RECORDING DISCUSSIONS

DUET Recently published
Paperback,
314 Pages 

Price: $12.50
Prints in 3-5 business days
Duet, the autobiography of famous British duettists, Webster Booth and Anne
Ziegler, was originally published by Stanley Paul in 1951. Sixty-five years
later I have digitised the book and made it available as a paperback, epub and
pdf book. My sincere thanks to John Marwood who proofread the book most
painstakingly for me. Webster and Anne tell the exciting story of their rise to
fame, and their sensational romance. After Webster’s divorce from Paddy Prior,
his second wife, he and Anne married and became the most popular duettists of
their day, earning them the deserved title of Sweethearts of Song.



The book is also available as an ebook at My Duettist’s Bookstore
RECORDING DISCUSSIONS
Top of Form

Anne Ziegler and Webster Booth were versatile singers so it is difficult to
name just one duet or solo as an all-time favourite. Webster recorded far more
solo recordings than he did duets with Anne, although he is largely remembered
today because of the duets.

In Webster’s case there are light songs with British Dance Bands led by
Jack Hylton, Carroll Gibbons, Debroy Somers, Ray Noble, as the anonymous “with
vocal refrain” with the accordion band of Carlos Santana (one of the many
pseudonyms adopted by the equally versatile musician, Harry Bidgood), and the
popular Fred Hartley’s Quintet or Sextet. He also sang in medleys, sometimes on
his own or with singers like Janet Lind, Garda Hall, Magda Neeld, Marjorie
Stedeford, Stuart Robertson, Sam Costa, Olive Groves, and Nora Savage.

As his singing career progressed he began recording more serious songs,
and arias from opera and oratorio. In operatic ensembles he was partnered with
singers like Norman Walker, Dennis Noble, Joan Hammond, Joan Cross, Noel Eadie,
Nancy Evans, Arnold Matters and Edith Coates. Conductors of these recordings
included Warwick Braithwaite, Laurance Collingwood and Malcolm Sargent, and
accompanists included Gerald Moore, Herbert Dawson (organ), and John Cockerill
(harp).

The duets recordings were generally of musical comedy, operetta and
popular songs of the day arranged as duets such as Dearest
of all
 by Vernon Latham Sharp and Too
tired to sleep
 by Alan Murray. There were also duet
arrangements of instrumental pieces by Chopin and Liszt, and a charming duet of
Mendelssohn’s lied “On Wings of Song”.

Which ones are my favourites ? Why does the God of Israel sleep? from
the oratorio, Samson by Handel is one of my favourites. It
illustrates Webster’s amazing vocal technique and dramatic power. He was a
prolific recording solo artist and a highly regarded oratorio soloist.

 

Excerpt from an Australian newspaper – March 11 1950

 


Shortly after Webster began recording for HMV in 1929, critics in Gramophone magazine
praised his voice but thought he should be singing songs more worthy of
it. In April 1937, a critic wrote, “Gradually Webster Booth is finding his
rightful place as a member of the solo quartet in our concert halls, when the
choral masterpieces are given. Only the other day a severe critic of
English singing singled out Mr Booth as one of the very few elect.

Most people remember Webster Booth  for the romantic duets he sang
with Anne Ziegler on record, stage, screen and radio but several
derogatory comments have been made about his duet partnership with Anne, most
people claiming that he would be better regarded as a serious singer today had
he not formed the Variety Act with Anne in 1940.  Anne was the first to
admit that she had a “ten-a-penny” soprano voice while his voice was in a
different category from hers. She was aware that many people thought she had
“brought.him down”.

They went into variety because it paid far better than more serious
forms of entertainment and they had expensive family financial commitments.
Within a very short time they became very popular with those who enjoyed
hearing operetta and musical comedy duets sung by a very handsome and charming
couple. Anne and Webster were a romantic pair and their variety act took the
public’s mind off the daily grind of war for an hour or two. While Anne’s voice
might not have been in the same class as Webster’s, one cannot deny that they
sang the duets musically and their voices complemented one another. 

Webster did not drop his oratorio singing and it was while he and Anne were
singing in Variety and Harold Fielding concerts that he made some of his finest
serious oratorio recordings. 
He was one of Sir Malcolm Sargent’s favourite tenors and was chosen by
Sir Malcolm to sing at his sixtieth birthday celebration concert in 1955.

Webster was a lyric tenor with excellent diction and a wide vocal range.
Although his voice was light it filled the Albert Hall, a hall with a
notoriously difficult acoustic for singers. He had a pleasing baritonal quality
in the lower range of his voice and, in later years, fulfilled a long-held
ambition to sing the baritone solos in a performance of Elijah in Knysna, South
Africa.

If one listens to his recordings of Mozart operatic arias and the
operatic duets with baritone, Dennis Noble  in Puccini’s La
Bohème 
and Rossini’s The Barber of Seville, and
the extracts from Bizet’s Carmen with Dennis Noble, Nancy
Evans, Noel Eadie and the Sadlers Wells chorus, he more than held his own among
the foremost operatic singers of the day. Perhaps he would not have managed
heavier operatic roles on stage but he had a voice ideal for Mozart, Rossini,
Gounod, and Handel.

At that time it was the convention to record everything in English on
the HMV plum label, but I have a recording of him singing in an Italian which
sounds quite acceptable to me, so I don’t think singing in a foreign language
would have presented a problem to him. He was also a highly competent musician,
so he would have had no difficulty learning an operatic role. As a young man he
was keen to sing in opera, but opera did not pay as well as lighter forms of
entertainment. In 1926 Sir Malcolm Sargent told him that if he did not have a
private income he should leave opera alone. Webster’s older sister, Doris
(known as Nellie) was very disappointed that he did not make a career in opera.

I have an LP called Famous British Tenors in my
collection. Webster sings the rather obscure aria, O,
Vision Entrancing
 
from Esmeralda by Goring
Thomas, while his peers are heard in more popular arias. Despite this he still
sounds very much better than most of those who are spoken off in hallowed
tones, while Webster is dismissed as a light-weight, a mere romantic duettist!

Webster managed to set the appropriate mood for each song he sang,
whether it was a light ballad or a profound aria. One only has to
contrast Total Eclipse from Handel’s Samson with
Percy French’s Phil the Fluter’s Ball to see a
complete change of mood. He certainly was a versatile singer, but far from
being “A jack of all trades, master of none,” I suggest that he was a master in
command of every song he sang.

 


Once Anne and Webster’s
recording contract with HMV was cancelled in 1951 they made a few recordings
for Decca and gradually their 78s were deleted from the record
catalogues. 

But in the late
fifties several long playing records were issued, comprising their popular duet
recordings. 
Love Duets from Theatreland was issued by EMI in the UK, while, in South Africa, a similar
record, entitled 
Sweethearts of Song was issued, with sleeve notes by their friend, Leslie Green.

 

In 1959 they made an LP of their popular duets. The words had been
translated into Afrikaans and, instead of the orchestral accompaniment on the
78s, there was organ and piano accompaniment by Jack Dowle and John Massey.
This record was entitled 
Net Maar ‘n Roos (Only a Rose).


In 1963 they
made 
Nursery School Sing-Along (No 2). This time Heinz Alexander was the accompanist and
the Nazareth House Children’s Chorus was conducted by my piano teacher, Sylvia
Sullivan. Webster thought highly of Mrs Sullivan’s conducting and insisted that
she conducted all the songs for the record.

 

A recording of
Webster’s was included in 
Famous British Tenors issued in 1972.  Webster sings the rather obscure aria, O,
Vision Entrancing
 
from Esmeralda by Goring
Thomas, while his peers are heard in more popular arias. He was rather put
out about this as he thought the powers-that-be might have chosen a more
popular aria for his recording. Perhaps recording techniques had not been very
advanced for some of the other tenors on the recording sound rather thin.
Webster’s recording sounds very much better than most of the other
recordings by those who are spoken off in hallowed tones, while Webster is so
often dismissed as a light-weight, a mere romantic duettist!




Meanwhile, a solo recording called simply Webster Booth was issued by Rococo, Canada in
the late sixties. All the recordings had been taken from the collection of
Scott Sheldon. Webster played me this record when I visited the Booth home in
Knysna in 1973 and I was delighted to hear some songs I had not heard
before. 


He told me that EMI
would never issue an LP of his more serious work until he was dead, but in
1977, just such a recording was issued. He was very pleased that he was alive
to see it, but was rather put out because it was recommended that the record
should be filed under the historical section of the catalogue!

 

The Booths returned to England in 1978 and EMI issued two duet LPs in the late seventies and early
eighties. 
Sweethearts in Song included the same recordings as those from the late fifties, while
the other, 
Music for Romance was a more interesting collection of their lesser-known
duets.
 

Webster Booth died on Anne Ziegler’s birthday, 21 June 1984 in Penrhyn Bay, North Wales. A year or so later EMI issued The Golden Age of Webster Booth. 

 

 At about the same time the LP entitled The Golden Age of Ballads and Parlour
Songs
, featuring Webster and some of his contemporaries was issued. Webster
sang Tosti’s 
Parted on this LP.

 

 He was also featured in the Irving Berlin Centenary Celebration  by the  great British dance bands, singing two songs in a Waltz Medley, with Ray Noble conducting the New Mayfair Orchestra.

 

By 1989 Webster’s earlier recordings were coming out of their fifty-year copyright and solo and duet CD
compilations were issued by EMI and independent companies during the nineties.
Because these recordings were out of copyright, Anne did not receive any royalties from their sale.


Jeannie C
2010

Rehearsing for a broadcast with Sydney Jerome (1938)

AZ/WB RECORDINGS ON YOUTUBE

Most of the videos featuring Anne Ziegler and Webster Booth have been
uploaded by me. My channel is at http://www.youtube.com/duettists

I was interested to see the BBC4 archive on Desert Island Discs. Webster Booth was a
castaway on 3 April 1953. Unfortunately this episode is not yet available
as a podcast, but I am hoping that it might be added some time. Webster’s
choice of discs were, as follows:

 

Jean Sibelius: Finlandia, Philharmonia Orchestra

Irving Berlin: You Can’t Get A Man With A Gun (Annie
get your gun), Ethel Merman

Franz Liszt: Liebesträum
No. 3 in A flat major
: vocal version sung by Tito Schipa

 Charles N. Daniels: Chloe (Song of the Swamp):Spike Jones and His City Slickers

Frances Allitsen: The Lute Player, Harold Williams (baritone)


Gilbert and Sullivan: The Yeoman of the Guard, Royal Liverpool Philharmonic
Orchestra Conductor: Malcolm Sargent

 George Frederic Handel: Ombra mai fu (Largo) (from Xerxes): Kathleen Ferrier (contralto)London Symphony Orchestra Conductor: Malcolm Sargent

George Frederic Handel: Comfort ye my people (from Messiah) Webster Booth,
London Philharmonic Orchestra


Luxury item: ivory pig


The Tito Schipa recording of Liebestraum was
the same arrangement as Webster himself had recorded. 


Webster considered Australian baritone, Harold Williams to
be one of the finest singers of the role of Elijah in
Mendelssohn’s oratorio of the same name.

 

     Kathleen Ferrier lived opposite the Booths in Frognal, Hampstead. Webster and Anne often visited her when she was
confined to her bed due to illness. Webster had admired her voice greatly and had been looking forward to singing a Messiah with her as
contralto soloist. Sadly she had to cancel this engagement due to ill health and she died less than seven months after this broadcast, on 8 October 1953. 

 


At that time the copyright on Gilbert’s words was still in place, so it would only have been possible to play the overture of The
Yeomen of the Guard
.

  

 The BBC website lists the soloist in Comfort ye/Ev’ry Valley as Walter Booth rather than Webster Booth!

  

   A number of the recordings Webster chose were conducted by Sir Malcolm Sargent. Sargent was Webster’s champion and chose him for many oratorio performances. In 1955, on the occasion of Sir Malcolm’s sixtieth birthday, he personally requested that Webster should be the soloist at the concert to commemorate this event.

Castaways who chose recordings by Anne Ziegler and/or Webster Booth. Click on the Castaway’s name to listen to the broadcast (if available)

David Croft (writer) 14 March 1993: When
We are Married
 from The Belle of New York (Kerker)


Miriam Rothschild (Conservationist, biologist) 23
April 1989: 



Right Honourable Lord Denning (Master of the Rolls, Politician,
Lawyer) 17 May 1980: 
 Roses of Picardy (Haydn
Wood) With Fred Hartley and his Quintet




Rosina Harrison (Lady Astor’s lady’s maid, writer) 20 March 1976:  BLESS
THIS HOUSE: BRAHE


Noel Streatfeild (Writer) 17 January 1976: The Faery Song from The
Immortal Hour
 (Rutland ghton)


 

Percy Press (Punch and Judy man, puppeteer) 28 December 1974: 

BarryHumphries (Comedian) 24 November
1973: 


Bill Shankly (Manager Liverpool FC, athlete, football manager) 26 April
1965: 

 
Percy Merriman (Musician,
Concert Performer, Roosters Concert Party) 17 August 1964: 
Roses of Picardy (Haydn Wood) With Fred Hartley and his Quintet

Lord George Sanger (Circus, circus proprietor) 22 December
1962: I’ll see you again  from Bitter
Sweet 
(Noel Coward)

Ursula Bloom (Novelist, writer, journalist)
 14 November 1960: 

WEBSTER BOOTH: HOMING (DEL RIEGO)

 

Dr W.E Shewell-Cooper (Horticulturalist) 10 April 1965: Passing by (Purcell)



*Dennis Noble (Baritone) 19 November
1956: The Long Day Closes (Sullivan) by Tommy
Handley Memorial choir, which included Webster Booth


*R.C. Sherriff (Playwright and writer) 23 August
1955: Miserere from Il Trovatore (Verdi) with
Joan Cross, Webster Booth




*Fred Perry (Tennis
player, athlete) 8 July 1952: WEBSTER BOOTH: THE LOST CHORD

 

 


*Leslie Henson (Comedy actor) 18 July
1951: Olive Gilbert, Peter Graves, Webster Booth, Helen Hill

NOVELLO MEDLEY


*Anona Winn (actress and singer) 4 April 1951:MADAM BUTTERFLY: LOVE DUET

There was a break in broadcasting Desert Island Discs between 1946 and 1951


*Signalman Henry Wheeler (soldier, navy signalman) 24 November 1945: If You Were the Only Girl in the World

*Joan Edgar (Light Programme announcer) 1 September 1945: 
MADAM BUTTERFLY: LOVE DUET


*Ralph Reader (Theatre director) 12 February 1944: 
BLESSTHIS HOUSE: BRAHE

*Alan Dent (Drama critic) 8 January 1944:WEBSTER BOOTH: WHERE E’RE YOU WALK
(HANDEL)

                                                                   
Barrington Dalby (Boxing referee, Athlete) 20 August 1942: WEBSTER BOOTH: THE ENGLISH ROSE (GERMAN) 


Nathaniel Gubbins
(Norman Gubbins)
by Howard Coster
half-plate film negative, 1940
NPG x19712
© National Portrait Gallery, London 
Nathaniel Gubbins (Humorous writer) 6 August  1942: The Faery Song from The Immortal Hour by Rutland Boughton

 


*Beatrice Lillie(Actress and revue star) 9 July 1942: The Lord’s Prayer (Malotte)
*Arthur Askey (Comedian) 2 April 1942: Serenade (Schubert)


*Pat Kirkwood (Actress) 

26 February 1942: Serenade (Schubert)

*Desert Island Discs marked with an asterisk do not have podcasts available in the BBC4 Archives search. 

Top of Form

Bottom of Form

Recordings not in my collection
Someone asked me the other day how many Booth-Ziegler recordings I had in my
collection. Rather than count them up, I compiled a list of those which are not
in my collection. If anyone has any of these recordings, I would be delighted
to receive an MP3 of it and will gladly send them an MP3 of one of mine in
exchange. 


Decca F9921
Sanctuary of the Heart/Ketelby; He Bought My Heart At Calvary/Hamblen with
choir of St Stephen’s Church Dulwich, Fela Sowande (organ) June 1952


Test recording
Serenata, Macushla Reginald Paul, C Studio, Small Queens Hall, London, 20
November 1929

Recently acquired: Love Passes By and As I sit here

B8476 I’m all alone/May; I’ll wait for you/ Feiner, September 1936

B9030 When You Wish Upon a Star/Pinocchio/ Harline; Rosita/Kennedy/Carr, 1939

B9271 Will You Go with Me?/Brandon-Park/Murray,Gerald Moore 1942

JG282 Songs our boys sang/National savings sing-song/Sydney Burchall, Clarence Wright, Webster Booth

B9502 All Soul’s Day/ Richard Strauss; Memory Island/ Harrison/ Gerald Moore, September 1946

C2814 Neapolitan Nights, Light Opera Company with Webster Booth

C2827 Memories of Tosti/La Scala Singers with Webster Booth

Ave Maria/Schubert, Ernest Lush (unpublished) – Also recorded on 11 August 1939

Here Comes the Bride Selection/Schwartz/Light Opera Company with Alice Moxon, Stuart
Robertson, Webster Booth, George Baker/Ray Noble/Studio C, Small Queens Hall,
London/Cc18897-4, 25 March 1930 (Number unknown)



 

Bibliography

Collen, J.
(Compiler)
 Webster Booth
and Anne Ziegler: Excerpts from Gramophone and Discography
 MY LULU
STOREFRONT

Plomley, R (with Derek Drescher) Desert
Island Lists
, Hutchinson, 1984


Most of the recordings on clypit.com were restored by Mike Taylor.

Join: The Golden Age of Webster Booth-Anne Ziegler and Friends on Facebook.

 


Jean Collen

Updated: 16 January 2017.



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WEBSTER BOOTH TIMELINE – 1902 -1939.

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21 January 1902 Birth.

Leslie Webster Booth was the youngest of six children born to Edwin Booth and his wife Sarah (neé Webster) at 157 Soho Road, Handsworth, Staffordshire. Above – 157 Soho Road today.
Photo: Leslie Webster Booth was born at 157 Soho Road, Birmingham on 21 January 1902.

Soho Road in the early 1900s.

Accepted as a chorister at Lincoln Cathedral

1911 in Lincoln Cathedral Official Page
Webster Booth spent four years as a chorister at Lincoln until his voice broke in 1915.
Photo

 

His voice breaks so he returns home.

1915 in Birmingham, United Kingdom
His parents send him to do a commercial course at Aston Commercial School. The headmaster there is Edgar Keey. Later he married Edgar Keey’s daughter, Winifred.
Photo

Leaves School

1918 in Birmingham, United Kingdom
After Webster left school he began working in an accounting office in Birmingham. At the same time he took singing lessons with Dr Richard Wassall, choirmaster at St Martin’s, Birmingham and singing teacher at the Midland Institute.
Photo

First professional engagement

9 September 1923 in Theatre Royal Brighton
Webster Booth was accepted into the chorus of D’Oyly Carte Opera and made his stage debut as a yeoman in “Yeomen of the Guard”. He remained with the company for four and a half years, singing in the chorus, playing small parts and understudying the leading tenor roles. He was known in the company as Leslie Booth. He did not use the name Webster Booth until he left the company in 1927.
Photo

 

Marriage

June 1924 in Fulham Registry Office, Fulham, London
Webster Booth married his first wife, Winifred Dorothy Keey in the second quarter of 1924 at Fulham Registry Office.

Photo

Birth of Keith Leslie Booth

Birth of his son, Keith Leslie Booth. Mother: Winifred Dorothy Booth (nee Keey)

D’Oyly Carte Opera tour of Canada

24 December 1926 in SS Metagama, Liverpool
Webster Booth went to Canada as a member of the chorus of D’Oyly Carte for the tour of Canada aboard the SS Metagama. The tour opened in Montreal on 4 January 1927.
Photo

Singing in Lyons’ Cafés and Restaurants

May 1928 in Popular & Strand Lyons’ Cafés, Holborn Restaurant
Webster Booth, still known as Leslie Webster Booth, was eking out a living singing in various Lyons’ cafés and at Masonic dinners, as well as performing in panto and singing with the Opieros. The photo shows the Holborn Restaurant, a popular venue for staff dinners.
Photo

Recording contract with HMV

1929 in His Master’s Voice Records
Webster Booth made his first recording with HMV in 1929. He continued recording with the company until his contract was cancelled in 1951. The first recording was A Brown Bird Singing and I Love the Moon.
Photo

“The Three Musketeers” (Friml)

Webster Booth made his debut as the Duke of Buckingham in “The Three Musketeers”. Denis King played D’Artagnan. Others in the cast included Adrienne Brune and Lillian Davies.
Photo

Divorce from Winifred Booth (nee Keey)

Winifred Booth deserted Webster and his young son in 1927. Webster tried to find her for many years but she had vanished. In October 1931, he sued for divorce, naming Trevor Davey as co-respondent.
Photo

Marriage to Dorothy Annie Alice Prior

10 October 1932 in Fulham Registry Office, Fulham, London
Webster Booth married his second wife, Dorothy Annie Alice Prior (stage name: Paddy Prior). Paddy was a soubrette, dancer and light comedienne.
Photo

Piccadilly Revels

Webster Booth, Paddy Prior, Violet Stevens, George & Kenneth Western and Edgar Sawyer starred in Murray Evans and Wilby Lunn’s summer show. Paddy Prior is seated to the left of Webster Booth in the middle row.

Piccadilly Revels, 1933 with Webster Booth (tenor) 1902-1984, and second wife, Paddy Prior. — in Scarborough, United Kingdom.
Photo: Piccadilly Revels, 1933 with Webster Booth (tenor) 1902-1984, and second wife, Paddy Prior.
Photo
·

The Faust Fantasy

December 1934 in Bushy Heath
Webster Booth was chosen to play the part of Faust in this film. During the filming he met Anne Ziegler played the part of Marguerite. Unfortunately their meeting spelt the end of his marriage to Paddy Prior before it had really begun.
Photo

A Kingdom for a Cow (Kurt Weill)

Webster Booth starred as Juan, with Jacqueline Francell as Juanita. The show included George Gee, Bobby Comber and Hay Petrie. Muir Matheson conducted the orchestra. The show received good notices but was not a success with the public. It closed after three weeks.
Photo

The Robber Symphony (film)

Webster Booth sang several songs in this film. The film was directed by Friedrich Feher, who also wrote the script and the music. His wife was the heroine of the film.
Photo
Carols and other Christmas music (1936) — at Royal Albert Hall
Photo: Carols and other Christmas music (1936)

Hiawatha’s Wedding Feast

  1. Webster Booth’s first appearance in Hiawatha’s Wedding Feast. Conducted by Malcolm Sargent. He sang the role of the Monk on 7 & 10 June, and Chihiabos on 18 June.
    Photo
  2. Souvenir programme for the dramatised version of “Hiawatha” held at the Royal Albert Hall in June 7-19, 1937.
    Photo: Souvenir programme for the dramatised version of "Hiawatha" held at the Royal Albert Hall in June 7-19, 1937.

    Der Rosenkavalier, The Magic Flute

    Webster Booth sang the role of Octavian in “Der Rosenkavalier” and took a small role in “Magic Flute”.
    Photo

Third Marriage

5 November 1938 in Paddington Registry office, Paddington, London
Webster Booth’s divorce from Paddy Prior came through in October. He married Anne Ziegler (Irené Frances Eastwood) the following month – first at the Paddington Registry Office, followed by a blessing of the marriage at St Ethelburga’s Church in Bishopsgate.
Photo

 Messiah

17 December 1938 in Queen’s Hall, London
Webster Booth, Joan Hammond, Muriel Brunskill, Norman Walker with London Philharmonic Orchestra, Royal Opera Choir, conducted by Sir Thomas Beecham.
Photo
Members of the Concert Artistes’ Association gave their annual concert in aid of their Benevolent Fund. Webster Booth & other artistes performed. The receipts totalled £427 – a record for these affairs!
Photo

Joins staff of variety department of the BBC

Webster Booth had been appointed to the staff of the BBC Variety department at the outbreak of war. Others included Tommy Handley, Sam Costa, Charles Shadwell, Betty Huntley-Wright and Leonard Henry.
Photo
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21 January 1902 Birth.

Leslie Webster Booth was the youngest of six children born to Edwin Booth and his wife Sarah (neé Webster) at 157 Soho Road, Handsworth, Staffordshire. Above – 157 Soho Road today.
Photo: Leslie Webster Booth was born at 157 Soho Road, Birmingham on 21 January 1902.

Soho Road in the early 1900s.

Accepted as a chorister at Lincoln Cathedral

Webster Booth spent four years as a chorister at Lincoln until his voice broke in 1915.
Photo

His voice breaks so he returns home.

His parents send him to do a commercial course at Aston Commercial School. The headmaster there is Edgar Keey. Later he married Edgar Keey’s daughter, Winifred.
Photo

Leaves School

After Webster left school he began working in an accounting office in Birmingham. At the same time he took singing lessons with Dr Richard Wassall, choirmaster at St Martin’s, Birmingham and singing teacher at the Midland Institute.
Photo

First professional engagement

Webster Booth was accepted into the chorus of D’Oyly Carte Opera and made his stage debut as a yeoman in “Yeomen of the Guard”. He remained with the company for four and a half years, singing in the chorus, playing small parts and understudying the leading tenor roles. He was known in the company as Leslie Booth. He did not use the name Webster Booth until he left the company in 1927.
Photo

Marriage

June 1924 in Fulham Registry Office, Fulham, London
Webster Booth married his first wife, Winifred Dorothy Keey in the second quarter of 1924 at Fulham Registry Office.

Photo

Birth of Keith Leslie Booth

Birth of his son, Keith Leslie Booth. Mother: Winifred Dorothy Booth (nee Keey)

D’Oyly Carte Opera tour of Canada

24 December 1926 in SS Metagama, Liverpool
Webster Booth went to Canada as a member of the chorus of D’Oyly Carte for the tour of Canada aboard the SS Metagama. The tour opened in Montreal on 4 January 1927.
Photo

Singing in Lyons’ Cafés and Restaurants

May 1928 in Popular & Strand Lyons’ Cafés, Holborn Restaurant
Webster Booth, still known as Leslie Webster Booth, was eking out a living singing in various Lyons’ cafés and at Masonic dinners, as well as performing in panto and singing with the Opieros. The photo shows the Holborn Restaurant, a popular venue for staff dinners.
Photo

Recording contract with HMV

1929 in His Master’s Voice Records
Webster Booth made his first recording with HMV in 1929. He continued recording with the company until his contract was cancelled in 1951. The first recording was A Brown Bird Singing and I Love the Moon.
Photo

“The Three Musketeers” (Friml)

Webster Booth made his debut as the Duke of Buckingham in “The Three Musketeers”. Denis King played D’Artagnan. Others in the cast included Adrienne Brune and Lillian Davies.
Photo

Divorce from Winifred Booth (nee Keey)

Winifred Booth deserted Webster and his young son in 1927. Webster tried to find her for many years but she had vanished. In October 1931, he sued for divorce, naming Trevor Davey as co-respondent.
Photo

Marriage to Dorothy Annie Alice Prior

10 October 1932 in Fulham Registry Office, Fulham, London
Webster Booth married his second wife, Dorothy Annie Alice Prior (stage name: Paddy Prior). Paddy was a soubrette, dancer and light comedienne.
Photo

Piccadilly Revels

Webster Booth, Paddy Prior, Violet Stevens, George & Kenneth Western and Edgar Sawyer starred in Murray Evans and Wilby Lunn’s summer show. Paddy Prior is seated to the left of Webster Booth in the middle row.

Piccadilly Revels, 1933 with Webster Booth (tenor) 1902-1984, and second wife, Paddy Prior. — in Scarborough, United Kingdom.
Photo: Piccadilly Revels, 1933 with Webster Booth (tenor) 1902-1984, and second wife, Paddy Prior.
Photo
·

The Faust Fantasy

December 1934 in Bushy Heath
Webster Booth was chosen to play the part of Faust in this film. During the filming he met Anne Ziegler played the part of Marguerite. Unfortunately their meeting spelt the end of his marriage to Paddy Prior before it had really begun.
Photo

A Kingdom for a Cow (Kurt Weill)

Webster Booth starred as Juan, with Jacqueline Francell as Juanita. The show included George Gee, Bobby Comber and Hay Petrie. Muir Matheson conducted the orchestra. The show received good notices but was not a success with the public. It closed after three weeks.
Photo

The Robber Symphony (film)

Webster Booth sang several songs in this film. The film was directed by Friedrich Feher, who also wrote the script and the music. His wife was the heroine of the film.
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Carols and other Christmas music (1936) — at Royal Albert Hall
Photo: Carols and other Christmas music (1936)

Hiawatha’s Wedding Feast

  1. Webster Booth’s first appearance in Hiawatha’s Wedding Feast. Conducted by Malcolm Sargent. He sang the role of the Monk on 7 & 10 June, and Chihiabos on 18 June.
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  2. Souvenir programme for the dramatised version of “Hiawatha” held at the Royal Albert Hall in June 7-19, 1937.
    Photo: Souvenir programme for the dramatised version of "Hiawatha" held at the Royal Albert Hall in June 7-19, 1937.

    Der Rosenkavalier, The Magic Flute

    Webster Booth sang the role of Octavian in “Der Rosenkavalier” and took a small role in “Magic Flute”.
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Third Marriage

5 November 1938 in Paddington Registry office, Paddington, London
Webster Booth’s divorce from Paddy Prior came through in October. He married Anne Ziegler (Irené Frances Eastwood) the following month – first at the Paddington Registry Office, followed by a blessing of the marriage at St Ethelburga’s Church in Bishopsgate.
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 Messiah

17 December 1938 in Queen’s Hall, London
Webster Booth, Joan Hammond, Muriel Brunskill, Norman Walker with London Philharmonic Orchestra, Royal Opera Choir, conducted by Sir Thomas Beecham.
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Members of the Concert Artistes’ Association gave their annual concert in aid of their Benevolent Fund. Webster Booth & other artistes performed. The receipts totalled £427 – a record for these affairs!
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Joins staff of variety department of the BBC

Webster Booth had been appointed to the staff of the BBC Variety department at the outbreak of war. Others included Tommy Handley, Sam Costa, Charles Shadwell, Betty Huntley-Wright and Leonard Henry.
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MY RECORD COLLECTION

While I was studying with Webster Booth and Anne Ziegler I listened to their various radio programmes and recorded some of them, but for some reason I had never thought of collecting their records at that time. When I was playing in the studio for Webster he played some reel-to-reel tapes of his recordings and allowed me to copy those with my own reel-to-reel tape recorder. It was only when I left South Africa and was living in the UK in 1966 that I began my collection of their 78rpm records.Anne and Webster in a full page advert for Skol beer (1961)

I met Margaret when I was working at the Associated Board of the Royal Schools of Music in Bedford Square. She had a 78rpm recording of Webster’s singing One Day When We Were Young and Sweethearts and she kindly gave it to me – the very first record in my collection. She and I went to the HMV shop in Oxford Street one lunchtime. The first record I saw there was a 45rpm of Songs That Have Sold a Million. The names of the singers were not mentioned on the cover, but somehow I thought Webster might have been one of the singers. I asked to hear the record on the headphones provided in the store. Sure enough, he was one of the singers in the medley. The other singers were Dorothy Clarke (contralto) and Foster Richardson (baritone). The original recording had been made in 1937. I added this one to my collection – I now had two records instead of one.

I began looking around second hand record shops in the St Albans area where I was living at the time and found more records to add to my collection. When I returned to South Africa on the SA Oranje in 1968 I did not pack all these records in my trunk. I left There is no Death (Johnson/O’Hara) and: Just for Today (Partridge/Seaver) (HMV B9458) behind with my parents. Luckily Mike Taylor in The Golden Age of Webster Booth-Anne Ziegler and Friends on Facebook acquired this recording a few months ago and  has restored it and posted it to the group.

Some years after I moved back to Johannesburg I found more 78rpms through adverts in Gramophone when the Rand was not in such a parlous state against the pound. These records were sent to me by post and it is a miracle that not too many of them were broken and that I could just afford to pay postage on such heavy items as well as import duty. The import duty often came to as much – if not more – than I had paid for the records in the first place.

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Rococo Canada issued an LP of some of Webster’s recordings from the collection of Scott Sheldon and I heard this record first when I paid a visit to Webster in Knysna in 1973. Webster always said that HMV would only reissue an LP of his serious recordings once he was dead, but later in that decade they did issue such an LP and classified it under “historical”. Webster was pleased that the  record had been issued before he died, but rather indignant at the classification.

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When he and Anne returned to the UK in 1978 two further LPs were issued of their duet recordings and after Webster’s death in 1984 HMV issued The Golden Age of Webster Booth.

ImageBooth in 1985. Image

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Webster had started recording for HMV in 1930, so by the late eighties there were enough recordings out of the fifty year copyright for other smaller recording companies to produce CDs of the duet and solo recordings. By the late nineteen-nineties there were a number of compilation CDs released at a time when it had become possible to restore the quality of the recordings to pristine condition.

In 1986 or 1987 Dudley Holmeskindly sent me cassette tapes of many recordings.

I picked up other 78rpm records in charity shops and at various fêtes and at the Collectors’ Treasury, an interesting shop in Johannesburg. The Collectors’ Treasury has a great collection of 78rpm records but they were not sorted in any particular order so I made a number of excursions into the city in the late eighties to go through the dusty record collection where I usually managed to find a few of Anne and Webster’s recordings on every trip.

I bought my first CD player in 1990 at the same time as Webster’s first CD Moonlight and You was issued. As I mentioned earlier regular compilations of duet and Webster’s solo recordings were issued on CD in the 1990s, the last being Along the Road to Dreams which featured solos and duets.

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This CD of Webster’s earlier recording was issued in 1989.

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Featuring solo and duet recordings. The last CD featuring Anne and Webster was issued about 1999.

I have added many recordings in my collection to YouTube  and seem to have had most success in promoting these records there . I have 215 subscribers on YouTube and my uploaded videos have been viewed over 316,190 times – often by people who had never heard of them before. I have also included some videos on my channel on The Daily Motion site

The Golden Age of Webster Booth-Anne Ziegler and Friends

on Facebook includes a great collection of recordings, photos and memorabilia. If you are interested in hearing rare recordings by Webster and Anne and some related artistes, please join the group.

Good Reads Book Reviews

The Moon And SixpenceThe Moon And Sixpence by W. Somerset Maugham
My rating: 3 of 5 stars

Apparently Strickland was based on the artist Paul Gauguin, but if this was the case, there is a very loose connection between the two for this in not a novel a clef. The book held my interest while the narrator had personal contact with Strickland and his wife. Almost from the beginning of the novel, before Charles Strickland had appeared, I thought him a thoroughly reprehensible character.

Admittedly his wife was not an imaginative woman and used her established position in society to cultivate the society of writers and artists although she appeared to be devoid of any artistic talent herself. She obviously regarded her "dull" husband as nothing more than a meal-ticket and she had never encouraged his artistic inclinations. It is only after he leaves her to her own devices that she manages to pull herself together, fend for herself and look after her children without being dependent on a man any longer.

The portrait of a completely self-centred, inarticulate Strickland, who does not care about the opinion of others was well-drawn but after the narrator is no longer in personal contact with Strickland and the rest of the story of Strickland's life is related to him by a third person the story is less satisfactory. I have to admit that I did not finish the last fifty pages of the book. Although I like Maugham's work, this was not my favourite Maugham novel.

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