Elizabeth Harwood Papers
- c1940s-2003 (Creation)
Level of description
Extent and medium
Name of creator
Elizabeth Harwood was born on 27 May 1938, and studied at the Royal Manchester College of Music between 1956 and 1960, graduating GRSM, ARMCM and LRAM. Her first opera appearance away from College was for the Buxton Opera Group in 1957 (as Michaela in "Passion Flower" - an adaptation of "Carmen"). In 1960 she went to Glyndebourne (as Second Boy in "The Magic Flute"), and won the Kathleen Ferrier Memorial Scholarship. With the Scholarship Elizabeth spent a year in Milan studying with Lina Pagliughi, an eminent interpreter of Verdi: during this visit she entered for the Verdi Competition in Busseto and was joint winner. On her return to the UK she was engaged by Sadlers Wells (for Gilda in "Rigoletto" and Countess Adele in "Count Ory"). She stayed with the Company learning her repertoire over five years, before her international career was launched by an invitation to join the Sutherland Williamson Grand Opera Company in an Australian tour in 1965, when she alternated with Joan Sutherland in the leading roles. On her return to the UK she was engaged by The English Opera Group (as Galatea in "Acis & Galatea") for performances in Sweden, Versailles and at the Aldeburgh Festival. The success of this production in France resulted in her engagement (as Donna Elvira in "Don Giovanni") at the Aix-en-Provence Festival in 1967. In that same year she made her Covent Garden debut (in "Arabella"). Also in 1967 Elizabeth took part in the internationally acclaimed Scottish Opera production of "Cosi fan Tutte" (as Fiordiligi to Janet Baker's Dorabella), which undoubtedly paved the way for Elizabeth's Salzburg debut in 1970 (in "Cosi"). The following year she performed again for the Scottish Opera (as Sophie in "Die Rosenkavalier") in another internationally acclaimed production. The reputation Elizabeth obtained in "Don Giovanni" as Donna Elvira at Aix-en-Provence attracted the attention of Herbert von Karajan, who invited her to Salzburg in 1969 (as Constanze in "Die Entfuhrung" and Fiordiligi in "Cosi fan Tutte"). The following year she was the first English soprano to perform at the Salzburg Festival - in "The Marriage of Figaro" produced and conducted by von Karajan, a role which she was to reprise in many subsequent Festivals. She performed in a number of major productions at La Scala (debut 1972), the Metropolitan Opera (debut 1975), Covent Garden and Glyndebourne, giving her last operatic performance for The Buxton Festival (in "La Colombe" at Sadlers' Wells, 1983). In addition to operatic performances Elizabeth gave numerous recitals and took part in many oratorios. She was particularly associated with "Messiah", performing over 100 times - the earliest aged 16, deputising for her mother. During the 1980s she gave a number of international tours: in 1983 to New Zealand, Australia in 1986, British Columbia in 1988, and performed many times at the Rasigueres Festival of Wine and Music. Elizabeth married Julian A.C. Royle in 1966 and they had one son, Nicholas. The family lived at Fryerning, Ingatestone, Essex, where a plaque is dedicated to Elizabeth Harwood in the parish church following her death on June 22 1990.
Elizabeth Harwood's father, at the start of her career, took the decision to collect programmes, cuttings and all other material relating to her professional life. Her husband Julian Royle continued this practice after their marriage. The papers were maintained and held at the Royle home, Masonetts in Ingatestone, Essex, until July 17th 2003 when they were given to the RNCM. Additional recordings (mainly on cassette but some on CD) have since been donated to the RNCM, in September 2006 and March 2007.
Immediate source of acquisition or transfer
Content and structure area
Scope and content
Correspondence, programmes, posters, recordings, diaries, photographs, press cuttings, accounts and other items covering the professional career of the soprano Elizabeth Harwood. Costumes (La Traviata and The Tales of Hoffmann) and portrait of Antonia (Tales of Hoffmann) on loan to the Costume Museum, 1E Tavistock Street, London WC2E 7PR. Private correspondence, portrait as Susannah (Marriage of Figaro 1965) and costume drawings (Sophie - Rosenkavalier; The Countess - Count Ory; Fiordiligi - Cosi fann tutte) retained by Julian Royle. RMCM Archive. A list of the contents of Elizabeth Harwood's reference library of books, recordings and music is available. Duplicates, bank statements and cheque stubs have been removed from the collection. Musical scores (annotated and used by Elizabeth Harwood) at the National Opera Studio c/o Isobel Flinn. A list will be available. Her Bechstein piano is also on loan to the NOS.
Appraisal, destruction and scheduling
Video recordings to be given (list available).
System of arrangement
As per original order, in the following series: Biography and publicity (EH/1) Contracts and agreements (EH/2) Engagements (EH/3) Diaries (EH/4) Programmes (EH/5) Recordings (EH/6) Photographs (EH/7) Scrapbooks (EH/8) Press cuttings (EH/9) Correspondence (EH/10) Diplomas (EH/11) Educational notes (EH/12) Accounts (EH/13) Memorials (EH/14)
Conditions of access and use area
Conditions governing access
Conditions governing reproduction
Elizabeth Harwood's copyright is vested in her widower, Julian A.C. Royle. Other copyright according to the Copyright, Designs & Patents Act 1988.
Language of material
Script of material
Language and script notes
Physical characteristics and technical requirements
Indexes of Elizabeth Harwood's performances (arranged chronologically, by composer, and by location) are available.
Allied materials area
Existence and location of originals
Existence and location of copies
Related units of description
Subject access points
Place access points
Name access points
Genre access points
Description control area
Rules and/or conventions used
Level of detail
Dates of creation revision deletion
WickhaS, 22/07/2003. Revised by Davisom, 14/03/2012