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According to the 1936 catalogue of Arthur Judson Concert Management, Nelson’s booking agent, Nelson could be engaged to perform the baritone parts in any of the following oratorios.

The Passion According to St. Matthew, by Bach.

The Passion According to St. John, by Bach.

St. Paul, by Mendelssohn.

Elijah, by Mendelssohn.

The Creation, by Haydn.

The Fall of Babylon, by Spohr.

The Messiah, by Handel.

Brahms’ Requiem.

Verdi’s Requiem.

Redemption, by Gounod.

St. Cecilia’s Mass, by Gounod.

L’Enfant Prodigue, by Debussy.

Bethlehem, by Maunder.

Olivet to Calvary, by Maunder.

The Philadelphia Inquirer wrote of Nelson’s performance in Bach’s “The Passion According to St. John”: “Of these [singers], Mr. Eddy, who sang the role of Jesus, was the most outstanding, both for the rich quality of his fine bass and the compelling character of the music written for his part.

After his performance of Mendelssohn’s “Elijah” with the combined Tiega and Germantown Choral Societies, the Public Ledger said: “Mr. Eddy’s fine gifts as an interpretative singer were enthusiastically received.” The Philadelphia Evening Bulletin wrote, “Nelson Eddy brought his operatic experience to the role of Elijah, and sang it with force and understanding.”

After he sang in Bruch’s “Odysseus” with the Philadelphia Choral Society, the Evening Bulletin reported: “The title role of the unhappy wanderer from the Trojan war was sung with authority and fine effect by Nelson Eddy, whose operatic training was evidenced in the ringing resonance of such solos as Odysseus’ vow to revenge against Penelope’s suitors. Mr. Eddy’s tone quality throughout was flawless.” The Philadelphia Inquirer wrote: “Of the soloists, Nelson Eddy in the title role was naturally outstanding, his clear enunciation and beautiful baritone voice giving unflagging interest to his music.”

About Haydn’s “Creation,” the Lewisburgh, Pa. News said: “Nelson Eddy has an excellent voice, particularly in the upper register, of rich, expressive quality, with the requisite poise and routine. He was able to show individuality in his work. he delivered ‘Rolling in Foaming Billows’ with an opulence of tone, with facility and clearness in treatment, and a virile style that moved the audience to acclaim him.”