Edward Fitzball (1792 – 27 October 1873) was a popular English playwright, who specialised in melodrama. His real surname was Ball, and he was born at Burwell, Cambridgeshire.
Fitzball was educated in Newmarket, was apprenticed to a Norwich printer in 1809. He produced some dramatic pieces at the local theatre, and eventually the marked success of his Innkeeper of Abbeville, or The Ostler and the Robber (1820), together with the friendly acceptance of one of his pieces at the Surrey Theatre by Thomas John Dibdin, induced him to settle in London.
During the next twenty-five years, he produced a great number of plays, most of which were successful. He had a special talent for nautical drama. His Floating Beacon (Surrey Theatre, 19 April 1824) ran for 140 nights, and his Pilot (Adelphi, 1825) for 200 nights. He also produced a seminal play on The Flying Dutchman and wrote the libretto for Edward Loder's Raymond and Agnes. His greatest triumph in melodrama was perhaps Jonathan Bradford, or Murder at the Roadside Inn (Surrey Theatre, 12 June 1833). He was at one time stock dramatist and reader of plays at Covent Garden, and afterwards at Drury Lane. He had a considerable reputation as a songwriter and as a librettist in opera. He wrote the librettos for William Vincent Wallace's operas Maritana and Lurline.
The last years of his life were spent in retirement at Chatham, where he died at the age of 81.
Birth and Death Data: Born 1792 (Cambridgeshire), Died October 27, 1873 (Chatham)
Date Range of DAHR Recordings: 1899 - 1928
Roles Represented in DAHR: lyricist
= Recordings are available for online listening.
= Recordings were issued from this master. No recordings issued from other masters.
Recordings (Results 1-25 of 44 records)
|Company||Matrix No.||Size||First Recording Date||Title||Primary Performer||Description||Role||Audio|
|Berliner||0298||7-in.||6/28/1899||Let me like a soldier fall||Ferruccio Giannini||Tenor vocal solo||lyricist|
|Victor||[Pre-matrix A-]756||7-in.||5/1/1901||In happy moments||Addison Dashiell Madeira||Male vocal solo||lyricist|
|Victor||[Pre-matrix B-]756||10-in.||5/1/1901||In happy moments||Addison Dashiell Madeira||Male vocal solo||lyricist|
|Victor||[Pre-matrix B-]3300||10-in.||5/1/1901||In happy moments||Addison Dashiell Madeira||Male vocal solo||lyricist|
|Victor||B-1713||10-in.||9/28/1904||Scenes that are brightest||Corinne Morgan||Female vocal solo, with orchestra||lyricist|
|Victor||C-1713||12-in.||9/28/1904||Scenes that are brightest||Corinne Morgan||Female vocal solo, with orchestra||lyricist|
|Victor||B-2377||10-in.||3/14/1905||Sweet spirit, hear my prayer||Mina Hickman||Female vocal solo||lyricist|
|Victor||C-2615||12-in.||6/6/1905||In happy moments||Corinne Morgan||Female vocal solo, with piano||lyricist|
|Victor||B-3207||10-in.||3/23/1906||In happy moments||Alan Turner||Male vocal solo, with orchestra||lyricist|
|Victor||C-4306||12-in.||3/14/1907||Holy Mother, guide his footsteps||Corinne Morgan ; Elise Stevenson||Female vocal duet, with orchestra||lyricist|
|Victor||B-4677||10-in.||7/12/1907||Scenes that are brightest||Helene Noldi||Female vocal solo, with orchestra||lyricist|
|Victor||B-4711||10-in.||7/25/1907||Let me like a soldier fall||John A. Finnegan||Tenor vocal solo, with orchestra||lyricist|
|Victor||B-6321||10-in.||7/24/1908||Let me like a soldier fall||William T. Evans [i.e., Evan Williams]||Tenor vocal solo, with orchestra||lyricist|
|Victor||C-8038||12-in.||6/10/1909||My pretty Jane||Evan Williams||Tenor vocal solo, with orchestra||lyricist|
|Victor||C-9593||12-in.||10/31/1910||Gems from Maritana||Victor Light Opera Company||Vocal chorus and soloists, with orchestra||lyricist|
|Victor||C-10512||12-in.||6/7/1911||My pretty Jane||Evan Williams||Tenor vocal solo, with orchestra||lyricist|
|Victor||B-18947||10-in.||12/29/1916||Sweet spirit, hear my prayer||Elsie Baker||Female vocal solo, with orchestra||lyricist|
|Victor||B-27378||10-in.||1/8/1923||Sweet spirit, hear my prayer||Merle Alcock||Female vocal solo, with orchestra||lyricist|
|Columbia||3497||10-in.||between January and October 1906||Let me like a soldier fall||George Alexander||Tenor vocal solo, with orchestra||lyricist|
|Columbia||4319||10-in.||between 1909 and February 1910||Sweet spirit, hear my prayer||Mrs. A. Stewart Holt||Female vocal solo, with orchestra||lyricist|
|Columbia||38148||10-in.||7/19/1912||Let me like a soldier fall||Charles Harrison||Tenor vocal solo, with orchestra||lyricist|
|Columbia||80321||10-in.||4/26/1922||Sweet spirit, hear my prayer||Lucy Gates||Soprano vocal solo, with orchestra||lyricist|
|Columbia||30554||12-in.||ca. 1910-Jan. 1911||In happy moments||Vernon Archibald||Male vocal solo, with orchestra||lyricist|
|Columbia||37377||12-in.||8/23/1915||The bloom is on the rye||Oscar Seagle||Baritone vocal solo, with orchestra||lyricist|
|Columbia||49982||12-in.||ca. 1921||Scenes that are brightest||Rosa Ponselle||Soprano vocal solo, with orchestra||lyricist|
Discography of American Historical Recordings, s.v. "Fitzball, Edward," accessed February 5, 2023, https://adp.library.ucsb.edu/names/104086.
Fitzball, Edward. (2023). In Discography of American Historical Recordings. Retrieved February 5, 2023, from https://adp.library.ucsb.edu/names/104086.
"Fitzball, Edward." Discography of American Historical Recordings. UC Santa Barbara Library, 2023. Web. 5 February 2023.
DAHR Persistent Identifier
Wikipedia content provided under the terms of the Creative Commons BY-SA license
Send the Editors a message about this record.