12th Sept 1967 (probably) - Audition

Undated, as usual, but postmarked the 12^th. A Tuesday.

Well, dear old mother, Things are slowly sifting along. Today was A-DAY (audition day) and Crowl duly went along. But let me start from the beginning.

John Hammond

This morning I woke up feeling just a trifle panicky about not having been able to do any practice for nearly a week, so rather than do it blind and practice on the bench-top in my room (which I tried!) I scouted round to see if I could get a studio. Well, I looked through all the likely places in the Pink pages, and finished up ringing Palings, a big music store. I knew from passing that they were a large place, but they didn’t have any now, so I was probably a few years too late! However, they suggested (at my request) ringing the Conservatorium, but they couldn’t help either. They suggested Ricordi’s, who did have one. So I screamed in and booked it. They’re on the 5^th floor on a place in Pitt St, and like the Chess Club building it’s a very old (and slightly sleazy) place. But they had a piano! So I John Hammond (who apparently played correspondence chess with Dad quite a bit). In spite of the name, he’s some sort of European (a ‘semi-millionaire’ according to Cecil) and anyway, he very kindly gave me the name of a guy who is very up in the music world, with his (Hammond’s) card. So!
walked fairly solidly (in about 150 degrees heat) and then went and had lunch with Cecil and a friend of his,

Next, (after another free lunch!) I returned to K.C., and spent the next half-hour or so getting nervously ready, (including pressing my suit pants!) Actually, at that stage I wasn’t greatly concerned about anything; the music had gone all right at the practice, so I wasn’t very worried. BUT!, I soon got to be! Anyway, I got round to the Trust (about 10 minutes’ walk) and found my way to Mr Oxenbold (who turned out to be much younger than expected) and he directed me to a studio. By this time I didn’t feel like practising, but I warmed up (ha! ha!) a bit and fiddled about till they came for me. [This may have been Moffatt Oxenbould, later the artistic director of Opera Australia.]

Three men in long, tall suits arrived – Mr Hall, Mr Bynel, and Mr King.  (The first two are producers) (the other a not very good conductor – according to Anne). They asked me to play something I was comfortable in (!) and so I whipped into the Beethoven. But I don’t think it was terribly inspired. Anyway, they stopped me before (after some effort) I’d finished it and plunked three horrible scores down in front of me – in quick succession. First Trovatore, a snaky soprano area which I started, and was asked to take faster! Well, I ploughed thru that. Then, (ho! ho!) (but I didn’t tell them till after that I knew it) Fledermaus. The Czardas, to be precise, which I also had to start again, because I played an incorrect note that I seem to recall playing for a while back in ’66! Then, ugh, ugh, the most fiendishly fast baritone aria that Mozart ever wrote, from Giovanni – Presto (multissimo) (it might as well be) – well, we didn’t get on too well (like the Trovatore, I already had a fair idea how it went) but we finished it; it’s a louse. (The baritone in NZ sang it in Italian because he couldn’t manage it in English!) Don’t suppose that would have mattered anyway. [This was toured in 1965, if I have my facts right, along with Trovatore. I ushered at His Majesty’s for at least one performance. Coincidentally, as I retype this, I’m just working my way through the score of Don Giovanni, including that notorious Presto, in preparation for Opera Otago’s production in August 2018.] 

Well, after that, they walked and left me to gather up my shattered nerves! (Sorry about all the “!”s, but life’s full of them just now!) BUT, Stephen Hall said he’d like to see me in about half an hour’s time, so I went and had some coffee, not really caring what the outcome was, but slowly gathering back my calm! One hour later I finally got hold of him again, and he was surprisingly encouraging.

He reckoned that I’d got ‘quite a lot of talent’!!!!!! So I modestly said, ‘Yes, I knew that already,’ ‘what else is new?’[I’m not even sure whether this is a joke, but I hope it is.] Anyway, after a small chat, (wherein he took down quite a few details) he asked me if I’d come back in a couple of days, when he’ll get some others to hear me – so, that seems to be reasonable. He sez it’s unlikely that I’d get any work until next year (which I’d expected) but he reckons that there’s limitless opportunities for coaches if wanted, and all in all he was quite nice, in spite of the fiasco. He reckoned, in fact, that I coped fairly well with the music, because I didn’t take one look at it and go – ‘Oooh!’ (I didn’t tell him I probably would have if they’d given me something I didn’t know.)

So, since then I’ve rung the Conservatorium, and they suggest coming along and seeing them about accompanying the teachers. IF (I said ‘if’) I can get work (I’ve still to try the Rockdale and State Opera Cos) both of which should be paying propositions!) I might stay here – you wouldn’t object too strongly would yuh! I’d miss you too, terribly, but it might have to be. If I did stay, I’d see, say the priests at St Mary’s and see (or even St C…) if they could get, or knew of, some board, or even a decent flat, I could share. (I don’t think I’d like to live alone too long!)

Sooooo! We’ll see what happens, and I’ll keep in touch! By the way, I got a letter from YOU today – sorry about the car – but it’s nice to see you still love me!

LATER Went to see Flying Dutchman tonite – percussion box practically empty – so sat there. [This was because I’d played with a number of the members of this orch in NZ, and the percussionist and I were good friends: so he gave me free access to the performances.] Very dreary production – hardly any attempt made at acting by the principals, but singing great. Orchestra very weak throughout, particularly the horns and brass. Quite effective lighting – 1 and 3 acts (on boat and wharf) done behind a gauze cloth, which gave it all a misty effect. Krug came into the box during the 3^rd act – and had a wee chat.

Love Mike

9.9.67 Being a tourist

9.9.67

I’m sitting right opposite the Harbour Bridge which is 60 times more striking than I ever thought it was in pictures. And the sea’s a blaze of blue – it’s fabulous. There’s a little ferry going past – they really travel, those things; and a couple of trains have just gone over the bridge – what a racket they make! It must be something to do with the atmosphere – but every time I hear one go over, I think it’s a jet flying above – funny, isn’t it? There’s boats and ferries and hovercrafts galore (and yachts).

To my right is the Opera House – it really will be magnificent, if they ever finish it. I’m going round to see if I can get a closer look, in a minute.

Conservatorium of Music courtesy Wikicommons
How did I fail to mention that it looked like a castle?

To my left is a massive grey and blue-black building – must be about 15 storeys and there’s a couple more further along. (I’m in the Botanical Gardens – which seem to go on forever.) Everywhere there’s people taking photos of other people standing in front of things. Government House is over behind me – it looks rather like ‘Manderley’ in Rebecca and the Con (Conservatorium of Music) is further back. It’s a lovely white place with lots of square turrets. (Gov House has got round ones!)

The little black and white friend has just gone past again and there’s some sort of large (very) motorboat tugging by just now.

It’s a terrific day (Not Too Hot) but a little cold in the shade.

I started to move off to see the Opera H and discovered me shoes were untied – I’d forgotten. Wonder how many steps I’ve taken in the last few days.

The Opera House gets bigger and bigger. There’s a little observation hut with scale models etc, and it’s going to be some mighty place. The steps up the front (which are partly completed) seem to go in every direction for yards and if you think the building is large you should see the crane in front – it’s a whopper. I’d really like to see this place when it’s finished.

Blackman's Angry Young Girl
courtesy Art Gallery of NSW

LATER. Waffled round in the garden (which seems to go on forever) (- I certainly didn’t go from one end to the other ) for quite a while, then discovered the Art Gallery, which, in spite of Cecil P’s remarks, is definitely better than anything I’ve ever seen. He reckoned it wasn’t a patch on Melbourne’s. anyway, I had a good look around there and it’s got some marvellous stuff – a Millais, Henry Moores, Rembrandt sketches – all the things a gallery should have. It’s even got the original of Chaucer reading to…? (someone or other) [Chaucer at the court of Edward III by Ford Madox Ford] which I seem to recall is in in one of the Wonderland of Knowledges. [A set of encyclopedias which had long had a place in our home.] It’s a massive painting – indeed many of them are – huge! There are two quite hilarious ones: The Angry Little Girl who has a face quite screwed up with annoy (it’s a modern one) and another – a portrait of some Australian VIP lady. She’s – well in this shape. [A diagram was scribbled on the page. The Angry Young Girl is by Charles Blackman. Can’t identify the other.] sort of all elongated towards the top – almost a triangle in human shape. I wonder how she liked it? I’m at the pictures, just waiting for it to start. I notice Sound of M is in its 3^rd year and Dr Z in his 2^nd!

LATER AGAIN. Film was very good – very well acted. Went and had tea in the restaurant where Cecil and I went the other day. An old (I think he looked older than he was) chap sat in the same booth as me – and acted, or at least spoke as if he was drunk, yet didn’t smell drunk at all. We had quite a wee chat, anyway, when he wasn’t apologising to me for interrupting, or being there, or living!

That’s about it. I’m going to try and have an early night – I’ve woken up very tired every day so far! Caught Mass at St Mary’s when I dropped in for a visit today – they’d only just started, so I thought I might as well stay.

See ya, love, Mike