40 Valerie Masterson

We are very excited that 2018 marks 50 years of our company performing in residence at the London Coliseum. On 21 August 1968 Sadler’s Wells Opera, which would become English National Opera six years later, performed Don Giovanni in our new home, the largest theatre in the West End. 50 years later, we are still committed to making great opera that is accessible to the widest and most diverse audiences.
To celebrate this milestone, we bring you our #50YearsofOpera video project, for which we are asking familiar faces from ENO’s past and present to share their favourite memories of the London Coliseum. For every week in 2018 you will have the chance to learn a little more about this wonderful building from those who have performed, worked, and attended countless performances here.
Follow ENO’s 50 Years project on social media at #50YearsOfOpera or go to ENO’s KZbin channel to find all of the memories in one playlist.
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About English National Opera:
English National Opera is founded on the belief that opera of the highest quality should be accessible to everyone.
Musical storytellers
At ENO opera is theatre; expressing drama through the unique combination of music, text, dance and design. We sing in English. We believe that singing in our own language connects the performers and the audiences to the drama on stage, and enhances the experience for all.
We collaborate across contemporary art forms, to reflect the growing diversity of our culture. And we take a fresh approach right across the repertoire, from baroque to contemporary, as well as commissioning new works as part of our commitment to the future of the art form.
Widening access
We bring our productions to the widest possible audience, whether at the London Coliseum, nationally or internationally. We make our work accessible by offering a large proportion of tickets at affordable prices, and by distributing it widely on screen and digital media.
We also aim to introduce completely new audiences to the magic of opera through stimulating and creative participation programmes.
Nurturing Creative talent
We are a national company of internationally recognised standard. We nurture talent across the entire company, whether on stage, backstage, or in the pit. We provide a platform for young singers to develop global careers.
We tell the world’s most timeless stories, unforgettably.
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[@HaydnGuite]

One of the best sopranos we've ever produced. She had an amazing technique when performing and you always knew you were in safe hands. Thanks Valerie

[@vwthings]

Voice of an angel!!!

[@ktrewin23]

My goddess. Such wonderful memories. ❤

[@marvincarlton2678]

One of my favorite sopranos!

[@karldelavigne8134]

What a lovely lady, and she was such a great coloratura soprano and probably the finest soprano the D'Oyly Carte Opera Company ever had.

[@johncrwarner]

My father's favourite Gilbert and Sullivan singer and her singing was hear at his funeral so nice to hear her speaking about her singing at the Colliseum.

[@iestynovich]

She was marvelous. Hoorah.

[@nornsnornsnorns]

Ahhh wonderful Valerie!!

[@jamesmurphy3265]

A marvellous singer. Loved seeing her in Mozart and Handel at ENO from the 70s onwards.

[@barneswriter]

Some great memories of Valerie... Her Violetta Cleopatra Gilda to name but three

[@Tenortalker]

Valerie Masterson is still much missed as a performer at the ENO. Other sopranos have wonderful qualities , but do any of them possess the special combination of vocal and stage charisma that made audiences fall in love with Valerie? Over a wide range of roles she was unique.

[@ErikaSopranolirica88]

Amo a Valerie Masterson, tenía una voz maravillosa

[@johnsalter8848]

Moved in Normandy in 1978 and was delighted when she came to sing Violetta at the Rouen Théâtre des Arts.

[@johnsalter1452]

Saw her in the 1950s as Elsie Maynard in a Holt Hill Convent, Birkenhead, school production of Yeoman of the Guard.

[@lawrencejohnson191]

Never had the privilege of meeting her but my favorite aunt was wardrobe mistress with the Birkenhead Amateur OperatIc Society in the post war years , where in the mid fifties Valéry Masterson cut her teeth; if I’m not mistaken, she was called Margaret then. It got lost in many house moves, but a prised possession was an autographed programme of a recital she gave at the town hall in the late seventies.Many years in Whitehall were enlightened by seeing her perform at ROH and the Coliseum.She never gave a less than beautiful performance; if I could take but three to my desert island, Cleopatra, Constanza and der Rosenkavalier. She was unquestionably a world class soprano of the twentieth century.

[@christinabatey927]

My mum was at school with her and always followed her career.

[@nicholasbaker823]

Yeomen not Yeoman

[@DukeofDarkCorners]

How wonderful to see and hear this update from Valerie Masterson - one of ENO's greats, still enjoying life and opera. More of this please. But oh dear, how disrespectful can you get ENO? Masterson made so many great recordings, and what do you use as the accompaniment to this film, to illustrate her art? "Ombra Mai Fu" from Handel's Xerxes, sung by *Della Jones*. kzbin.info/www/bejne/b5K5lWerYsd5baM Masterson sang in the ENO Xerxes, true (though not the character of Xerxes, who sings this aria). Her filmed performance in that opera is a delight - especially "Sweet from the Mountains". Her Cleopatra too is superb, as is her Glyndebourne Constanze (which would have made a truly appropriate accompaniment for this film, given she describes the role as a big break). There are dozens more performances OF HER which would have been much appropriate than a performance by someone else. Anyway, if anyone wants to hear Valerie Masterson at ENO, I would recommend this 1985 performance of Charpentier's "Depuis le Jour". kzbin.info/www/bejne/o4fNfo2IbN-Da7M

[@ev3goddess]

⁰😬 yew heard datt ahahalo