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Scan 851
A dictionary of music and musicians, 1926
12 lines. Read by computer on 11 September 2026. Printed page 783. See the scan on archive.org.
1the title of Reminiscences of the Opera (Hurst & Blackett, 1864). He died March 17, 1875. W. H. H.; additions from Dict. of Nat. Biog.
3LUNN, LOUISA KIRKBY, born Nov. 8, 1873, at Manchester, was first taught singing there by Mr. J. H. Greenwood, organist of All Saints' Church; later, 1893 to 1896, by Signor Visetti at the Royal College of Music, where in 1894 she gained a scholarship. On Dec. 6, 1893, as a student, Miss Lunn made her débuts in opera at Drury Lane as Margaret in Schumann's 'Genoveva,' and at the Prince of Wales's Theatre on Dec. 13, 1894, as the Marquise de Montcontour in Delibes's 'Le Roi l'a dit,' on the production of these operas in England by the Royal College of Music. Her success, both as singer and actress, was such that Sir Augustus Harris engaged her for five years to sing in opera, but the contract became void by his death in 1896. In the meantime, on March 2 of the last-named year, she played with great success as Norah on the production of Stanford's 'Shamus O'Brien' at the Opéra Comique Theatre, since demolished, and later in the summer played small parts at Covent Garden. From 1897 to 1899 she was the principal mezzo or contralto of the Carl Rosa Company, both in London and in the provinces. Her parts included Ortrud, Brangäne, Magdalena, Carmen, both Frederick and the heroine in 'Mignon,' Julia in a stage version of Sullivan's 'Martyr of Antioch' (Oct. 23, 1897), Eila on the production of MacCunn's 'Diarmid' at Covent Garden, etc. In June 1899 she married Mr. W. J. K. Pearson of London. For a time she sang in concerts only at the Queen's Hall and elsewhere, under the direction of Mr. Robert Newman, with whom she had signed a contract. On May 14, 1901, she reappeared at Covent Garden with the Royal Opera Syndicate as the Sandman in Humperdinck's 'Hänsel und Gretel,' since which date she has sung there every season. In 1904 she made a great advance there in public favour, notably as Amneris and Fricka; June 20, Pallas in Saint-Saëns's 'Hélène,' and July 6, Hesotoade in 'Salome,' a new version of Massenet's 'Hérodiade,' on the production of these two last operas in England. Mme. Kirkby Lunn, with her fine mezzo-soprano of over two octaves in compass from g to b" flat, is equally successful in the concert-room in oratorios, lieder, and ballads, singing with equal facility in four languages. On Nov. 12, 1902, she sang at the Queen's Hall, on the production of Prout's version of the 'Messiah' by the Royal Society of Musicians, having previously sung the same year at the Festivals of Sheffield and Norwich. Later in this year she went to the United States and played in opera at New York as Brangäne, Ortrud, Erda in 'Siegfried,' Amneris, etc. She also sang with great success six times with the Symphony Orchestra at Boston and elsewhere, twice at Chicago with the Pittsburg Orchestra, and twice with the Chicago Orchestra under the late Theodore Thomas. In 1904 she took part in the 'Elgar Festival' at Covent Garden, and, late in the summer, she sang at the Kursaal, Ostend, under M. Léon Rinskoff. In the autumn she went again to America, and on Oct. 17 sang as Kundry at Boston in the first English performance of 'Parsifal' by the Savage Company, under the conductorship of Capellmeister Rothwell, with great success. On her return to England in 1905 she gained golden opinions in various parts previously sung by her, and added Orpheus to their number.
5A. C.
7LUPO. The name of seven members of the Royal Band in England in the 16th and 17th centuries. No doubt the origin was Italian—Ambros (Gesch.) quotes a reference to a 'Lupo de Myllan.' In 1559-94 AMBROSE was a violinist, in 1581-1605 JOSEPHO and PETRO were violists (the former wrote a set of commendatory verses prefixed to John Mundy's 'Songs and Psalms,' 1594), and in 1593 the name THOMAS occurs for the first time; the violinist must have died about 1627, as his successor was appointed in that year. Another THOMAS, son of Pietro, was violinist in 1599, and in 1637 his widow petitioned for the arrears of salary due to him. These two, Thomas senior and Thomas junior, are the most important of the family; but it is a hopeless task at present to decide what compositions are to be ascribed to either (see the article in Dict. of Nat. Biog.). A third THOMAS, son of Josepho, is mentioned in 1601. A HORATIO was violinist from 1612 to 1625, and THEOPHIL, son of one of the Thomases, was in the band from 1627 to 1640. [He issued in 1654 a volume containing a 'Suite of Languages,' with five movements respectively headed: 'English Humor,' 'Irish Humor,' 'French,' 'Spanish,' and 'Scotish' Humors. W. H. G. F.] Among works by 'Thomas Lupo' (whether senior or junior) are noted the following: parts of the music for Campion's masque for the marriage of Lord Hayes, 1607; two pieces, for four and five voices respectively, in Sir William Leighton's 'Teares or Lamentacions' (1614); five motets in Thomas Myriell's Tristitiae Remedium (Brit. Mus. Add. MSS. 29,372-6); the MS. collection intended to be published in 1616; two anthems, a madrigal, and instrumental pieces, in the library of Christ Church, Oxford; six fantasias in five parts are in Brit. Mus. Add. MSS. 17,792-6; and Elizabeth Rogers's Virginal Book contains an Ayre by 'Lupus.' (Dict. of Nat. Biog., Quellen-Lexikon, etc. See also Historical Manuscripts Commission, Lord Cowper's MSS., etc.)
9M.
11LUPOT, NICOLAS, the most famous of French violin-makers. The family came from the village of Mirécourt in the Vosges mountains, which has for three centuries or more been the seat of a violin manufacture. JEAN LUPOT, the
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