Kenneth (Ken) Neate  (1914-1997)



Kenneth (Ken) Neate was born in Cessnock, New South Wales (Australia) on 28 July 1914.  He was of Irish stock as his grandmother’s name was Withers and she came from West Ireland.
He attended Cessnock High School, where he became school captain, in addition to being captain of the athletics team and vice-captain of the cricket and football teams.

He wanted to become a singer at the age of nine, when he first heard Enrico Caruso’s voice in Haendel’s “Ombra mai fu” on an acoustic gramophone. He studied piano and voice in Newcastle and had further study in Syndey with Lute Drummond and Cecil Sherwood (better known by the collectors as Lionello Cecil in the Columbia recording of La Traviata (1928, with Mercedes Capsir and Carlo Galeffi) and the Gramophone Co. recording of Madama Butterfly (1930, with Margaret Sheridan and Vittorio Weinberg).)

Though he originally intended to become a school teacher, instead Neate joined the New South Wales Police Force, serving during three years in inner-city stations in Sydney. He became a soloist in the NSW Police Choir and soon became known as "The Singing Policeman".
He sang his first operatic roles as Pinkerton in Brisbane in 1937 and the title role in a concert performance of Lohengrin with the Melbourne Victorian Symphony Orchestra under the baton of Joseph Post, on the 12th of March of 1940. It was his first Wagnerian role and it was sung in English.  Press reported:
“Australia has produced tenor voices for Wagner before this, but not the Wagnerian brains to match Kenneth Neate’s musicianly rythms in even the most difficult passages for Lohengrin, were as admirable as his challenging qualities in encounters with Frederick and the great Narration near the close of the opera, or those softer hues he produced when singing to Elsa and farewelling the swan”.
After hearing Neate sing, John Brownlee encouraged him to leave for North America, introduced him to the Metropolitan Opera, and recommended him to study with his own teacher, Emilio de Gogorza, and with Elisabeth Schumann.

 In 1941, he toured New Zealand with Oscar Natzka. That year, he studied roles such as Don José (Carmen)) with Brownlee, and Lohengrin with Lotte Lehman. He auditioned for Bruno Walter, which led to his becoming understudy to Charles Kullman forThe Magic Flute at the Met.  These led to his being selected for a series of opera broadcasts by the CBC in 1942, and in April of the same year he  had the honour of appearing as a soloist at the Montreal Festival under Sir Thomas Beecham.  However, during the final rehearsals of The Magic Flute, the United States entered World War II.  (Note : Ken Neate never sang at the Metropolitan Opera)

In 1942, he joined the Royal Canadian Airforce, becoming a flying (pilot) officer, and served as a bombardier until 1946. After he was invalided out (pneumonia in 1943), he sang for the troops until the end of his service.  He came to England with the No. 6 Canadian Bomber Group early in 1945 and was stationed in Yorkshire. Soon after VR-day he appeared in the BBC programme Atlantic Spotlight with Bob Hope and Sir Cedric Hardwicke, after which he made several other broadcasts.

On being demobilized he decided to return to New York to resume his musical career, but as soon as he arrived there in May 1946 he heard that David Webster and Karl Rankl were holding auditions to singers for Covent Garden. He applied to them and as soon as they heard him they offered him a contract with the new Covent Garden Opera Company. This brought him back to England in the autumn of 1946 to prepare for his debut in England. In his first season he appeared as Don José (21 times) in Carmen at the Royal Opera House, Covent Garden. The first performance was a Royal Gala Performance on 14 January 1947.). The role of Carmen was sung by the English mezzosoprano Edith Coates; that season, that lasted six months, he also appeared as Tamino (17 times) in The Magic Flute, and as the Italian Singer (12 times) in Der Rosenkavalier. That year he sang the title role in Gounod's Faust for the first time (he was to sing the role over 80 times until 1965, in Europe, the UK and Australia).  (Note: Everything was sung in English in those days.)

In January 1948 he made his concert debut at the Royal Albert Hall in a Sunday Afternoon Concert given by the Philharmonic Orchestra under George Weldon.
In 1947/1948 he sang at the Covent Garden Rigoletto with Paolo Silveri and Elda Ribetti.
In 1948 he sang Alfredo in La Traviata opposite Elisabeth Schwarzkopf and Paolo Silveri.
In 1950 and 1951, Ken Neate sang the roles of Rodolfo with Lily Stanley as Mimi (La bohème), Cavaradossi (Tosca), and Pinkerton (Madama Butterfly) in productions televised by the BBC. He often appeared with his fellow Australian soprano Rosina Raisbeck at Covent Garden.

In January and February 1951 Neate sang Rigoletto in Egypt (Cairo and Alexandria) with a Company that included Gino Bechi, Maria Erato and Giorgio Tozzi.  Back in Italy Neate sang Mcduff in Macbeth in Genoa (April, May 1951) with Benvenuto Franci and Maria Pedrini, and the title role in Don Carlo in Parma (October 1951) with the Argentinean soprano Pili Martorell, Elena Nicolai, Carlo Tagliabue and Cesare Siepi and Italo Tajo sharing the role of Filippo.

He sang for the first time in Spain at the Teatro del Liceo, in Barcelona, as Alfredo in La Traviata, with Elena Rizzieri and Rolando Panerai (two performances in December 1951) and participated in a Benefit Concert.
In February 1952 he sang in Palermo the title role in Faust, with Rosanna Carteri and Elena Rizzieri sharing the role of Margherita, ItaloTajo and Enzo Mascherini, and in March he was Calaf in Turandot with Jane Stuart Smith in the main role.
Ken Neate was very active the next months, singing La Wally for the Radio Italiana in Milan, Don Carlo in Turin, and Rigoletto in London, with Sari Barabas and Marko Rothmüller.
He made the first of five tours to Australia in 1952 with the J.C. Williamson Company. He returned in 1955 (when he appeared with an Italian touring company alongside singers such as Gabriela Tucci and the promiser tenor Donald Smith, 1960, 1968 and 1970.  

1953 started with three broadcasted concerts in Sydney, and a concert in Ottawa.  In Enna, again Macbeth; in December in Bologna Don Carlo. ( Note: The performances of Don Carlo in Bologna were three, but he fell ill and was replaced by Mirto Picchi in the first two performances (4 & 6 December). Neate sang only the December 8 performance. The comment in La Rassegna Melodrammatica: “Ristabilitose il tenore Ken Neate ebbe successo, addimostrando qualitá canore, e sceniche di considerazione”
December 1953 finished with three performances of Faust at the Liceo in Barcelona, with Franca Duval y Andrè-Huc Santana, on December 17, 26 and 29.   

The year 1954 seems to have been particularly active, starting with performances of Don Carlo in Venice, Lohengrin in Rome, Faust in Lisbon, Turandot and Loreley for the R.A.I, and Rigoletto and Lucia di Lammermoor in Madrid.                               
Also in 1954, in Paris, at the Opéra Comique, he sang Roméo (Roméo et Juliette) and Hoffmann (Les Contes d'Hoffmann). In Paris, he studied with Lucien Muratore, who gave Ken several of his own costumes including that of Don José and his swords and daggers. Ken wore Muratore’s costume in a production of Carmen organized by the Dublin Grand Opera Society at the Gaiety Theatre in Dublin (Ireland) with the baritone Bruce Dargarvel as Escamillo.

In March 1956 he sang La Fanciulla del West with Gigliola Frazzoni for the R.A.I., and in Trieste, Lohengrin and Turandot.
In May 1956, in Bordeaux, he took sang the title role in the world premiere of Sampiero Corso, an opera by Henri Tomasi. In June, the same opera was sung in Amsterdam, as a local premiere.
In September and October, Neate sang in a tour for several French cities. Among them, Paris, Bordeaux, Strassbourg, Nice, Nimes, Marseille, Toulouse, Lyon, Lille, Angers, St. Etienne.
In 1956 he sang at the Montecarlo Cathedral, Hector Berlioz’s Requiem (Messe des Morts), by Royal Command Performance, in presence of Prince Rainier III and Princess Grace.
Also in 1956 Ken recorded his first solo LP with great Italian opera arias, with the Orchestre Philharmonique de Paris under Napoleone Annovazzi (now available on CD).
In 1957 he became a principal tenor at the Paris Opera “Palais Garnier” and other cities in France, singing Arnold (Guillaume Tell).  In Lyon he sang the role of Admète in Glucks’s Alceste.
Neate's lyric tenor had developed into a heldentenor by the end of the 1950s.

1958/1959 Karlsruhe (Germany): Lohengrin, Fidelio, Tannhäuser (his first operas in German).

1959 London- Royal Albert Hall: Eight  Symphony (Symphony of a Thousand) (Gustav Mahler) (rol: Dr. Marianus): Jascha Harenstein, conductor.
On 17 February 1959, Ken Neate sang again at the Covent Garden in London. This time was Lucia di Lammermoor with Joan Sutherland in the main role.The 195ç Franco Zeffirelli production of Lucia di Lammermoor at Covent Garden is famous for Joan Sutherland's breakthrough performance in the title role. The tenor role of Edgardo in that production was sung by Ken Neate, who replaced the scheduled tenor at short notice (the Brazilian tenor Joao Gibin). (Ken Neate was a splendid partner for Joan Sutherland- his height was particularly appreciated by the prima donna). He sang later Gounod's Faust for the Dublin Grand Opera, and returned to Karlsruhe for Lohengrin , Tannhäuser and Fidelio.

In 1960 he toured Australia with the Elizabethan Theatre Trust. When Kenneth Neate took to the stage to sing at the Cessnock Memorial Town Hall on 24 May 1960, with Werner Baer at the piano, it was a night to remember. It was one of Ken’s last trips to Australia and Cessnock was abuzz with excitement at his homecoming. The concert quickly sold out and extra seating had to be provided to accommodate the crowds. Beginning with the national anthem, God Save the Queen, Kenneth showed his versatility across a wide selection of material: contemporary songs from the hit musical South Pacific, classics such as Ave Maria and even Flower Song from the opera Carmen. The night didn’t disappoint, with Kenneth earning a standing ovation from the crowd.  The Coalfields Music and Variety Club had engaged him to perform at a fee of £100, but Kenneth generously donated this entire amount back to the club. (Kimberly O’Sullivan on “The Advertiser News”). Kenneath Neate was presented with a commemorative citation that reads as follows:
Dear Ken,   We, the citizens of Cessnock, so many of whom are your old school mates, wish to place on record our affection for you, and the pride we feel in your achievements.       
You have returned to us with honours thick upon you conferred in the great cities of Europe.                                        
We share in your triumphs and will continue to follow your progress with unalloyed pleasure.                            
Whatever the future may hold for you, there will always be, if you but cast a backward glance, the rich esteem of your fellow townsmen to sustain you, and their pride in you to inspire you.

On the 27 of October 1960 he sang Siegmund in Die Walküre at the Melbourne Town Hall, conducted by Henry Krips. He also sang in Melbourne, Die Meistersinger.

The following year (1961) Ken Neate was engaged at the New York City Opera. His debut was in Carmen (13 October, with Claramae Turner as Carmen). Then  he sang Aida and Stravinsky's Oedipus Rex, and created the role of Judge Danforth in the world premiere of Robert Ward's The Crucible, an opera based on Arthur Miller's play, (28 October 1961). The cast was: Chester Ludgin (John Proctor), Norman Treigle (Rev. John Hale), Patricia Brooks (Abigail Williams), Frances Bible (Elizabeth Proctor): Emerson Buckley, conductor.
In August 1962 Neate sang in Amsterdam Carmen and Faust.

In 1963 Wolfgang Wagner and the conductor Rudolf Kempe invited Ken Neate to participate in the Bayreuth Wagner Festival, singing the role of Loge in Das Rheingold. The cast included, Grace Hoffman (Fricka), Theo Adam (Wotan), Marcel Cordes (Donner), Franz Crass (Fasolt), Peter Roth-Erangs (Fafner), Otakar Kraus (Alberich): Rudolf Kempe, conductor. The first performance took place on 27 July 1963.
In 1964 he made his debut in Vienna at the Wiener Staatsoper- Die Meistersinger von Nurnberg (rol: Walther): Wilma Lipp (Eva), Ira Malaniuk (Magadalena), Otto Wiener (Hans Sachs), Walter Kreppel (Pogner): Robert Heger, conductor (20 December 1964).      That year he also sang Tannhäuser in Hagen.
In 1965 he sang Siegmund in Die Walküre in Hagen: “The part of Siegmund was embodied by Ken Neate. His tenor is also very rich in the lower register, in the upper register one encountered a sound of radiant and heroic power. The aria “Wintersturme” and the cry of jubilation “So blühe denn Wälsungenblut” at the end of the first act were high points of the performance”.
In October 1966 he took up another Wagner role- Tristan- that he first sang in Koblenz.

On 16 December 1966 he sang a “Wagner Concert” at the Teatro de la Zarzuela, in Madrid, with the soprano Isabella Doran and the conductor Rafael Frühbeck de Burgos.
Unfortunately the concert was very far from a success for Ken Neate. The following review appeared on the ABC Madrid newspaper:
“The performance of the singers fell within the upmost mediocrity. The biographical notes of the program reflected merits that after hearing the singers seem incomprehensible. The tenor Ken Neate was a poor, short and dull Siegfried, and a Walther that was an antidote of the youthful fire that the character asks. At the end of the concert when he appeared on stage was received with hisses and even protesting voices” (Antonio Fernández-Cid, ABC, 18 December 1966.

Two weeks later, on 29 December 1966, he sang at the Royal Swedish Opera in Stockholm, in a new production of Tristan und Isolde with Birgit Nilsson (Isolde) and Kerstin Meyer (Brangaene). The conductor was Silvio Varviso. The opera, with the same cast, was taken by the Royal Swedish Opera to Montreal for Expo 67, and the tenor later sang Tristan in Mannheim and Budapest. Continued to sing Tannhäuser, in Hagen, Mulhouse, Bucharest, Adelaide, Sydney and Innsbruck, where he achieved his 150th performance during the 1969/70 season.

In December 1968 he sang again at the Wiener Staatsoper- Ariadne auf Naxos (rol: Bacchus): Leonie Rysanek (Ariadne), Renate Holm (Zerbinetta), Sena Jurinac (Der Komponist), Paul Schöffler (Der Musiklehrer): Heinz Wallbeg, conductor (2 December 1968)
By 1968 his voice was showing signs of deterioration.    After a final tour of Australia in 1970, when he appeared as Florestan in Fidelio, Neate returned to Innsbruck, where he sang Aegisthus in Elektra in 1974.  
His last performance in opera was in the title role of Verdi's Otello at the Landestheater in Innsbruck (Austria) in 1975. Although he was then aged 61, his interpretation was highly praised, both vocally and dramatically.
Ken Neate also sang the Richard Strauss roles of Aegisth, Bacchus and Apollo. However, his repertoire was not confined to opera. He sang in such works as Beethoven's 9th Symphony, Mahler's Symphony of a Thousand and Das Lied von der Erde, Schoenberg's Gurre-Lieder, Handel oratorios, Dvořák's Stabat Mater, and the Requiems of Mozart, Verdi and Berlioz (Grande Messe des morts), under such conductors as Sir Thomas Beecham, Antol Dorati, Eduard van Beinum, Jascha Horenstein, Josef Kripos, Rudolf Kempe, Wolfgang Sawallisch, and Carlo Maria Giulini.

Ken Neate operatic career lasted 38 years, followed by ten years as lecturer in Voice and Opera Studies at the Richard Strauss Conservatorium in Munich.  He also produced operas in Ireland and Austria, such as Il Trovatore, Don Carlo, Tosca, Samson et Dalilah, Tannhäuser and Fidelio and wrote some songs (Homeward calling; I am off to Kambalda).

Ken Neate died in Munich, Germany on 27 June 1997. His book Great singing: Common Sense in Singing was completed at his death, and was published in 2001 by his widow, the  former German mezzosoprano Gertrud  Vollath.

Not many a singer with such deep honesty and loyalty to his inner standards, had the courage of leaving a leading position, such as first tenor of Covent Garden during four seasons, to face the challenge of foreign audiences singing foreign repertoire in the vernacular. So, in some sense, Neate was a pioneer of a new era, a citizen of the world. He did not jump from jet to jet, as singers do today, and where he chose to sing, he also chose to settle, thus, by doing so, he became more than an international singer- a multinational singer at home in four cultures, enriched with the tradition and truth of them all.  He was a singer whose life and career as a self-supporting student and worker, as a soldier, as an artist and as a colleague always had that proud, scarce touch of artistic and personal honesty. (André Tubeuf, Strassbourg, France, 1976)



Click here to read an Australian fan's thought son the tenor with youtube links of Neate's singing + click here for another link with numerous (and rare!!) photos




 YEAR-     WORK AND AUTHOR                       CITY AND THEATRE                     ROLE             
01-1937    Madama Butterfly (Puccini)             Brisbane (Australia)                 Alfredo     (E)
02-1940    Lohengrin (Wagner)                 Melbourne- Town Hall            Lohengrin    (E)
03-1947    Carnen (Bizet)                                          London- Covent Garden         Don José     (E)
04-1947    The Magic Flute (Mozart)                       London- Covent Garden    Tamino     (E)
05-1947    Faust (Gounod)                                        London- Covent Garden              Faust       (E)
06-1947    Rigoletto                                                    London- Covent Garden              Duke       (E)      
07-1948    La Traviata (Verdi)                                London- Covent Garden              Alfredo   (E)
08-1950    La Bohème (Puccini)                 London- Covent Garden              Rodolfo  (E)
09-1950    Tosca (Puccini)                                       London- Covent Garden     Cavaradossi   (E)
10-1951    Macbeth (Verdi)                                       Genova- Carlo Felice                  Macduff    (It)
11-1951    Don Carlo (Verdi)                              Parma- Regio                                      Don Carlo   (It)
12-1952    Turandot (Puccini)                                   Palermo- Massimo                           Calaf    (It)
13-1952    La Wally (Catalani)                                 R.A.I. Milano                           Hagenbach   (It)        
14-1954    Loreley (Catalani)                                    R.A.I. Milano                                       Walter   (It)
15-1954    Romèo et Juliette (Gounod)      Paris- Opera Comique                  Romèo  (Fr)
16-1954    Contes d’Hoffmann (Offenbach)     Paris- Opera Comique             Hoffmann  (Fr)
17-1956    La Fanciulla del West (Puccini)              R.A.I. Milano                       Dick Johnson  (It)
18-1956    Sampiero Corso (Henri Tomasi)     Bordeaux                                Sampiero-** (It)
19-1957    Guillaume Tell (Rossini)                        Paris- Opèra Palais Garnier          Arnold  (Fr)
20-1957    Alceste (Gluck)                                         Lyon- Opèra Nationale        Admète (Fr)
21-1958    Fidelio (Beethoven)                                  Karlsruhe                                         Florestan (G)
22-1958    Tannhäuser (Wagner)               Karsruhe                                    Tannhäuser  (G)
23-1959     Lucia di Lammermoor (Donizetti)  London- Covent Garden            Edgardo (It)
24-1960     Die Walküre (Wagner)                           Melbourne- Town Hall                   Siegmund (G)
25-1961     Aida (Verdi)                               New York- City Opera                   Radames (It)
26-1961     Oedipus Rex (Stravinsky)                      New York- City Opera                   Oedipus (G)
27-1961     The Crucible (Robert Ward)   New York- City Opera   Judge Danforth-** (E)
28-1963     Das Rheingold (Wagner)                        Bayreuth- Festival                                  Loge (G)
29-1964     Die Meistersinger (Wagner)    Vienna- Wien Staatsoper                    Walther (G)
30-1966     Tristan und Isolde (Wagner)   Koblenz- Koblenz Theatre              Tristan (G)
31-1968     Ariadne auf Naxos (R. Strauss)             Vienna- Wien Staatsoper                  Bacchus (G)
32-1974     Elektra (Richard Strauss)        Innsbruck- Tiroler Landestheater                Aegisthus (G)
33-1975     Otello (Verdi)              Innsbruck- Tiroler Landestheater                Otello (G)
34- ?          Der Fliegende Holländer (Wagner)    ?                                                      Erik  (G)
35- ?          Daphne (Richard Strauss)                          ?                                                         Apollo (G)
**world premiere  
              E= English; It= Italian; Fr = French; G= German








Le Grand Airs de l’Opera Italien     (Salle Wagram, Paris, 1956)                       
With Orchestre Philharmonique de Paris, Napoleone Annovazzi, conductor
Le Chant du Monde LDX- SP 1514 (A 8170) (12”) (France, 1956)
Una serata all’Opera: Quadrifoglio VDS 9492 (Italy, reissue)
Great Italian Arias: World Record Treasures SC-6(England,reissue)
Melodiya 33- 029737 (U.S.S.R. 1971, reissue)

  1. Guglielmo Tell: O muto asil del pianto
  2. I Puritani: A te o cara
  3. Lucia di Lammermoor: Tombe degli avi miei…Fra poco a me recovero
  4. Rigoletto: Ella mi fu rapita….Parmi veder le lagrime
  5. Aida: Se quel guerrier….Celeste Aida
  6. L’Arlesiana: Lamento di Federico- E la solita storia del pastore
  7. Iris: Serenata de Ior- Apri la tua finestra
  8. Pagliacci: Recitar….Vesti la giubba
  9. Manon Lescaut: Donna non vidi mai
  10. Tosca: Recondita armonia
  11. La Fanciulla del West: Or son sei mesi
  12. Turandot: Nessun dorma


Carmen (Bizet) (Highlights)                                                         Philips P 77.118 L (France, 1958)
With Freda Betty, Andréa Guiot, Gabriel Bacquier
Symphony Orchestra: Raymond Saint- Paul, conductor
Fontana SFL 14102 (England, 1970 reissue)


Selected Sacred Songs                                                 Spotlight S.V. 84 (Australia, 1963)
With Ballarat City Chorus and Ballarat Brass Ensemble: W.H. Keath Young, conductor


Sound An Alarm


Holy Night Within This Breast


Ave Maria




How Great Thou Art


The Lord’s Prayer


Panis Angelicus


Jesu Rambling


Holy City


Bless This House


Open The Gates Of The Temple


The Land We Love



Loreley (Catalani)  Live Opera R.A.I. Milano, 15 December 954)
With Anna De Cavalieri, Rina Gigli, Piero Guelfi, Alfredo Colella:
Nino Sanzogno, conductor
The Golden Age of Opera (Edward Smith)       EJS-201  (2 LP)
Gala                                                                      GL-100.752 (2 CD, 2004)
Cantus Classics                                              CACD 5.00716F  (2 CD-2005)
Walhall EternitySeries                                                  WLCD  0123 (2- CD-2015)

Tristan und Isolde (Wagner) Live opera Stockholm Royal Opera House (29 December 1966): Birgit Nilsson, Kerstin Meyer, Erik Saedén, Bengt Rungren: Silvio Varviso, conductor
Opera Depot        CD OD 11843-3  (2020)


Rococo Records No. 5387 (2 LP- Canada) (1976 c.)
Side A                                                                                       
La Gioconda: Cielo e mar                                           1945 (Walter Goehr)                                    
Marta: M’apparì                                                          1953 (Henri Pensis)                                                                  Lucia di Lammermoor: Tombe degli avi miei                            1953 (Henri Pensis)         
Fra poco a me ricovero                        1953 (Henri Pensis)             
L’Arlesiana: E la solita storia del pastore                   1953 (Henri Pensis)         
La Boheme: Che gelida manina                                  1953 (Henri Pensis)                       
Turandot: Nessun dorma                                             1954 (Nino Sanzogno)                                 
Manon Lescaut: Guardate! Pazzo son                         1956 (Arturo Basile)        

Side B                                                                                       
Loreley: Nel verde Maggio                                         1956 (Alfredo Simonetto)                                                                                                    Loreley: Ove son…Che fu?                                                       1956 (Alfredo Simonetto)                                       
Faust: All hail thou dwelling (Salut demeure)            1946 (Stanford Robinson)       
Werther: Invocation a la nature                                   1953 (Arturo Basile)                   
Romeo et Juliette: Ah, lève-toi, soleil                                       1955 (Umberto Vedovelli)
Guillaume Tell: Asile Héréditaire                               1960 (John Hopkins)
Carmen: La fleur que tu m’avais jetée                        1960 (Igor Markevitch)
Sampiero Corso: Vannina, Blanche Colombe                           1960 (Igor Markevitch)

Side C
Am Meer (Fraqnz Schubert)                                                     1960 (Werner Baer)
Der Atlas (Franz Schubert)                                                       1960 (Werner Baer)
Gesang Weylas (Hugo Wolf)                                                    1960 (Werner Baer)
Der Freischutz: Durch, die Wälder                             1960 (Henry Krips)
Fidelio: Gott, weich’Dunkel hier                                1960 (Henry Krips)
Die Meistersinger: Preislied                                                      1960 (Henry Krips)

Side D
Lohengrin: In fernem land                                           1960 (Henry Krips)
Die Walkure: Wintersturme                                                      1960 (Henry Krips)
Das Rheingold: Umsonst Sucht Ich                             1963 (Rudolf Kempe)
Tristan und Isolde: O König                                                      1966 (Silvio Varviso)
Tannhäuser: Romerzählung                                                       1967 (Hans Löwlein)
Otello: Freuf End alle (Esultate!)                                1975 (Edgar Seipenbusch)

Note: The selections included in these two Rococo records are all off-the-air and off-the stage private acetates and tapes and give a complete picture of his career from his early BBC broadcasts to his farewell performance in 1975.




Ken Neate: International Tenor (1914-1997)- Italian Opera Arias
Casa Art Production CD (1997)
Note: Remastered from LP Le Chant du Monde LDX  SP-1514 (1956)

From Melba to Sutherland (Australian Singers on Records) Decca-Eloquence 4825892 (2016) (4-CDs)
Ken Neate sings: Turandot- Nessun dorma (Paris, 1956)

Great Australian Voices: The Golden Years 1948-1973
Desirée GAV-009  (2019) (4-CDs)
Ken Neate sings: Der Freischutz: Durch, die Wälder               (live recording)
Frau Luna (Paul Lincke): Castles in the air (live recording)

La Cena delle Beffe: Frazzoni, Colzani, Annaloro.
Bonus: La Fanciulla del West (exceprts): Gigliola Frazzoni, Ken Neate (13 March 1956)
Myto 052.H103  (2-CDs)



Opera Recordings DVD 96202
La Fanciulla del West: Gigliola Frazzoni, Ken Neate, Mario Petri (RAI 13 March 1956)

CRQ Editions- DVD 16 (England)
La Fanciulla del West: Gigliola Frazzoni, Ken Neate, Mario Petri (RAI 13 March 1956)


JULY 2021