|
|
 |
It was in April 1949 that Neville Griffiths made his debut for the D'Oyly Carte Opera Company as a chorister. This tour ended in July, and after the annual holiday he first began to play small parts. At first these were limited to First Yeoman and occasional substitutions as Frederic and Nanki-Poo. However, Thomas Round left the Company soon after Neville's arrival, and, despite the sterling work done as principal tenor by Leonard Osborn at this time, by August 1950 it was apparently felt that he needed more regular support; and Neville was promoted to sing Ralph Rackstraw, Frederic, and Nanki-Poo, while for the first time he got the opportunity to try his hand at Marco in "The Gondoliers".
It was not until September 1953, however, that Neville Griffiths finally relieved Leonard Osborn of the role of Marco. These four parts were to comprise his regular repertoire up to July 1958, when he left the Company to join the Sadler's Wells Opera Company, together with his wife Elizabeth Howarth, whom he met with D'Oyly Carte
Neville was a principal tenor for eight years - almost the whole of his D'Oyly Carte career. I first heard him in the role of Frederic in "The Pirates of Penzance", in which opera he played for some years opposite Muriel Harding. Somewhat short of stature and stocky of build, he was perhaps not ideally built for a "hero", yet he made up for this by the quality of his voice and considerable acting ability. He and Muriel Harding established an excellent understanding also in "H.M.S. Pinafore", in which Neville was a fine Ralph Rackstraw to one of the best Josephines of all time. in "The Gondoliers" he excelled as Marco, and gained many deserved plaudits for his rendering of "Take a Pair of Sparkling Eyes".
He and Alan Styler were a fine swashbuckling pair of gondoliers, and with Joyce Wright and Muriel Harding as the two contadine this particular quartet has seldom been stronger. In his fourth role, as Nanki-Poo in "The Mikado", Neville also gave the Company splendid service. His "A Wandering Minstrel I" was rendered in a strong resonant voice, pleasantly modulated, and he played successively opposite Margaret Mitchell, Tatiana Preston, and Cynthia Morey in this opera. The "kissing duet" with these artists was played with panache, while the Madrigal found him at his best and most delicate.
Yes, Neville Griffiths was a most worthy principal tenor - perhaps under-rated these days - and I have very happy memories of his performances. He recorded but little, but is to be heard on Decca as Leonard Meryll and First Yeoman on a 1950 disc, as the Duke in "Patience", and - his best recording - as Alexis in "The Sorcerer".
| Artist Index | Main Index |