Greg Dempsey

Gregory John Dempsey, OAM, was born in Collingwood, an inner suburb of Melbourne, on 20 July 1931. His parents were Patrick and Gwen Dempsey who married in 1929. It was only a short time later in 1931 that baby Gregory John arrived. The joy had begun for Mum and Dad.

Greg’s mum and dad, Gwen and Patrick, Dempsey on their wedding day in 1929

Master Greg Dempsey at age ten in a tailored suit for a family photo

Who could have guessed the young lad would learn how to tap dance. Mind you, he did at times forget his personally choreographed steps, but studied voice, piano basics and acting. He was a mere six years old when he took up these skills and this training regime lasted for two to three years. There was music in the house all the time, because Greg’s father Patrick sang at home. His love of music and mother’s encouragement imbued their son with the sophistication this art form required. With his bright personality, aptitude and natural ability, these all came into use in Greg’s very, extensive career later on, and very much upon the opera stage. Greg’s dance teacher was the one and only Olive Thompson, who was one of Melbourne’s best tip-top-tappers of the late 1930s. Her career was quite illustrious in itself.

A very cute and smartly dressed eight year old boy dancer, singer and piano player

Launceston The Examiner newspaper item from 10 March 1944 extolling the talent and experiences of Greg’s first dancing teacher, Miss Olive Thompson

Greg’s first teacher for piano was Betty Jones who introduced the boy to the skills he needed and later, Mavis Kruger became his vocal coach. This arrangement lasted till Gregory was 22 years of age. It was whilst singing in the baritone range with radio show “Peter’s Pals” around the age of 13 to 14 years that Gregory’s teachers experimented with him singing in the tenor range. He had commenced his career as baritone after his voice broke, and with radio programs such as “Talent Tote” at 3XY and “The P & A Parade” at radio 3KZ where Margot Sheridan was the piano accompanist. She would give the teenage boy more encouragement and tuition. Whilst at the “Hotel Ritz” in Melbourne city, Gregory met pianist Les Tobias, who would mentor the young man through lots of additional tuition and various experimentation over choice of songs and work through his range and best keys.

This teacher and mentor working relationship enabled Gregory to explore many possibilities and his gratitude is still vivid in his memory for such a teacher.

With pianist Les Tobias

The portfolio of arts subjects studied as a teenager when he attended school would become the centre of attention for him to be teased and ridiculed. This was mainly by the young girls about his involvement in these activities which they considered as “sissy” pursuits. This was what was the reasoned stupidity in the era around World War Two and the following post war years. Gregory’s determination to follow his heart in these chosen arts also reaffirmed his strong commitment to do all that was necessary for practice and his dedication to it. This was his driving force.

Young Gregory with his mother, Gwen attending a special event, and above right, is a news paper clipping from Listener In showing the “Teenage Talent” radio program cast for broadcaster 3KZ, probably around the year 1950. There’s quite a few stars present that went on to some stardom in their own chosen genre.

During his time at 3KZ “Kia Ora Teenage Talent” both the orchestra leader Tommy Davidson and producer and host Doug Elliott suggested that Gregory could become a tenor as his vocal range was two octaves at this time. Vocal coach Mavis Kreuger also agreed. So, Gregory auditioned for a position with the Youth Operatic Society in front of the Musical Director, Charles Famel. Gregory’s audition was a great success and he was accepted immediately. His first role, at 18 years of age was in Gilbert & Sullivan’s The Yeomen of the Guard. This was in 1949 and over the next 3 to 4 years, Gregory sang in most of the Gilbert And Sullivan Savoy operas in major roles. In HMS Pinafore he sang the role of Ralph Rackstraw. All this was a wonderful experience for Greg and an acknowledgement of his budding vocal talents. Plus, the added charm of his youthful and equally marketable, boyish, good looks.

The Youth Operatic Society in the 1949 production of The Yeomen of the Guard. And, young Greg Dempsey in a posed photograph for publicity purposes.

In her The Age newspaper article, “Melbourne People” about Gregory Dempsey on 26 May, 1981, journalist Susie Boisjoux relates an anecdote concerning those in his school who considered boys fell into one of two groups. That was as “crows” or “canaries”. The Crows played cricket and the Canaries sang. So, Gregory’s school teacher wanted to toughen up the boy who loved his music and the arts, which was considered “girly stuff”. So, he put Greg in with the Crows to see if he could sink or swim. He certainly swam and would end up at an elite level in association cricket!

From the Gilbert & Sullivan opera Iolanthe,Gregory Dempsey in an imperious pose as Earl Tolloller, and the principal cast for the opera Patience with Gregory second from the left in the role of Lieutenant, the Duke of Dunstable. Other members of the cast are unidentified for this c.1953 production. Sound recordings exist of this production in Greg’s own collection. Many of the cast of the Hawthorn Operatic Society did go on to achieve their own personal goals in music and the theatre.

Although it was a difficult time in the development of a child, who was powerless to be himself and follow his own interests, Greg took it all on board and as matters evolved, worked for him on all fronts. So, he played those criticisms by the young and ignorant name callers and those in positions of power by the book. He did all the “masculine” stuff as well as giving his best efforts to dance, piano practice and most importantly, voice. That fine line as a sports-loving and artistic fellow was his safety net. Both these pursuits, as it turned out made his voice stronger for the later professional singer and also enabled his lungs to really develop to be a powerhouse of strength vocally. It was essential for a tenor range in classical music. The constant thirst for knowledge and the involvement in many extra curricular subjects outside school hours really paid dividends. His confidence exuded and at eighteen years of age, as a member of the Youth Operatic Society (which became the Hawthorn Operatic Society in 1952) in the comic operas of Gilbert & Sullivan, Gregory really shone.  Here, he got great experience in theatrical music and that was the catalyst, which would take the youthful lad into a new and exciting world of the arts. It was in this very group that the up-and-coming Jim Murphy of the famed Murphy family, whose siblings were Peter and Mary, had started his own career in music and the arts. Jim would later become a writer, performer and critic in the world of film and the musical stage.

Gregory as Ralph Rackstraw on stage for HMS Pinafore and at right, with Hawthorn Operatic Society G&S vocal star, Elizabeth West.

But, I digress, because to be part of the “Crows” in his technical school days was to be a good cricket player. Development in this skill for Gregory was embracing this challenge and duly becoming an all-rounder participant. Joining the Collingwood Cricket Club after school days finished was a huge success and Greg went on to top levels. He was still playing outstanding cricket in the late 1950s for Collingwood Cricket Club and was in the premiership best team in the 1957-58 season for the Victorian Turf Cricket Association (VCTA). The physical fitness levels and the strong lung capacity required throughout his many sports gave Gregory the best power for the demanding roles that a tenor vocal range required and endurance to play such challenging roles night after night on an opera stage.

The Victorian Turf Cricket Association First Eleven Premiers of 1957-1958 was some achivement for Gregory Dempsey who was chosen as the best player from the Collingwood Cricket Club. The balance of the team is the best from the other association club members. In other words, it was the creme de la creme of the best from the top teams that particular year of the cricket summer season.

Greg Dempsey is in the back row, third from the left. The balance of cricket’s best VTCA Senior Division players are E. Calvert, F. Jungwirth, D. Johnston, A. Schrape, D. Kivell, R. McDermott, W. Driver, G. Pugh, K. Parker, J. Young and J. McDermott.

So, as you see, an adjunct to his sporting prowess, the artistic aspect of acting and singing grew with his performances with the Youth Operatic Society, and later Hawthorn Operatic Society, from 1949 onwards.

A photograph taken by Laurie Richards of Gregory Dempsey, and his dog Bernie resting on his shoulders. This news item in the press promoted Greg’s rise to fame in opera. At right, is a The Sun newspaper item describing Greg’s success in gaining a place at Sadler’s Wells Opera after being a boiler maker and truck driver. The other newspaper item is from an unidentified clipping in the Dempsey file collection.

From those early Hawthorn operetta days Gregory Dempsey, as the young man, became a cool and confident baritone, and with a change of piano accompanists, led him to further development of the vocal range into the tenor vocal range. All the sports work and swimming of his youth became the substance of strength in lungs and physical body development. Gregory even took up weight training which really gave extra power to the voice. And there was his cricket. The extra muscle as part of this training regime added a body physique for all sorts of roles in opera. These were the roles Gregory loved and his parents encouraged their son’s development, plus looking further at his employment in a day job as a young adult. This would ensure a regular income later, if a music career failed. It would be in a particular trade, as a boiler maker. However, the apprenticeship was curtailed after a short period of time as the fumes’ poisonous gases were detrimental to the young man’s lungs. So, the next role as far as day employment, was to be a truck driver. This was not dissimilar to the American tenor, Mario Lanza. The equally talented American shot to great fame in the 1950s in many Hollywood films, radio broadcasts and on his commercially made RCA-Victor records. Mario Lanza’s meteoric rise to fame, was extinguished with his sudden death in 1959. For our own star equivalent, Greg took a different path that led to the multi-talented Australian tenor strutting the stage across the globe in a stellar career that lasted for six decades.

At left, Greg as the young apprentice boiler maker. At right, with parents Gwen and Patrick Dempsey excited about their son who had just won the Lever Award First Prize in 1955. What joy! Another Laurie Richards photograph.

Gregory made few studio dates for gramophone recordings, but did lots of singing to live audiences, and sang countless radio broadcasts and television appearances. Many private acetate discs from Greg’s early years are in his personal library, as well as radio discs. The critics and opera audiences were appreciative of the strong believable acting and the powerhouse tenor vocal range. He was much adored for those skills, and his dedication to the art form along with a great personality, that other cast members loved. Yes, the young man had it all.

The photo on the left shows a young Gregory Dempsey meeting some female vocal contestants on Gladys Moncrieff’s Radio Show broadcast from the Brunswick Town Hall in October 1954. Everyone looks excited about meeting the young tenor. On the right, Greg is playing chords on the piano for the Mobil Quest contestant singers. The stars on the ascent are Miss Joan Arnold and Rosalie Brannigan, at the left of the photo.

In 1952, he made his first appearance on the radio program “Mobil Quest”. And successive appearances won out because Gregory became a finalist in the Mobil Quest season of 1956 in which Noel Melville was winner, Heather Begg, second finalist and Lawrence Lott was third. Gregory Dempsey who trained initially as baritone, made his debut as Don Ottavio in Don Giovanni with the National Opera of Victoria in 1954, also appearing as Turiddu in Cavalleria rusticana and Pedro in d’Albert’s Tiefland. In 1955 he won the £1,000 Lever Award (Radio award sponsored by Lever Brothers’ toiletries and kitchen and laundry products). In 1956 Greg was a grand finalist in the Mobil Quest. When the Elizabethan Trust Opera was formed in 1956 he took part in its season of four operas. The following season, he appeared in their productions of Tosca, La bohème and The Tales of Hoffmann. In the 1958 season he sang principal roles in Carmen, The Barber of Seville and Fidelio. He also became a permanent member of the chorus for the Channel GTV9 television singers. 1960 found him singing Monostatos in The Magic Flute, the First Jew in Salome, Goro in Madama Butterfly and Rinuccio in Gianni Schicchi. During this season, Gregory Dempsey sang a small role in Dalgarie, and Beppe in matinee of Pagliacci, followed by Luigi in Il tabarro, and followed this replacing another tenor who took ill as Rinuccio in Gianni Schicchi. This was in Adelaide in 1961. Four quite different roles, and all in one day!

In Perth, he sang in both operas in a double-bill as Mundit – an aborigine – in the 1962 premiere of the Australian opera Dalgerie, and followed with Beppe in Pagliacci after interval. These achievements and the introduction to many short-listed roles in opera in Australia opened up and Greg Dempsey was very much in demand. However, his appointment in England for the Sadler’s Wells Company drew the tenor to so many other parts of Europe and the USA, Canada and as far away as Iceland. These operas gave Greg much scope and opportunities to come.

The Grand Finalists for “Mobil Quest 1956”: Noel Melville 1st; Heather Begg, 2nd; Lawrence Lott, 3rd; along with Peter Campbell, Brian Hampstead, Patrick Skuse, Denise Thompson and Marie Bates. Greg Dempsey is second from the right in the picture. The names on the back of the photograph are not clear. The photo on the right shows Greg Dempsey posing with the Sun Aria winner of the 1954 season Cavell Armstrong. Photos by Laurie Richards.

His starring role with soprano Muriel Luyk for the Melbourne Moomba Season in March, 1956 was in Bizet’s Carmen. It was a sensational, abbreviated version with Roland Strong as the narrator, and Hector Crawford’s Australian Symphony Orchestra & Chorus. Plus, an equally strong, supporting cast. Local Melbourne radio station 3DB broadcast the production in an outside staged “Music For The People” spectacular. Decades later, the original acetate radio discs were discovered in Gregory’s home which were cared for by his mum, Mrs. Gwen Dempsey for many decades. The acetate sound discs were transferred to a digital medium by audio engineer, Jamie Kelly, and it is remarkable that these recordings were in such good order.

Gregory’s mother saved all and everything, and thank goodness. Gwen cared for the many gems made by her son and have now been preserved for posterity. Not only did Gwen have the one only recordings of Carmen, the original Victoria State Government printed program was given to the author by one of the sopranos in the chorus, Beverley Graham. As Gregory’s fortunes began to develop, radio and new television appearances became prevalent and Gregory was in demand for popular material as well as operetta favourites, which he sang on regular occasions with the soprano Aldene Splatt at GTV9’s Richmond television studios.

The above image shows the thrill on the faces of Muriel Luyk, Gregory and Hector Crawford in a promotional photograph (probably Laurie Richards) for the 1956 Music For the People Concert featuring opera Carmen (Bizet) and the actual program that was held by choral soprano, Beverley Graham.

To be continued

Gregory’s appearances on television included some significant performances and serious works, both in Australia and overseas. Here are some examples of his work. On the 26 August 1958 came an ABC television production screened on Sydney station ABN2 of the The Barber of Seville (Gioachino Rossini). Soprano Glenda Raymond, tenor, Donald Smith and the baritones Neil Warren-Smith and Robert Simmons. Ella Banner, Joseph Drewbiak and Alan Light were also in a star cast. The actual kinescope recording made of the broadcast was shown on Melbourne station ABV2 on 8 October 1958. This rare kinescope is believed to have been lost.

In 1969 Gregory sings his famed role in Peter Grimes (Benjamin Britten) for a tele-movie at the BBC. Peter Pears is the star, along with Gregory Dempsey as Bob Boles, and Owen Brannigan, Ann Robson, Heather Harper, Elizabeth Bainbridge, Bryan Drake, and with strong supporting cast. The director is Brian Large.

Greg Dempsey and Elizabeth Fretwell in the London Sadler’s Wells opera production of Peter Grimes (Benjamin Britten) had establised Gregory in the choice position of being offered great roles with the opportunity of most recent to the classic opera scores of the previous century. This kept his career on a steady roll.

Falstaff was staged in 1972 with story based on the William Shakespeare play, and directed by Basil Coleman. The producer is Cedric Messina. The libretto is by Arrigo Boito. Starring Geraint Evans, Regina Resnik, Norman Bailey, April Cantello, David Gwynne, Edward Byles, plus Gregory Dempsey as Dr. Caius. The musical conductor is James Lockhart who also directs the Ambrosian Singers.

Falstaff as television’s 1972 version with Gregory as star. The still frame from a surviving video is the best that can be expected.

A colour snap shot from the stage for another huge opera staged in 1974: Marilyn Horne and Thomas Edmonds share the limelight with Greg Dempsey in Leos Janacek production of The Adventures Of Mr. Broucek, a very modern story about a man who travels into space

These opera productions with more newly written content grew as Gregory got excellent reviews for his vocal work and convincing acting. For example, his many appearances in Cologne, West Germany in those days, included work with star mezzo-soprano Barbara Scherler, in the production of Ballad in Moor written by the ubiquitous composer, Richard Rodney Bennett. In English the opera was known as The Mines of Sulphur. The German newspapers at the time featured a good write up of the opera. This dates from 19 March 1968. Greg recalled the regular nightly performances with the tender love scenes. It was difficult because Fraulein Scherler had problems with simple nervousness on stage. So, it was a role to be tenderly played by the hot blooded Gregory, who did enjoy this kind of romantic role on the theatre stage. And, always classy performances by the young tenor.

A close up of the German mezzo-soprano who was most glamorous on stage is, like Gregory still enjoying life in their nineties. Barbara has many accolades for her operatic career and was born in 1933.

Richard Rodney Bennett’s quite diverse musical career embraced the full cross section of the arts. The photograph caption says ‘Zugebissen’ which translates as ‘bitten’ which may mean ‘smitten’?

But, returning to the ABC television station in Melbourne (ABV2). Management in the early transmission days of black and white TV in the late 1950s and early 1960s, had wanted to bring some more of the opera’s strong repertoire to their loyal and discerning viewers. So, Gregory was invited to appear in one of Giacomo Puccini’s operas Il tabarro (The Cloak) with soprano, Loris Synon. The Elizabethan Trust Opera Company also included star baritone Robert Allman and Joyce Simmonds in the gala production. The show was a huge success. Interestingly, some of the opera telecast survived in the ABC Archives in Sydney, and had been shown on YouTube, however, it’s been withdrawn in recent times. So, Gregory Dempsey who was a mere twenty-nine-year-old tenor and opera singer gave Il tabarro a performance which exuded the sexual tension and the natural strength of the voice for this demanding role. Some of his best and early work singing and acting on a free-to-air service provided by a government body for the telecast. Gregory’s absolutely powerful interpretation had the critics raving with excitement and huge praise. At this stage in Australia, Gregory John Dempsey had arrived. He was ready for the world.

The ABC television production of 1960 from the Elizabeth Trust Opera Company proved a to be winner with Loris Synon sharing the honours with Gregory and a star cast

This still frame from the video footage surviving gives us a glimpse

Still wanting to work in overseas theatres, an offer came from the Sadler’s Wells Opera Company in London in 1960. Gregory accepted their offer for when a role became available. In the interim, he worked at GTV9 Melbourne’s regular variety program In Melbourne Tonight television show in the Ron Rosenberg Choir. Ronnie had wanted a Norman Luboff style choir for the show which included popular song vocalists and trained classical voices which gave the chorus a very natural choral and unique style. The show produced many stars of the newer era of jazz, popular and classical who would get experience for their own careers later on. It was here that Ann Marie Smith, later Gregory’s wife, would be introduced, and other big names in opera, jazz and popular, such as Clifford Grant, Brian Curran, Murray Mardardy, Annette Klooger, Judy and sister Brenda Horan, Ray Collier, Betty Lys, Kevin Kidney, Audrey Duggan, Janice Taylor, Aldene Splatt and John Roberts started their careers.

Other singers at that time included members of the Four Debs and the Dominoes, Judy Pummeroy, Kevin Kidney, Pauline and Betty Lys, Des and Kevin Jolly, Kathy Danaher, Neil Upfield, Pam Fletcher, Patti McGrath (later Mrs. Bert Newton), Frank Wilson, Dorothy Baker, Jimmy Hannan, Reg Gray, Robyn Alvarez and so many others who would have had their beginnings at GTV9 in Melbourne.

Gregory Dempsey had emerged as a star player, and sat in the GTV9 entourage high in its list of world class acts. Just think of it, GTV9 had them all, and HSV7 had their all-stars mainly of the Tivoli theatre circuit, and the ABC in their Ripponlea address, sometimes shared some of them, but certainly not all of these variety acts. Imagine, the Nine network of the time, had the best appraisal and hired the talents of Bill McCormack, Alan Dean, Clifford Grant, Greg Dempsey, Noel Ferrier, Peter Smith, Bert Newton and, the best compere of all the television night shows, Graham Kennedy. There were so many others too, for their highly successful tonight shows. This was quite a feat, and such entertainment five nights a week, comedy, music, theatre and all the guests visiting from overseas. But then, it was back over sixty years ago, well before the decay of popular music and the dumbing down of popular culture art forms.

The GTV9 Singers arranged by Ron Rosenberg in 1965 is back row, left to right: Ray Collier, Brenda and Judy Horan, Murray Mardardy. Front, left to right: Brian Curran, Anne Marie Smith (later Mrs. Dempsey), Audrey Duggan and Allen Russen. The grouping were part of a larger choral ensemble produced of mixed voices at the Melbourne television studios during the 1960’s. The vocal group could be as many as 16 people.

The telegram sent to Greg Dempsey in 1962 from the Sadler’s Wells Opera Company inviting him to join the ensemble for the season commencing in 1962 and 1963. Starting with the popular The Bartered Bride (Bedrich Smetana)

In 1962, Gregory moved to London to take up his contract with the Sadler’s Wells Opera Company, and really got excellent reviews. This was his main UK base for the next fifteen years. His roles there and at the Coliseum included Tom Rakewell, Peter Grimes, Jimmy Mahoney, Albert Gregor, Skuratov, Don José, Erik, David, Mime (Das Rhinegold and Siegfried) and the Shepherd in King Roger. He created the role of Boconnion in Richard Rodney Bennett’s The Mines of Sulphur after which one critic wrote ‘an heroic-villainous part of formidable challenge’. Greg Dempsey appeared as Dionysus in the British premiere of Henze’s The Bassarids and the title role in the first British staging of The Adventures of Mr Brouček.

An admission ticket to the BBC radio show which Gregory attended as a guest upon his arrival in London in 1962. Kenneth Horne was the host.

Gregory’s extensive career in many operas in the United Kingdom did present some excellent offerings. Such was, The Mines Of Sulphur (Richard Rodney Bennett) with star soprano Joyce Blackham as Rosaline and Greg as Boconnion. This proved to be a huge success during season of April, 1965 for the Sadler’s Wells Opera. And of course, in German language in Cologne during 1968 as Ballad im Moor with Barbara Scherler.

For the Sadler’s Wells Opera Company in August 1964 Gregory starred with soprano Elizabeth Robson for this superb production in The Bartered Bride (Bedrich Smetana)

From his first year in 1962 in the United Kingdom Gregory also worked for the Scottish Opera, in roles including Britten’s Albert Herring, Quint and Lysander, as well as Florestan, Aeneas in The Trojans, David and Števa, returning as the Drum Major.

As his frequency of work increased throughout the 1960s, the time for romance had an opportunity to appear. Young Anne Marie Smith had arrived to survey the scene in London and take in the opportunities for singing. Also, at this time, soprano Janice Taylor arrived to find work. Greg knew both from the GTV9 television days and he was delighted they had asked his opinions to see what the arts scene had to offer. Over a period of time, Gregory and Anne really enjoyed each other’s private lives and the love match blossomed into a serious affair. They lived together in their own apartment in London, and married on 26 April 1972. This love affair lasted for fifty years till Anne’s death in 2020.

Later, with the Scottish Opera, Greg created the role of Bothwell in Musgrave’s Mary, Queen of Scots in 1977. He made his Covent Garden debut in 1972 as Števa, returning as the Drum Major in Wozzeck.

The London apartment which Gregory and Anne Marie Smith shared together was their home base in inner city. The comforts of their lives back in Australia which also included the much needed hydronic heating to keep their throats nice and free from the chills in British winters. Their guest enjoying the festive and salubrious mood is Australian soprano Janice Taylor.

All three had known each other at the television studios of GTV9 and the year is 1973. Gregory had been busy from his arrival in 1962 throughout the entire decade. Non stop!

To be continued

In the USA, he appeared in San Francisco from 1966, as Albert Gregor and Tom Rakewell. He returned to Sydney to become a member of Opera Australia singing David in Die Meistersinger von Nürnberg, Herman in Queen of Spades, Dimitri in Boris Godunov, Jimmy in The Rise and Fall of the City of Mahagonny, Mime in both Das Rheingold and Siegfried, Trin in La fanciulla del West, Valzacchi in Der Rosenkavalier and Bob Boles in Peter Grimes.

The Mastersingers of Nuremberg in English, was a particular Wagnerian favourite for Greg Dempsey as he performed the role in many countries and his dancing came to the forefront again. The staged version here is from black and white photographs colourised by Emil Wallner’s company ‘Palette FM’ in France. It gives a glimpse of the comic opera of the nineteenth century what it might have looked like on the operatic stage back then.

In various productions, Greg plays the part of David. The Scottish National Opera featured this production with Walter Albert Remedios (right side of stage) and in another production that role was played by Norman Bailey.

Above, is a newspaper item by Maria Prerauer reviewing the recent news of opera performances in Australia. It mentions the Janacek opera Katya Kabanova which stars Marilyn Richardson and Gregory’s performance. It pays complimentary remarks to Greg and mentions his appeal in the previous opera he starred in of The Mastersingers of Nuremberg in the role as David. At right, is photograph from the opera Rake’s Progress which was staged in America as well as for the San Francisco Opera in 1970.

Another sensational photograph of the master actor and tenor of his time. Greg is dancing with the prisoner irons that were put on convicts to allay their escape. Not only did the photographer capture the action hero and tenor in full flight, but Greg sang and danced his way through this difficult performance with those steel shackles as part of his costume for a role that was most demanding and one which challenged his abilities to the fullest. The opera was The House Of The Dead (Leos Janacek) and the darkened themes certainly matched the expectations of the opera followers of the time. Confronting and certainly a performance that shone by the great Gregory John Dempsey OAM.

When Gregory and Anne returned to Australia in the late 1970s, the local opera production companies invited Greg to appear in some of their gala and much loved operas, alongside some of the very contemporary operas of the middle twentieth century. It also drew upon more crowd pleaser roles in the musical productions in a lighter vein. But a rather disturbing situation arose for Gregory in the health stakes. In 1980, he had started to lose his hair and then, it was obvious he was suffering from a condition known as alopecia areata, which has no cure. All his body hair fell out. As devastating as that was for a man in his fifties, for the opera stage the use of wigs was de rigeurand Gregory embraced the situation with all the positives.

During this time Gregory decided to change management and chose to use Jenifer Eddy Arts Management which improved the quality of offers made for his services. Gregory still remains friends with Jenifer and meets on occasions for socialising.

Greg’s wife Anne had decided to diversify her role in their musical family during the 1980s and commenced studies for a psychology degree which she graduated from in 1989 as a clinical psychologist. Greg’s music career continued unabated.

From the years of the late 1980s into the 1990s come two interesting colour photographs. At left is, Anne Dempsey with her degree certificate after graduating in psychology on 5 March 1989. It was in the early part of the 1980s Gregory lost his hair but then, he sports the look to his advantage as actor Yul Brynner did in the film capitol of USA in Hollywood. At right, the photograph with Gregory Dempsey and the Governor of Victoria, Sir James Gobbo AC, CVO, QC. (1997-2000) congratulating the operatic tenor when being honoured for his Order of Australia medal (OAM) to the arts and services in this country in 1998.

With the Victoria State Opera Gregory sang Nero in L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, The Magician in The Consul, Monostatos in The Magic Flute, Benoît and Alcindoro in La bohème, Incredible in Andrea Chenier, Prince Populescu in Countess Maritza, Ajax l in La belle Hélène, Jamie in My Fair Lady and Borsa in Rigoletto. With the Adelaide Festival, he was seen as Nero in L’incoronazione di Poppea, Mark in The Midsummer Marriage, Gregor in The Makropulos Case, Zinoviy Borisovich Izmailov in Lady Macbeth of Mtsensk and The Adventures of Mr. Brouček. His clear, perfectly tuned tenor voice was suited to a plethora of different repertoire and styles. From Monteverdi to the most difficult contemporary musical compositions, Gregory Dempsey made them relevant to every audience he sang to.

Of note, Gregory made few recordings, but they are worthwhile souvenirs. Firstly, in 1967, he sang Red Whiskers in Britten’s studio recording of Billy Budd. The following year he sang one of his best roles, David in The Mastersingers, at Sadler’s Wells under Sir Reginald Goodall, and a live recording of that has now been released on CD, as have discs of their Ring cycle. Another recording of the same opera was privately made from the BBC FM broadcast in Scotland later that year. Gregory had a copy given to him by the original BBC engineer some years ago. There is also a DVD of Britten’s famous studio version of Peter Grimesfrom 1969, in which he plays Bob Boles. Interestingly, many of Gregory’s early radio appearances from Teenage Talent and Mobil Quest have been saved from the substantial Clark Sinclair Library which Jamie Kelly is now custodian.

Brian Castles-Onion AM with Greg Dempsey at his Brighton town house home in 2022.

Jacques Offenbach’s opera La Belle Helene posing in the costuming as Achilles Heel in the late 1980s. Interestingly, in the cast was the young Geraldine Turner, in the title role as Helene. She later married the conductor for Opera Australia. That being, the one and only Brian Castles-Onion AM.

Another great performance given by Gregory in Albert Herring (Benjamin Britten) in 1967 at Toronto, Canada. Audiences and the cast members alike enjoyed the man in the white suit who played the part of a greengrocer in the comic opera. Greg sang in six seasons of the same opera for the Scottish National Opera.

Gregory Dempsey in one of his later roles as reviewed by the news press in 1987 when he played the role of the Emperor in the Giacomo Puccini opera Turandot. A small part, but added to the Victoria State Opera prestige of the season being a sure fire success, both artistically and financially.

This photograph is in Greg’s ‘Kia Ora Teenage Talent’ days with Uncle Doug Elliot at 3KZ. Greg is in the back row, on the left, next to Ray Melling. Front row: far left is Beryl Power (nee Pearce) and Loris Ramskill, Wilma Martin and Ron Cadee, far right. The backbone of a radio program that did excel at the forefront of adult entertainment in those heady days of listening to the radio.

Poster for Albert Herring (Benjamin Britten) in modern times

Newspaper review

Victoria State Opera Turandot 1987 season: 

Roles in Scotland 1962-1978

Monostatos a servant in the Temple Zauberflöte 1962

Jeník Micha's son by his first wife Bartered Bride 1962

Bob Boles fisherman and Methodist Peter Grimes 1964

Boconnion a deserter Mines of Sulphur 1965

Albert Herring from the greengrocer's Albert Herring 1966

Albert Herring 1967; Albert Herring 1968; Albert Herring 1969

Albert Herring 1970; Albert Herring 1971

Tom Rakewell a young gentleman engaged to Anne Rake's Progress 1969

Florestan a Spanish nobleman Fidelio 1970

Peter Quint a former manservant Turn of the Screw 1970

Turn of the Screw 1971

Aeneas a Trojan commander, son of Venus and Anchises (Énée) Trojans 1972

Lysander in love with Hermia Midsummer Night's Dream 1972

Midsummer Night's Dream 1973

David apprentice to Sachs Mastersingers of Nuremberg 1976

Mastersingers of Nuremberg 1977

Mime a Nibelung, Siegfried's fosterer Siegfried 1976

Mime a Nibelung, Alberich's brother Rheingold 1976

James Hepburn, Earl of Bothwell Mary, Queen of Scots 1977

Števa Buryja Jenůfa 1977

Jenůfa 1978

Witch Hansel and Gretel 1978 

A final look at the star in action with one of his favourite Australian opera singers, Marie Collier, whom Gregory enjoyed working in many roles during their careers. She was also a favourite of Australian pianist Geoffrey Tozer, with whom he knew of in the UK. Her tragic death left her fans heartbroken, and the opera world short of a popular performer. The opera is Macropulos Case (Leos Janacek) with Marie Collier as Emilia Marty and Gregory as Albert Gregor and staged during 1965. Above right, is a photograph from the 1988 Victoria State Opera Production of My Fair Lady (Alan J. Lerner & Frederick Loewe) with Noel Ferrier as one of his supporting actors in a celebrated star cast.

Thanks You All

CREDITS and my sincere thanks to those who assisted me in this project.

Firstly, Gregory John Dempsey OAM. Plus, Mrs. Gwen Dempsey, of course!!

Brian Castles-Onion AM, Frank Van Straten AM, Pete Smith OAM, Beryl Power (nee Pearce), Jamie Kelly, Peter Burgis OAM, Judy Kidney (nee Pummeroy), Clark Sinclair MBE, Ken Boness, Errol Rowe, Ian Dodds, Alan Roper, Clark Sinclair MBE, Vicki Charleston (nee Battle), Roger Beilby, Ted McConville, plus Emil Wallner, ‘Palette FM’. There will be others, alas, whom I have forgotten. And, several of the above are no longer with us.

A few other curio items. Top left, has Gregory shaking hands with dignitaries and receiving a gift at a special award winning night for 1955 Sun Aria winner, Leonard Delaney. Gregory is impeccibly dressing in tails. Above, is an Artist Management reference letter in draft form by Jenifer Eddy after she took over Gregory’s opera career management in 1980.

Below, is a colour snapshot with Jean Marks who performed a duet with Greg in the opera Cavalleria rusticana. Wife, Anne Marie is in the middle, eyes closed due to photographer’s camera flashlight glare. At right, Jan Ross from the days at the Hawthorn Opera Society in the Gilbert and Sullivan production of Iolanthe. Days with great pals and great fun. Lifetime’s treasured memories recalled just like yesterday.