Glenda Returns
[N response to popular demand, as the old-time barkers used to say, the Australian soprano Glenda Raymond is back in New Zealand for another NZBS concert tour. She will give six concerts, with Maurice Till as accompanist, and will appear three times with the National Orchestra. Her first engagement is with the Orchestra at Christchurch on Saturday of this week-Oc-tober 12. She will sing the Mozart aria "Mia Speranza Adorata" and the Concerto for Voice and Orchestra, by Gliére, a work which proved popular when she performed it during her last NZBS tour two years ago. Glenda Raymond was a bank clerk till she leapt to prominence as a singer in 1944. She went to London four years later for further study under the Italian, Dino Borgioli, at the same time making her mark at the Albert Hall and in the radio and television services of the BBC. Australia welcomed her back with equal enthusiasm. She has sung with that country’s National Opera, and was chosen last year to sing with the Sydney and Victorian Symphony Orchestras during Melbourne’s Olympic Arts Festival. In private life Glenda Raymond is Mrs Hector Crawford. Her husband runs a "TV Workshop" in Melbourne which trains television actors, technicians, writers and producers, as well as producing filmed and live television features. Apart from her previous New Zealand tours, Glenda Raymond is well known to the radio audience here through the programme Glenda broadcast by the ZB stations. Her first appearance with the National Orchestra this Saturday, October 12, will be broadcast by all YC stations. Next week she will be heard from 2¥C, 3YC, 4YC (October 14), 2XG (October 16), and all YCs (October 19).
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New Zealand Listener, Volume 37, Issue 948, 11 October 1957, Page 31
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282Glenda Returns New Zealand Listener, Volume 37, Issue 948, 11 October 1957, Page 31
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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