrobe (24 letters)
Patricia Whessell (01 letter)
Dennis Wicks (04 letters)
Howard Wicks (09 letters)
Lord Wilmot (01 letter)
Moran Caplat writes, 15 September 1951, “The very sad loss of Fritz Busch will of course mean re-arrangements in our organisation, but although we shall miss him we shall not allow his absence to stop the work or lower the standard.”
Hamish Wilson, Designer (04 letters)
Alice Winch (03 letters)
Frank Winter (01 letter)
H.Harvey Wood, The British Council (03 letters)
[Re: The origins of the Edinburgh International Festival]
Harvey Wood writes, 29 December 1951, “The idea of an International Festival to be held in Great Britain was proposed by Bing to me at a lunch in London in late 1944. The idea that it should be held in Edinburgh was at the same time proposed by me to Bing.”
He continues, “The true facts of the matter are therefore that the Edinburgh International Festival was promoted, not by Glyndebourne but the Edinburgh Festival Society which was somewhat unwillingly brought into being by the City of Edinburgh and later accorded financial support by the Arts Council of Great Britain and moral support (in my own person) by the British Council.”
Moran Caplat writes, 03 January 1952, “The proposal Bing made to you at lunch in London came from Glyndebourne with Glyndebourne’s knowledge and approval, and the first and subsequent Edinburgh Festivals used Glyndebourne as an Organising Centre. The word “promoted” is capable of several shades of meaning, and in the absence of a detailed explanation I think it is wrongly used in this connection in this memorandum. Nobody, least of all Glyndebourne, wishes to deprive anybody else of their just recognition in this connection, but it has seemed to Glyndebourne that (perhaps because it is a disembodied name and not a single personal name) it has had less than due recognition in some quarters. You will see in our memorandum that we have only stated that we promoted the idea of an International Festival at Edinburgh and not the Festival itself. This, I think, is a perfectly true statement, and nothing in your story goes to disprove it.”
Harvey Wood writes, 11 January 1952, “Yours is a loyal and resourceful letter such as I should have expected from you.”
Roger Wood, Photographer (05 letters)
Kathleen Woolmore (01 letter)
Y
Alexander Young, Tenor (09 letters)
Folder 15
Correspondence relating to a proposed trip to Scandinavia in 1952
The British Council, Sir Ronald Adam (02 letters)
[The letters are written to and from John Christie]
Sir Adam writes, 27 February 1952, “Quite apart from the fact that we could not justify the support of the despatch of German or Italian opera to any country, we are not in a financial position to do so. The cuts recently imposed upon us have reduced the amount of money we can allot to drama and music tours abroad to a mere fraction of what it was in previous years, and our commitments are many.”
John Christie writes, 28 February 1952, “But your comment on German and Italian opera I think condemns the British Council and you. In other words I have been wrong in building my work here on Italian and German opera - that such opera has nothing to do with this Country. But Art knows no frontiers and so is an Ambassador - but not for England! I don’t accept this judgement. I am not concerned with your finance. Your job depends on what England is. If we achieve nothing in this Country you have no job to do. We have achieved something - if you like because the others are so bad - then you argue that you are not concerned. Your letter might have been written by the War Office. We have given you something to use - to keep you alive. If I cannot get the money to do my work, it is my fault. It means that I am not big enough to get it. The same argument applies to you. Now where are we? It will be a pity if you have already told our Ambassadors that Glyndebourne is not of interest to the British Council and that of course the British Council cannot help Glyndebourne because it works in German and Italian opera. In the past British composers have had no opera house to write for, and no British experts to collaborate with. We gave Britten substantial help in the last few years.
Your letter gives me ammunition for my crusade. My team will not be daunted.”
The British Embassy, Denmark (11 letters)
The British Embassy, Norway (04 letters)
The British Embassy, Sweden (08 letters)
The British Legation, Finland (06 letters)
Copenhagen Theatre (11 letters)
Danish Embassy (08 letters)
Goteborg Theatre (03 letters)
Helsinki Theatre (03 letters)
Malmo Theatre (03 letters)
Oslo Theatre (04 letters)
Count Scheel (21 letters)
Stockholm Theatre (04 letters)
Postcard from an unidentified correspondent in Stockholm (01 letter)
Folder 16
Correspondence relating to the BBC broadcast of Macbeth in 1952
Letters to and from -
F.C.K.Anderson, BBC Outside Broadcast Manager
George Barnes, BBC Director of Television Broadcasting
Holland Bennett, BBC Television Booking Manager
Bush Bailey, Assistant to Television Booking Manager
John Carolan, Glyndebourne
Norman Carrell, BBC
R.G.Chapman, BBC House Superintendent
John Clifford, Glyndebourne
Mary Davenport, Glyndebourne
George Foa, BBC
Gwyn Griffiths, Glyndebourne
James Hartley, BBC Music Organiser
John Hoban, Glyndebourne
Len Jones, Glyndebourne
B.Lamb, BBC Studio Executive
Cecil McGivern, BBC Controller of Television Programmes
Graham Offord, Glyndebourne
W.D.Richardson, BBC Engineer in Charge of Outside Broadcasts
Charles Rowley, Glyndebourne
W.Streeton, BBC Head of Programme Contracts
Miss Valentine, Anglo American Music Association
Harold Wicks, Glyndebourne
Kenneth Wright, BBC
51 letters
Documents -
Copy of an invitation card
Seating allocation for Stalls and Balcony
Television tickets
Assignment of dressing rooms
Minutes of a meeting held at Glyndebourne, 19 May 1952
Continuity Sheet
Folder 17
General
Loosely grouped into -
Allocation of press seats and dressing rooms (05 documents)
Cast lists and contracts (07 documents)
Schedules (08 documents)
Misc (01 document) - Content language
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English
French
Italian
German - Content other
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Der Rosenkavalier
Macbeth
Idomeneo
Così fan tutte
La Cenerentola
