- Barton McGuckin
Barton McGuckin (
28 July 1852 inDublin –17 April 1913 inStoke Poges ) [A. Eaglefield-Hull, "A Dictionary of Modern Music and Musicians" (Dent, London 1924).] was an Irishtenor singer of renown, who made his career principally in Britain with theCarl Rosa Opera Company, but also gained a wide success in oratorio and concert.Training and early days
McGuckin was a choirboy in Armagh Cathedral, where he received instruction in singing, organ, violin and pianoforte. In 1871 he became first tenor at
St Patrick's Cathedral, Dublin , and was a pupil of SirJoseph Robinson . [Eaglefield-Hull 1924.] He appeared in concerts from 1874, [H. Rosenthal and J. Warrack, "Concise Oxford Dictionary of Opera" (OUP, London 1974 printing).] and made a debut at the Crystal Palace Concerts in 1875. He then went to study further atMilan , underTrevulsi . [Eaglefield-Hull, 1924.]With Carl Rosa 1880-1887
He made his stage debut with the
Carl Rosa company in 1880, and remained with them atDrury Lane until 1887, singing in London and the provinces. He achieved great success, both for brilliant singing and for his acting. [Eaglefield-Hull, 1924.] In this period he created several important roles, notably Phoebus in A. Goring Thomas's "Esmeralda" (withGeorgina Burns ,Clara Perry ,James Ludwig , Ben Davies (his operatic debut) andLeslie Crotty , in 1883; next Orso, the hero, in Alexander Mackenzie's "Colomba", withAlwina Valleria andFranco Novara , again in 1883; then Waldemar in Goring Thomas's "Nadeshda", much acclaimed, with Alwina Valleria,Josephine Yorke and Leslie Crotty in 1885, and also Oscar inFrederick Corder 's "Nordisa" in 1887. All were under the baton ofAlberto Randegger and the artistic direction ofAugustus Harris . [Details of these premieres are contained in H. Klein, "Thirty Years of Musical Life in London 1870-1900", (Century Co., New York 1903), 142-147.] In January 1885 he played Des Grieux in the first performance in England (atLiverpool ) ofMassenet 's "Manon ", withMarie Roze . [Rosenthal and Warrack 1974.] In 1887 and 1888 he visited theUnited States , and sang in opera there. [Eaglefield-Hull 1924.]Carl Rosa, 1889-1896
In December 1888 McGuckin was back in London and appeared in the role of Manasseh at the Crystal Palace with the Novello's oratorio choir under
Alexander Mackenzie inHubert Parry 's oratorio "Judith", composed for theBirmingham Festival of that year. Corno di Bassetto heard it and found his singing in theHandel ian manner rousing, but commented mainly on his poor diction, in reducing all vowel sounds to 'aw'. [G. B. Shaw, "London Music in 1888-1889 as heard by Corno di Bassetto" (Constable, London 1937), 43-45.] In May 1889 he was to sing "Lohengrin" withLilian Nordica , Mme Fürsch-Madi andFrancisco d'Andrade , but was indisposed andAntonio d'Andrade took his place under Sig. Mancinelli's baton. [Shaw 1937, 130.]After Carl Rosa's death, Augustus Harris made efforts to maintain the policy of developing the English school of composition, and at Easter 1890 made a renewed visit for the Carl Rosa company to Drury Lane.
Frederick Cowen had produced his "Thorgrim ", based on an episode in theIceland ic tale of "Viglund the Fair ". It was produced in April with McGuckin,Zélie de Lussan andFrank Celli . [Klein 1903, 284-287.]In June 1891 McGuckin sang on Selection day in the Handel Festival under Sir
August Manns at the Crystal Palace, performing 'Waft her, angels' (Jephtha) (which he spoiled by holding the high note at the end too long, but otherwise had a very distinguished success with it) and 'Love sounds the alarm' (which was 'excellent'). [G.B. Shaw, "Music in London 1890-1894" (Constable, London 1932), I, 160, 225.] In the same month Mrs Moore Lawson was Venus to hisTannhäuser in the first scene of that opera as presented in English at a concert ofHans Richter , and was, according to Shaw, capable of holding his own with the majority of continental singers to whom he might be compared. [Shaw 1932, I, 218-219.] Again in October 1891 at the Palace he sang 'Lend me your aid' (Gounod ) and some songs by Bemberg. [Shaw 1932, I, 265.]In January 1892, McGuckin was called in to sing
Berlioz ' "Damnation of Faust " in two concert performances in London given by theHallé Orchestra , withGeorge Henschel and Mrs Henschel as Mephisto and Marguerite:'Mr Barton McGuckin had to take Mr Lloyd's place, at the disadvantage of a very superficial acquaintance with a difficult part. His words were quite unintelligible; and in the invocation, at the very climax of the tremendous burst into C sharp minor, he altered the cadence in a way that robbed me of breath. I see no reason why Mr McGuckin should not some day make an excellent Faust - quite as good as Mr Lloyd, who is not at his best in the part - as soon as he learns it.' [Shaw 1932, II, 11.]
In early 1892 he was in a revival of
Arthur Sullivan 's "Ivanhoe", in the title-part, withMedora Henson as Rowena. [Shaw 1932, II, 75-77.] This had been through several successful runs since its first production a year previously, andRichard D'Oyly Carte now produced it to alternate withAndré Messager 's "La Basoche", in whichDavid Bispham made his London debut. But "Ivanhoe" had exhausted its drawing-power, and was taken off almost at once. [Klein 1903, 335-338.] McGuckin's other principal roles were in "Lohengrin", in "Faust" (Gounod ), as Don José ("Carmen ") and Eleazar inHalévy 's "La juive ". [Eaglefield-Hull, 1924.]Later career
McGuckin continued to sing into the early 20th century, and made some recordings. He sang at Philharmonic and Monday Popular Concerts, and at provincial festivals. In 1905 he became director of an amateur operatic society in Dublin, and was conductor of orchestral concerts at the Irish Exhibition of 1908. [Eaglefield-Hull 1924.]
Notes and References
Sources
* A. Eaglefield-Hull, "A Dictionary of Modern Music and Musicians" (Dent, London 1924).
* H. Klein, "Thirty Years of Musical Life in London" (Century Co., New York 1903).
* H. Rosenthal and J. Warrack, "Concise Oxford Dictionary of Music" (OUP, London 1974 printing).
* G. B. Shaw, "Music in London 1890-1894", 3 vols. (Constable, London 1932).
* G. B. Shaw, "London Music in 1888-1889 as heard by Corno di Bassetto" (Constable, London 1937).
Wikimedia Foundation. 2010.