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Philip Ritte
Philip Ritte
Philip Ritte
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Philip Ritte, early 1900s.

Philip Ritte (8 January 1871 – 14 December 1954) was a British tenor of the early 20th century. He made his stage debut in London's West End singing in Gilbert and Sullivan and other comic operas and musicals. He went on to enjoy great popularity as a concert singer of ballads during the Edwardian era and the First World War, and also as a performer in concert parties at The Oval, Margate in Kent. He made a number of recordings.

Early years and personal life

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Philip Ritte was born in Edinburgh, Scotland, in 1871 as Philip Rittenberg, the son of Bernhard Rittenberg (of Lithuanian Jewish descent) and Bertha Wasserzug (of Polish Jewish descent).[1][2] He was one of seven children.[2][3] He was educated at Cowper Street School in London and studied art before moving on to study music.[1] In 1899 he married Henrietta Helena "Lillie" Latte; his profession at this time being given as that of a lithographic artist on the marriage certificate.[2][4] They had four children.[2] In 1918 he changed his name to Philip Ritte.[2]

Stage and singing career

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Ritte made his singing debut as a chorister with the D'Oyly Carte Opera Company at the Savoy Theatre from June 1899 to November 1901, beginning with H.M.S. Pinafore and Trial by Jury and ending with the original production of The Emerald Isle.[5][6] From 1903 to 1904 he played a small part (the First Watchman) in The Cherry Girl at the Vaudeville Theatre in London.[1][5] From 1904 and for eight years he made annual appearances at the London Ballad concerts held at both the Queen's Hall and Royal Albert Hall.[1] He performed in numerous concerts at most of the leading provincial British theatres.[1] In 1907 he joined "Randall Jackson's Concert Party" at the Oval in Margate in which he had Hugh E. Wright, Carrie Tubb and Fred Wildon as fellow artists, and it was this association which gained him his eventual popularity.[7] For several summers Ritte ran his own companies in the Worthing, Westgate and Swanage areas of the south coast of England.[7] In 1912 the Ariel Grand record catalogue made the following appraisal of his career:[6]

Since his first appearance as a member of the D'Oyly Carte Opera Company, twelve years ago, Mr. Ritte's career has been an uninterrupted success. He has appeared before enthusiastic audiences in all the principal London concert halls and is well known in oratorio in the largest provincial centres.

Recordings

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In 1909 Ritte recorded fewer than ten songs for the Gramophone Company's Zonophone label.[8] Between 1910 and 1911 he made a number of recordings for Pathé.[9] He recorded about seven discs for Beka Records,[10] and had nineteen entries in the 1912 Ariel Grand record catalogue.[6] He also recorded for the Albion and Coliseum labels.[citation needed] He used the pseudonym Harold Harmsworth for some of his recordings.[citation needed] A selection of his songs, with recording date (where known) and record company is given below:

In 1927, he made a short film Philip Ritte and His Revellers in the short-lived DeForest Phonofilm sound-on-film process.[citation needed]

Death

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He died in Willesden, London, England in 1954, aged 83.[7][4]

References and notes

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[edit]
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Philip Ritte

View on Grokipedia
from Grokipedia
''Philip Ritte'' is a British tenor known for his performances in operetta, his association with the D'Oyly Carte Opera Company, and his early 20th-century gramophone recordings. Born on 8 January 1871 in Edinburgh, Scotland, under the real name Phillip Rittenberg, Ritte began his career as a chorister with the D'Oyly Carte Opera Company at the Savoy Theatre starting in June 1899, appearing in productions including H.M.S. Pinafore. He made his stage debut in London's West End as a tenor and became active in music hall and recording work, contributing vocals to discs for labels such as Columbia in the 1900s and 1910s. Later in his career, he appeared as an actor in the 1932 film Reunion. Ritte died on 14 December 1954 in Willesden, London. His work bridged the late Victorian era of light opera and the emerging recording industry, preserving performances of popular songs and operatic selections from that period.

Early life

Family origins and birth

Philip Ritte was born Philip Rittenberg on 8 January 1871 in Edinburgh, Scotland, United Kingdom. He was the son of Rev. Bernhard Rittenberg, of Lithuanian Jewish descent and a minister in the Edinburgh Hebrew Congregation, and Bertha Wasserzug, of Polish Jewish descent. Philip was one of seven children in this Jewish immigrant family. He later adopted the surname Ritte.

Education and early interests

Philip Ritte was educated at Cowper Street School in the City of London. He initially worked as a lithographic artist before shifting his focus to music training. Born in Edinburgh to Bernhard Rittenberg, his family relocated to London during his childhood, enabling his attendance at the London school. Ritte's early interests centered on art, which he pursued before developing his musical abilities. This transition from visual art to music marked his preparation for a professional career in singing.

Musical career

D'Oyly Carte Opera Company and stage debut

Philip Ritte made his professional stage debut as a chorister with the D'Oyly Carte Opera Company at the Savoy Theatre in June 1899, beginning with the company's production of H.M.S. Pinafore. In this capacity, he performed in the chorus for various Gilbert and Sullivan works, including Trial by Jury, throughout his tenure with the company. His time at the Savoy lasted until November 1901, concluding with the original production of The Emerald Isle. Following his departure from the D'Oyly Carte Opera Company, Ritte took on a small named role as the First Watchman in the musical The Cherry Girl at the Vaudeville Theatre in London from 1903 to 1904. This marked his transition to a credited part in West End theatre outside the Gilbert and Sullivan repertoire.

Concert and ballad singing career

Philip Ritte established himself as a prominent ballad tenor in the concert world after his early operatic work, specializing in the popular songs that defined the Edwardian and First World War periods. He appeared regularly at major London venues as part of the long-running London Ballad Concerts series. Between 1904 and 1912, he made annual appearances at these concerts, which were held at both the Queen's Hall and the Royal Albert Hall. His involvement continued beyond that span, including a performance in the Forty-Seventh Season (1912-1913) at the Royal Albert Hall on 1 February 1913 alongside vocalists such as Carrie Tubb, Evangeline Florence, and Ivor Foster. In addition to London engagements, Ritte performed in concerts at leading provincial British theatres. He was particularly active in summer concert party entertainment at seaside resorts. For several summers, he ran his own touring concert companies in southern England, including weekly performances of his own troupe at St James's Hall on Montague Street in Worthing before and after the First World War. He was also a longstanding member of Randall Jackson's Concert Party at The Oval in Margate, appearing in multiple seasons alongside fellow performers such as Carrie Tubb (soprano), Hugh E. Wright (humorist), and Fred Wildon (musical comedian). These concert party activities highlighted his specialization in light ballad and ensemble entertainment for popular audiences.

Recordings

Philip Ritte's recording career was concentrated in the early years of the gramophone era, beginning with Columbia recordings in 1909 (some under the pseudonym Frank Reade), followed by Zonophone in 1910 and contributions to several British labels including Beka, Rexophone, and others through the 1910s. His discography features sentimental ballads and popular songs of the period, with Zonophone recordings from 1910 including "I'll Take You Home Again, Kathleen" and "Barney, Take Me Home Again". Other notable recordings include "I Hear You Calling Me" (issued on various labels including from Beka masters), "Because", "Kathleen Mavourneen", and "Thora". He occasionally recorded under pseudonyms including Frank Reade and Harold Harmsworth (on Scala). These recordings drew from the repertoire he performed in concert and ballad singing engagements. His output was primarily in the pre-war period, reflecting the acoustic recording technology and market of the time.

Film appearances

Philip Ritte and His Revellers (1927)

Philip Ritte and His Revellers (1927) Philip Ritte appeared in the short sound film Philip Ritte and His Revellers in 1927. Produced by De Forest Phonofilms, the film utilized the DeForest Phonofilm optical sound-on-film process developed by Lee de Forest, which he demonstrated in theaters from 1923 to 1927. The British branch of Phonofilm specialized in one-reel shorts capturing vaudeville, music hall, and musical performances by variety entertainers during 1926–1929. The title indicates Ritte performed with his Revellers, his concert party group known for seaside pierrot-style entertainments and live shows in British resorts. Such Phonofilm shorts typically featured singers, comedians, and musical numbers as demonstrations of synchronized sound technology. Details of the film's specific content remain limited, as many early Phonofilm productions are sparsely documented or not widely preserved. This marked Ritte's involvement in early sound cinema experiments prior to later film appearances.

Reunion (1932)

Philip Ritte made a minor, unspecified appearance in the 1932 British drama film Reunion, directed by Ivar Campbell. He is listed in the cast without a character name provided, consistent with the small scale of his involvement. The film was produced as a quota quickie at Shepperton Studios, running 60 minutes in black and white with mono sound. This marked Ritte's sole feature film credit, following his earlier work in the short Philip Ritte and His Revellers (1927). Details of his role remain limited in surviving records, underscoring the film's low-budget status and his peripheral contribution to it.

Personal life

Marriage and family

Philip Ritte married Helena Helena Latte in 1899. The couple had four children together. In his later years, the family resided at 136 Brondesbury Villas in London, where he died.

Name change and later years

In 1918, Philip Ritte officially changed his surname from Rittenberg to Ritte by deed poll. Born Philip Rittenberg in 1871, he had achieved considerable popularity as a concert singer of ballads during the Edwardian era and throughout World War I. His documented performances after this period were sparse.

Death

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