Word: vyvyan
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Dates: during 1960-1969
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...Died. Vyvyan Holland, 80, only surviving son of Oscar Wilde; in London. As with his brother Cyril, Vyvyan's life was blighted by the shadow of his famed father's 1895 sodomy trial. Only eight at the time, he was spirited away from London by relatives, sent to European schools, given a new name, prevented from attending Oxford because his father was anathema there. Eventually he emerged as a modest writer whose own memories of his father were of "the kindest and gentlest of men, a smiling giant, who crawled about the nursery floor with us and lived...
...News, Daily Sketch), and Lady Rothermere, 36, Texas heiress and niece of Dallas Oil Magnate Clint Murchison: their first child (he has a son, heir to the peerage, and two daughters by his first marriage; she has six sons by her prior marriage), a boy; in London. Name: Esmond Vyvyan...
Until Editor Hart-Davis made this exhaustive collection, few of Wilde's letters were available, and of those in print, many had been bowdlerized. For Wilde's trials left British society with a sense of collective embarrassment that lingered for decades. The author's son Vyvyan lived a life of "concealment and repression" under the name Holland. In 1946, when Hesketh Pearson published what is still the only good biography of Wilde, the playwright was still a forbidden subject among many who had known him. and much material necessary to a biographer simply was not available...
...parts accompanied only by harps and percussion. To place the world of the fairies at a clear remove from the world of mortals, Britten wrote the part of Oberon for countertenor (Alfred Deller), a high-pitched, constricted voice never heard in modern opera, and Titania for high soprano (Jennifer Vyvyan). The music of the lovers, on the other hand, was mainly characterized by throbbing, Wagnerian chords while the music for the rustics was simple and zestful-as broadly comic as Shakespeare's own words...
...Thomas Beecham recorded the work with the Royal Philharmonic Orchestra and Chorus (Jennifer Vyvyan, Monica Sinclair, Jon Vickers, Giorgio Tozzi; RCA Victor, 4 LPs, mono and stereo). His performance is the most opulent of the lot, the most animated-and by all odds the farthest from any thought in Handel's mind. In defiance of "drowsy armchair purists," Beecham offers a thunderously 19th century-styled orchestration-lush, richly colored, and full of dramatic contrasts. Soloists and chorus are uniformly fine, but the recording is not for listeners who take their Handel neat. Eugene Ormandy offers a severely cut reading...