Interview with Hinge and Bracket

Speranza

EVADNE HINGE:

May I say how pleased _we_ are to have this opportunity to mention some of those WONDERFUL British opera singers who were active in that period just after the War.

People like Milford Pleight.

HILDA BRACKET:

Ah yes. That is 'Plate', as in crockery.

Charming man: the voice of Caruso, the looks of Arnold Pilbeam.

He was, I recall, an astonishing Radames.

You know, from the very first day of rehearsal he had his part firmly under control: amazing man.

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And one thinks of Bradford Tweats.

EVADNE HINGE:

--- who played a wonderful Sarastro to Dame Hilda's Pamina.

DAME HILDA:

Indeed.

Do you know? Every performance, he would spend A GOOD TEN minutes encouraging me just before my entrance.

Such consideration is _rare_ today.

EVADNE HINGE:

That season of "The Magic Flute" was most successful.

It would have been even more so but for the very INADEQUATE soprano who was singing the Queen of the Night.

What was her name again, dear?

HILDA BRACKET:

Sibylla Strang.

Not one of our strongest singers.

Voice like a pin.

Of course, she never liked YOU, dear.

EVADNE HINGE:

What do you mean?

DAME HILDA:

Well, it was that habit of yours of referring to her as "Stringy Sibyl".

EVADNE HINGE:

Oh yes. Of course. I'd forgotten that. "Stringy Sibyl". [convulsions of stringy Doctor Hinge].

HILDA BRACKET:

Well, one _had_ to admit: in general the women in the company were weaker than the men.

In particular the sopranos had been _badly_ trained.

Remember Flavia Chequettes.

EVADNE HINGE:

Oh yes. Big voice. No control.

HILDA BRACKET:

Quite a _promising_ voice, unfortunately _ruined_ by bad teaching.

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