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Muriel Harding comes from Cambridge, and first joined the D'Oyly Carte Opera Company in July 1946 as a chorister. By September she was already playing small parts - Lady Ella in "Patience" and Kate in "The Yeomen of the Guard". Indeed, even before this she successfully deputised for Helen Roberts - then the established dramatic soprano - in "The Yeomen of the Guard" at the King's, Hammersmith. I remember this well, for she immediately impressed as one of the loveliest soprano singers who had appeared for the Company.
During her first three years she added the roles of Plaintiff, which she sang very well, and Zorah in "Ruddigore". Up to July 1948 the soprano parts were shared by Helen Roberts and Margaret Mitchell - both fine artists. The former left at this point, whereupon Muriel began to understudy the parts of Josephine, Mabel, Elsie Maynard, and Gianetta.
By August 1949 she had taken over these roles and was principal dramatic soprano. She also continued to sing Ella until September 1951, when, after the departure of Martyn Green, Ella Halman, and Radley Flynn, a number of cast rearrangements were made. Muriel, by this time established, was not greatly affected, but she dropped Ella for the title role in "Patience".
In the autumn of 1954 she appeared for the first time in the post-war revival of "Princess Ida" at the Savoy, playing the part of Lady Psyche. At this point in her career she was sustaining six soprano roles.
The following year a new annual tour was begun in July, and during the course of this nine-month tour Muriel played the title role in "Princess Ida". This demanding soprano part had been sustained during the 1954 Savoy revival by Victoria Sladen, an importation from grand opera engaged for the Savoy season only; but, although a fine singer, she did not give universal satisfaction with her interpretation. Muriel Harding, however, played it very successfully. She was well equipped to do so, as she not only had a lovely voice but was technically near to perfection in G. and S. roles, while her warmth and friendliness of interpretation in both singing and acting made her highly suitable.
She toured the U.S.A. and Canada with the D'Oyly Carte Opera Company three times - in 1947-1948, in 1951, and again in 1955-1956 for seven months. The first time she was a small-part player, but on the last two occasions she was a principal.
I had the privilege of hearing her on two notable occasions before she became a principal, each time deputising for Helen Roberts, the second time being at Sadler's Wells as Josephine. I well remember thinking "Here is a great find for D'Oyly Carte", and I am sure the memory of her sympathetic interpretations will be long retained with admiration and affection.
Her last performance was as Princess Ida at Streatham Hill on April 21st, 1956; she has, however, recorded for Decca the parts of Plaintiff, Lady Ella, Josephine, Mabel, Elsie Maynard, and Gianetta. She was married to that great Savoyard Donald Adams.
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