Walter Widdop (1892-1949) was an English tenor who made his mark on the opera, oratorio and concerts worlds during his quarter century career. Born in Yorkshire, the future tenor began working in the local wool mill (and later the dye works) at the age of 12. When Widdop’s voice started to develop, a coworker advised the 18 year old (who enjoyed singing on the job) to pursue singing. After a few years with a local chorus, Widdop began working with esteemed pedagogue Arthur Hinchcliffe, developing his raw talent into an accomplished technique. Although Widdop found himself in uniform at the outbreak of the war, he served his hitch in the familiar surroundings of Yorkshire. This allowed him to continue not only his studies, but to seek singing engagements. One of these, a Christmas Eve 1916 Messiah with the Huddersfield Permanent Orchestra, brought the tenor his first review. A local critic wrote, “Mr. Walter Widdop had the full programme of tenor recits. and airs, and he sang admirably.” Widdop also won many singing competitions during this period, earning a respectable amount of cash for his efforts.

After the war, Widdop continued his singing engagements, all the while toiling away at the dye works. In 1922 he auditioned for the British National Opera Company. Music director Percy Pitt didn’t care much for Widdop, but bass Norman Allin encouraged the tenor to study in London. With not much more than a dream and a prayer, Widdop and his wife sold everything they owned to raise funds and set out for the English capitol. The tenor spent a year of study that included working with baritone Dinh Gilly, as well as diction lessons to rid himself of his Yorkshire accent. Although helpful, the period of study had left the Widdops practically penniless. With Norman Allin’s assistance, Widdop arranged a second audition before Percy Pitt. The 31 year old tenor’s year of study must have paid off, for he was contracted by the BNOC. His operatic debut occurred on October 5, 1923 as Radames in Aïda during a company tour in Leeds. Widdop spent the rest of the tour alternating between Radames and Samson, receiving glowing reviews in the process.

Just three months after his debut, Widdop made his first appearance on a major international stage, London’s Covent Garden, under the auspices of BNOC. The role was Siegfried and, although the opera had to be cut short (soprano Florence Austral was not able to appear for the final act), the audience response to the tenor was rapturous. Widdop’s career would take off quickly after his London debut, with appearances throughout Britain, as well as Spain, Portugal, Holland, Germany, the U.S. and Australia. The tenor also took advantage of the new medium of radio and was contracted by HMV for a series of successful recordings.

With the exception of the aforementioned appearances abroad, Widdop’s career was largely confined to the British Isles. That being said, his work in his homeland was impressive and historic. Widdop sang the British premieres of Berg’s Wozzeck in 1934 and Stravinsky’s Oedipus Rex in 1936. He was also one of four tenors to sing Vaughan Williams’ Serenade to Music at its premiere in 1938, and even played himself in the 1933 film “The Song You Gave Me”. Always a favorite of audiences and critics, Widdop continued his career throughout the 1940s. He toured with the Entertainments National Service Association during WWII, which included appearances in the U.S. and Canada.

In the years after the war, Widdop’s health began to fail. Despite his robust appearance, the tenor was often in poor condition, causing him to curtail his appearances. One of his final operatic performances was Parsifal at Royal Albert Hall in July of 1949. He returned to the Albert Hall on September 5 of that year to participate in a Proms concert. After singing Lohengrin’s farewell, the tenor returned to his dressing room, where he collapsed with a heart attack. He was taken to his home in Hampstead where he passed away the following day at the age of 57.

Although Walter Widdop was known primarily for singing Wagner and Handel (about as vocally far apart as one could get!), he had a rather diverse repertoire which included not only Siegfried, Tristan, Lohengrin, Tannhäuser, Siegmund in Die Walküre and Erik in Der Fliegende Holländer, but also Max in Der Freischütz, Don José in Carmen, and Canio in Pagliacci. His resume of oratorio, cantata and orchestral works was equally impressive, with appearances in Handel’s Messiah, Judas Maccabaeus, and Solomon, Haydn’s The Creation, Bach’s Mass in B minor, Verdi’s Requiem, Elgar’s The Kingdom, and Mahler’s Symphony no. 8. His recordings, made for HMV between 1925 and 1930, reveal a voice both powerful and lyrical, with impressive flexibility. In this recording, Widdop sings “Yes! Let Me Like a Soldier Fall” from Wallace’s Maritana. This was recorded in London for HMV on January 23, 1930 under the baton of Lawrance Collingwood.

свернуть