| 25 – 27 Jan [three nights only] Oxford, New Theatre |
| There used to be a blank at the New Theatre during Lent, but this year, save for one week, there is an unbroken continuity of engagements up to within a few days of the end of term. Prominent among them is a first visit to Oxford of the Carl Rosa Opera Company, which takes place at the end of this week. – “Tannhauser,” “Lohengrin.” and “Carmen” being the works selected for production.” [Western Daily Press, Issue: 12989, Tuesday, Jan. 23, 1900] |
| Thu 25th January 1900 | Tannhauser – Cecile Loraine, Miss Ludlam, William Stephens ,Arthur Deane, Arthur Winckworth, Frank A. Wood; c.Eugene Goossens |
| “The Carl Rosa Opera Company, under the direction of Mr, T. H. Friend, gave a performance of “Tannhauser” on Thursday night before a large e audience. It is the first visit of this company to Oxford, and though the performance scarcely comes up to that of the last opera company which visited us the representation was good on the whole. The orchestra conducted by Mr. Eugene Goossens, jun, gave an excellent interpretation of the overture but later there were signs of inadequate rehearsal, also some little difficulty from the crowded position of the instruments. Mr. William Stephens possesses a voice of excellent quality, his appearance is good and he has considerable dramatic power. ln the second act he was very good, and in the third he rose to a great height of declamatory force; a sudden lapse of memory detracted from the effect of the first scene, Miss Cecile Loraine was successful as Elisabeth, and the Venus of Miss Ludlam was effective. Mr. Arthur Deane sang and acted well in the character of Wolfram; the familiar “Star of Eve” was, as usual, greatly appreciated. Mr. Arthur Winckworth looked the part of the Landgrave to the life, and his singing was satisfactory, except that he started his first song a little out of tune. Mr. Frank A. Wood was the Walter, and Mr. Chapman as Biterolf made a special impression with the song “When love divine.” The opening of the first act was too pantomimic to be impressive, but the Pilgrim’s Song and the March were very well done. The concluding scene was also good.-This (Friday) evening Mr. Goossens will conduct “Lohengrin,” and on Saturday “Carmen” will lie given.” [Jackson’s Oxford Journal, Issue: 7663, Saturday, Jan. 27, 1900] |
| Fri 26th Jan 1900 | Lohengrin |
| Sat 27 Jan 1900 | Carmen |
| 29th Jan – 3rd Feb [1 week] Swansea, Grand Theatre – “The Royal Carl Rosa Opera Company” |
| “GRAND THEATRE, SWANSEA. The pantomime'”Cinderelia,” to, which we referred last week, holds the boards of the Grand Theatre, Swansea,.during this week, it runs very smoothly and satisfactorily. ‘ The Carl Rosa Opera” Company ‘is billed ‘for this theatre next week” [Western Mail, Issue: 9562, Tuesday, Jan. 16, 1900] |
| Mon 29th Jan 1900 | Carmen – Florence Lelgard, Cecile Lorraine, Jessie Browning, Reginald Brophy, Arthur Deane, Arthur Winkesworth; c.Mr Walter Van Noorden |
| “CARL ROSA OPERA COMPANY AT SWANSEA – There was a crowded house and a really artistic performance at the Grand Theatre, Swansea, on Monday evening, when the Carl Rosa Opera Company opened for the first time to a Swansea audience. The reception of the famous company was really enthusiastic, whilst the general performance completely satisfied the crowd, who made their first acquaintance with the well-known company. The opera selected for the first night was “Carmen,” and each of the principal artistes appeared practically perfect. The enunciation was noticeably good. Messrs. Reginald Brophy (a well-known Swansea singer), Arthur Deane, and Arthur Winkesworth, Miss Florence Lelgard, Miss. Cecile Lorraine, and last, but not least, the heroine, Miss Jessie Browning, were all in excellent voice, and the irresistible attractions, the Toreadors’ virile and declamatory song, the Letter Duet, the Castanet Dance, the Card Song, &c., worked surely upon the large audience. The programme for the week is splendidly varied.” [Western Mail, Issue: 9575, Wednesday, Jan. 31, 1900]
“The Royal Carl Rosa l opera company, directed by Mr T. H, Friend, has paid a first visit to the town this week. Carmen was selected for Monday, and an admirable performance was given. Miss Jessie Browning appeared in the title role. Mr Reginald Brophy (Don Jose), Miss Cecile Lorraine (Michaela), and Mr Arthur Deane (Escamillo) each rendered their numbers in excellent style. The chorus, too, was exceptionally good, and Mr W. F. Hulley’s orchestra, augmented by a number of instrumentalists attached to the company, was under the baton of Mr Walter Van Noorden.” [The Era, Issue: 3202, Saturday, Feb. 3, 1900] |
| Tue 30th Jan 1900 | Satanella |
| Wed 31st Jan 1900 | Faust |
| Thu 1st Feb 1900 | Maritana |
| Fri 2nd Feb 1900 | Lohengrin |
| Sat 3rd Feb 1900 | The Bohemian Girl |
| 5 – 10 Feb ??? “Drill Hall” ?? |
| “DRILL HALL-Manager. Mr Lovesey.-The Carl Rosa opera company came here on Monday and Tuesday, and gave representations of “Tannhauser” and “Faust” to large and appreciative audiences. Miss Cecila Lorraine, who undertook the part of Elizabeth in Wagner’s opera, had a flattering reception. The principal parts were rendered by Mr William Stepbens, the Tannhauser; Mr Arthur Deane, Wolfram; Mr Arthur Winckworth, the Landgrave; and Mr P. Somers, Henrich. The performance was brilliant and effective, and probably was the finest exposition of grand opera ever given in this city. Mr Eugene Goosens, jun., and Mr Walter Van Noorden conducted in irreproachable style.” [PROVINCIAL THEATRICALS; The Era, Issue: 3203, Saturday, Feb. 10, 1900] |
| 12th – 17th Feb [1 week] Cardiff, Grand Theatre |
| Mon 12th Feb 1900 | Tannhauser – Cecile Lorraine, William Stephens, Frank Wood, Arthur Deane; c.Eugene Gossens |
| “GRAND THEATRE, CARDIFF – All Cardiff and alt music and art lovers for a long way round extend a hearty welcome to the re-appearance of the Royal Carl Rosa Opera Company, which this week visits the, Grand Theatre after an absence of just twelve months. The company, under the direction of Mr. T. H. Friend, is as good as ever. In fact, one may go further, and say that, whilst many of the old favourites. notably Mr. Brophy, Mr. Arthur Deane, Mr. Winksworth. Mr. Frank Wood, Mr. Somers, Miss Ludham, and Miss Cecile Lorraine have been retained, the management have been most fortunate in selecting what the sports would call a rare a strain of new blood. The opening night on Monday found the Grand with a most encouraging and keenly sympathetic house. It was at happy arrangement to bring on first the charming opera, “Tannhauser.” which has been. so great a favourite with all classes in music-loving Wales, whose recollections of the lovely chorus, “Hail, bright abode,” in the second act is such an inspiration. It is not too much to say that the performance was a good deal better than that which was shown last year, good as that was, the whole rendering, from the delightful charm and great vocalism of Miss Cecile Lorraine as “Elizabeth” down to the minute parts of the chorus, being under of the baton of Mr. Eugene Gossens, simply perfect and delightfully fascinating. As “Tannhauser,” Mr. William Stephens was in masterful strain. It is not too much to say of the orchestra, upon which so much of the success of the work depends, that it was quite equal to the high Carl Rosa reputation. This (Tuesday) evening “Carmen” will be produced with all the glory of vocalism which Mr. Brophie and Miss Titiens can throw into it. Tomorrow – (Wednesday) “Satanella” will be staged on Thursday night “II Trovatore” on Friday “Faust,” and the week will wind up to with the popular favourite, “The Bohemian Girl.” [Western Mail, Issue: 9586, Tuesday, Feb. 13, 1900]
“GRAND THEATRE -Lessee and Manager, Mr Edward Quigley-The Royal Carl Rosa Opera Company, under the direction of Mr T. H. Friend, made a welcome reappearance on Monday night. Many of the old favourites are still with this world-famed operatic combination, notably Mr Reginald Brophy, Mr Arthur Deane, Mr Frank Wood, Miss Cecile Lorraine, and Miss Marie Titiens. The opening opera was Tannhauser, which drew a most encouraging and sympathetic house. The delightful charm and vocalism of Miss Cecile Lorraine as Elizabeth was especially fascinating. Mr William Stephens was in excellent voice as Tannhauser. Mr Frank Wood as Walter and Mr Arthur Deane as Wolfram both appeared to great advantage. On Tuesday Carmen was staged, Miss Jessie Browning making a picturesque Carmen, and Mr Reginald Brophy an exceedingly good Don Jose. Balfe’s romantic opera of Satanella was announced for Wednesday, Miss Marie Titiens making her first appearance this week as Satanella. The orchestra, under the able baton of Mr Eugene Goossens, maintains the high reputation of the Carl Rosa company. The chorus and ballet are everything to be desired, the operas being produced under the able supervision of Mr T. H. Friend.” [The Era, Issue: 3204, Saturday, Feb. 17, 1900] |
| Tue 13th Feb 1900 | Carmen – Jessie Browning, Reginald Brophy, Marie Titiens |
| Wed 14th Feb 1900 | Satanella– Marie Titiens, Reginald Brophy; c.Eugene Goossens |
| Thu 15th Feb 1900 | Il Trovatore – Maria Titiens, Jessie Browning, William Stephens, |
| “The Carl Rosa Opera Company have had a very successful week at the Grand Theatre, in spite of the inclemency of the weather. There was a very good attendance on Thursday night, when the favourite opera, “Il Trovatore,” was rendered. Miss Maria Titiens took the part of “Leonora,” and her exquisite rendering of the difficult music was greatly appreciated. Miss by Jessie Browning as “Azucena” also sang beautifully, while “Manrico” (Mr. William Stephens) won great applause, and his song within the tower, which is, perhaps, the most familiar item in the opera, had to be repeated. There is a matinee of “Tannhauser” to-day, and in the evening “The Bohemian Girl” will be performed, and I strongly advise those who have not already availed themselves of the opportunity on no account to miss such a musical treat.” [Western Mail, Cardiff, Saturday, Feb. 17, 1900] |
| Fri 16th Feb 1900 | Faust– Reginald Brophy |
| Sat 17th Feb 1900 (m) | Tannhauser |
| Sat 17th Feb 1900 (e) | The Bohemian Girl– Reginald Brophy |
| 19th – 24th Feb [1 week] Newport, Lyceum Theatre |
| Mon 19th Feb 1900 | Carmen – Jessie Browning, Cecile Lorraine, Florence Lelgarde, Miss Ludham, Albert Chapman, Reginald Brophy, Arthur Deane, Frank Wood |
| “LYCEUM – Proprietor, Mr C. Sounes, Acting Manager, Mr E. E. Grime -The Carl Rosa opera company opened on Monday with Carmen. Principals, chorus, and orchestra vied with each other in giving an interpretation of Bizet’s charming composition in a manner which left little to be desired. As Carmen Miss Jessie Browning sang with admirable taste and judgment, and was eminently successful. As Don Jose Mr. Reginald Brophy throughout sang and acted with a point and vigour that fully sustained his excellent reputation; Mr. Arthur Deane sang beautifully in a the part of Escamillo, the popular Toreador song securing an encore; Miss Cecile Lorraine as Michaela sang in fine style, and not less creditable was the work of Miss Florence Lelgarde as Frasquita. Miss Ludham, in the character of Mercedes, with a rich voice, sang with taste, whilst Mr. Albert Chapman as Dancairo acted and rendered his musical numbers with exceptional power. As Remendado Mr. Frank Wood was highly successful, and other parts were in capable hands. The chorus was well balanced, the orchestra, conducted by Mr Walter Van Noorden with extreme care and watchfulness, was thoroughly satisfactory. On Tuesday Tannhauser was produced, a Maritana on Wednesday, Satanella being billed for Thursday, and Lohengrin for Friday.” [The Era, Issue: 3205, Saturday, Feb. 24, 1900] |
| Tue 20th Feb 1900 | Tannhauser |
| Wed 21st Feb 1900 | Maritana |
| Thu 22nd Feb 1900 | Satanella |
| Fri 23rd Feb 1900 | Lohengrin |
| Sat 24th Feb 1900 (m) | Faust |
| Sat 24th Feb 1900 (e) | The Bohemian Girl |
| ?? – ?? Feb [4 nights] Shrewsbury, Theatre Royal |
| ?? | Tannhauser – Cecile Loraine, Miss Ludlam, William Stephens, Arthur Deane, Arthur Wincksworth |
| “SHREWSBURY – THEATRE ROYAL – Licensee and Manager, Councillor W. H. Maddox – The Carl Rosa opera company has just fulfilled a four nights engagement here in Tannhauser, Faust, Lohengrin and Carmen. Miss Cecile Loraine who appeared as Elizabeth in Tannhauser, delighted the audience with her vocalisation and dramatic power. Miss Ludlam, with a voice of great range and power, sang the music allotted to Venus admirably, and as Tannhauser, Mr. William Stephens won the favour of the house. Mr Arthur Deane made an ideal Wolfram and Mr Arthur Wincksworth, too, scored a great success as the Landgrave.” [The Era, Issue: 3204, Saturday, Feb. 17, 1900] |
| ?? | Faust |
| ?? | Lohengrin |
| ?? | Carmen |
| 26th Feb – 3rd Mar [1 week?] Worcester, Theatre Royal |
| Mon 26th Feb 1900 | Carmen – Jessie Browning, Miss Ludlam, Miss Lilgard, Reginald Brophy, Marie Titiens, Arthur Deane, Albert Chapman, F. A. Wood, Messrs Whitehead, Davis, and Somers; c.W. Van Noorden |
| “WORCESTER – THEATRE ROYAL – Lessee and Manager, Mr W. Goimersal -The Carl Rosa opera company opened here on Monday with Bizet’s Carmen, which drew a large audience The title-role was ably impersonated by Miss Jessie Browning, who gave a clever, artistic performance, vocally and histrionically. She received well-deserved encores for all her numbers. Mr Reginald Brophy’s Don Jose was a fine dramatic performance, marred only by a coll. Miss Marie Titiens as Micaela was an undoubted success, her charming singing evoking great enthusiasm. Mr Arthur Deane as Escamillo scored heavily, especially in the air “Toreador.” Mr Albert Chapman and Mr F. A. Wood as Dancairo and Remendado imparted much humour to their roles. Miss Ludlam (Mercedes), Miss Lilgard (Frasquita); Messrs Whitehead (Zuniga), Davis (Lilas Pastia), and Somers (Morales), rendered very efficient aid in a fine all-round performance. The chorus was – effective, and the dances were cleverly executed. Mr W. Van Noorden was a most efficient conductor. During the week Tannhauser, Faust, Satanella, Lohengrin, arid Maritana have been produced.” [The Era, Issue: 3206, Saturday, Mar. 3, 1900] |
| “Allusion to the Theatre, where the initial performance of the talented Carl Rosa Opera, Company this week was that of ” Carmen,” reminds me that Miss Olga Nethersole, who is well known here, has attained a certain amount of notoriety by the kiss which she, as the peasant girl, gave to the soldier lover ” for his mother.”” At Worcester Miss Titiens gave Mr. Brophy a most chaste salute on the forehead, which even Mrs. Grundy could not have found fault with; and I was somewhat perplexed — having so little personal knowledge of the subject — to imagine in what manner Miss Nethersole could have offended. I fancy Byron (who was a pretty good judge of such trifles) says something about “the kiss ecstatic” and “the kiss divine “; but Master Willie Shakespeare far out-distances the more modern poet in his vocabulary on the art. He wrote about “a holy kiss,” “a gentle kiss,” “a zealous kiss,” “a kiss long as my exile, sweet as my revenge,” “a true love’s kiss,” “dainty kisses,” “a single, famished kiss,” “a kiss with the inside lip,” “one soft kiss,” “kissing full of sanctity,” and “Winter’s kisses.” He makes one of his characters “quicken with kissing”; another says her husband would “kiss me hard, as if he plucked up kisses by the root”; another complains “that kiss’ is comfortless.” Romeo and Juliet, it appears, used to “kiss like fire and powder, which as they kiss consume.” Someone else asks, “in kissing do you render or receive?” And another is so hungry for a salute as to ask, “O, kiss me through the hole of this vile wall” — rather unsatisfying, one would imagine, differing altogether from that with which Petruchio saluted Katharina, as he “kissed her lips with such a clamorous smack that, at the parting, all the church did echo”; different, also, from that amorous individual who “would kiss you twenty with a breath.” Evidently he did not “kiss by the book,” and it would have been futile for the lady to imagine that she could stop his mouth with a kiss, even “though she might say, “I understand thy kisses, and thou mine.” To “die upon a kiss” must be a somewhat remarkable experience; I wonder whether it is like “tins kiss, which, if it durst speak, would stretch thy spirits up into the air?” Aa there is no authority to consult on the point, I must return to Miss Olga Nethereole and her sensational kiss, which, I have never heard, seen, or experienced, and therefore could not “mark, learn, or inwardly digest.” In default of this I can only add that the sound of it was likened by a New York journalist “to a cow pulling its hind leg out of the mud!” [Worcestershire Chronicle, Volume: 62 , Issue: 3234, Saturday, Mar. 3, 1900] |
| Tue 27th Feb 1900 | ?? |
| Wed 28th Feb 1900 | ?? |
| Thu 1st Mar 1900 | Faust – Marie Titiens, Jessie Browning |
| “AT WORCESTER THEATRE ROYAL. A scene of great enthusiasm was witnessed at the Theatre Royal on Thursday evening. A very large audience assembled, and before the performance of “Faust” the entire Carl Rosa company joined in singing the National Anthem. When the curtain rose the company were seen grouped on the stage, behind a pedestal, draped with the Union Jack, supporting a representation of the Queen’s head, crowned with a laurel wreath. On one side stood the Mayor of Worcester (Aid. Millington) wearing his robe and chain of office, and on the other stood Mr. W. Gomersal, lessee of the Theatre in evening dress. The principal artistes of the company were also to the fore. At the first strains of the anthem, the whole audience rose, and stood uncovered until it was concluded. The first verse was sung by Miss Titiens, the second by Miss Browning, and the third by all chorus, principals, and audience, with full band, numbering nearly 30, producing a magnificent effect. As the curtain fell three cheers, which were more like one continuous roar, was given, with “another for Mr. Gomersal,” and the audience settled down to enjoy the performance. Some enthusiastic spirits commenced “The Soldiers of the Queen,” but that was abandoned when the orchestra struck up the first few bars of the overture to “Faust.” The performance was a very finished one in all respects, and, as may be supposed, the “soldiers’ chorus” was a very popular feature. To-night ” Lohengrin” will be performed; tomorrow afternoon ” Tannhauser will be repeated; and at night “Maritana” fills the bill.” [Worcestershire Chronicle, Volume: 62, Issue: 3234, Saturday, Mar. 3, 1900] |
| THE RELIEF OF LADYSMITH – “…The Mayor of Worcester (Alderman J. Millington) has appealed to employers in the city to observe Thursday next as a general holiday in celebration of the relief of Ladysmith. The appeal has been very generally acceded to, and there will be a programme of public rejoicing. On Thursday night appeared on the stage the Royal Carl Rosa Opera Company, appearing this week at the Theatre Royal appeared on the stage prior to the performance, with the Major in robes and chain of office, and sang the National Anthem in which the large audience enthusiastically joined.” [Birmingham Daily Post, Issue: 13018, Saturday, Mar. 3, 1900] |
| Fri 2nd Mar 1900 | Lohengrin |
| Sat 3rd Mar 1900 (m) | Tannhauser (repeat) |
| Sat 3rd Mar 1900 (e) | Maritana |
| 5th – 10th Mar [1 week] Broadway Theatre, New Cross E.C. |
| Mon 5th Mar 1900 | Faust – Cecile Lorraine, Winifred Ludlam, Miss Douglas Wilson, Reginald Brophy, Arthur Winckworth, Haigh Jackson, Mr A. Chapman; c.Mr. Eugene Goossens, jun., & Mr. Walter van Noorden |
| “It was pleasant on Monday last to see the liberal catering of the enterprising management of this fine theatre rewarded with a crowded house on the occasion of the reappearance of the Carl Rosa opera company, under the management of Mr. T. H. Friend. The performance of Faust on Monday was satisfactory in the extreme. Mr. Reginald Brophy acted the title-part with skill ad effect and his voice was heard to advantage. In the character of Mephistopheles Mr. Arthur Winckworth evinced a true conception of this arduous role. As Valentine, Mr Haigh Jackson portrayed naturally the burning indignation of the angry brother, and to the Wagner of Mr A. Chapman unreserved praise must be given. Miss Winifred Ludlam, looking very handsome in Siebel’s boy’s attire, speedily proved by her fine acting and singing that she did not rely on physical gifts alone, but that her dramatic and vocal attainments were of an exceptional order. Miss Douglas Wilson infused a welcome amount of humour into her clever rendition of Martha. Miss Cecile Lorraine as Marguerite, in the matter of artistic merit, left nothing to be desired: her acting was easy and graceful, while her singing was at all times cultured and harmonious. The vocalists were supported by an efficient band of choristers. the Guards’ chorus being received with acclamation. The orchestra, so ably conducted by Mr. Eugene Goossens, jun., and Mr. Walter van Noorden gave the utmost satisfaction. The opera was finely dressed and mounted.” [The Era, Issue: 3207, Saturday, Mar. 10, 1900] |
| Tue 6th Mar 1900 | Il Trovatore |
| Fri 9th Mar 1900 | Satanella |
| Sat 10th Mar 1900 | ?? |
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| 12th – 17th Mar [1 week] Brighton, Theatre Royal |
| Mon 12th Mar 1900 | Tannhauser – |
| Tue 13th Mar 1900 | Faust |
| Wed 14th Mar 1900 | Satanella |
| Thu 15th Mar 1900 | Maritana |
| Fri 16th Mar 1900 | Carmen |
| “…The Carl Rosa Company are also now launching out a little, and tomorrow night they have arranged to produce at Brighton and English version of the Italian opera “A Basso Porto”, Miss Marie Titiens will play the principal part, Miss Ludlow will be “Marie,” and Mr. Goosens will conduct.” [Glasgow Herald, Issue: 66, Saturday, Mar. 17, 1900] |
| Sat 17th Mar 1900 | A Basso Porto – Marie Titiens, Miss Ludlam; c. Eugene Goosens |
| “AMUSEMENTS IN BRIGHTON – THEATRE ROYAL – Lessee and Manager, Mr H. R. Cecil Beryl; Acting-Manager, Mr A. Wheeler – The Royal Carl Rosa Opera company opened a week’s engagement here on Monday with Tannhauser. Miss Cecile Lorrain gave a graceful and artistic representation of Elizabeth. Mr William Stephens was highly successful as Tannhauser. Mr Arthur Deane merits unstinted praise for his splendid vocalisation as Wolfram. Miss Winifred Ludlam sang brilliantly as Venus. Mr Arthur Winckworth was an impressive Landgrave. Miss E. Thomas as the Shepherd Boy and Mr Albert Chapman as Biterolf were very effective. Able Support was also given by Mr A. Felton, Mr F. Somers, and Mr G. Wood. The choruses were well sung, and the orchestra acquitted themselves admirably, Mr Eugene Goossens, jun., conducting with marked skill. The programme for the week also included Faust, Satanella, Maritana, Carmen, and A Basso Porto, the last-named being produced this (Saturday) evening for the first time in England.” [The Era, Issue: 3208, Saturday, Mar. 17, 1900] / “ROYAL CARL ROSA OPERA COMPANY, under the Direction of Mr T. H. FRIEND. Production of “A BASSO PORTO.” Sussex Daily News says: A very enthusiastic reception was given to Spinelli’s romantic opera, “A Basso Porto.” on Saturday evening, when it was performed for the first time in England at the Theatre Royal, Brighton. On the termination of each act the principal vocalists were warmly recalled, and when the curtain fell upon the stirring scene which brought the opera to a close, another flattering ovation was accorded to them and to Mr Eugene Goossens, jun., the able conductor. Sunday Times says: The performance went splendidly, and there were enthusiastic calls after each act from all parts of a crowded house.” [The Era, Issue: 3210, Saturday, Mar. 31, 1900] |
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| 19th – 24th March [1 week] New Theatre Royal, Portsmouth |
| Mon 19th Mar 1900 | Tannhauser – Cecile Lorraine, Winifred Ludlam, Miss E. Thomas, William Stephens, Arthur Deane, Arthur Winckworth, Albert Chapman, Mr. A. Felton, Mr. F. Somers, Mr. G. Wood; c.Mr. Eugene Goossens, jun. |
| “THEATRE ROYAL – Lessee and Manager, Mr. H. R. Cecil Beryl; Acting-Manager, Mr. A. Wheeler. – The Royal Carl Rosa Opera company opened a week’s engagement here on Monday with Tannhauser. Miss Cecile Lorraine gave a graceful and artistic representation of Elizabeth. Mr. William Stephens was highly successful as Tannhauser. Mr. Arthur Deane merits unstinted praise for his splendid vocalisation as Wolfram. Miss Winifred Ludlam sang brilliantly as Venus. Mr. Arthur Winckworth was an impressive Landgrave. Miss E. Thomas as the Shepherd Boy and Mr. Albert Chapman as Biterolf were very effective. Able Support was also given by Mr. A. Felton, Mr. F. Somers, and Mr. G. Wood. The choruses were well Sung, and the orchestra acquitted themselves admirably, Mr. Eugene Goossens, jun., conducting with marked skill. The programme for the week also included Faust, Satanella, Maritana, Carmen, and A Basso Porto, the last-named being produced this (Saturday) evening for the first time in England.” [The Era, Issue: 3208, Saturday, Mar. 17, 1900]
“THEATRE ROYAL – Licensee and Manager, Mr. J. W. Boughton. – The Royal Carl Rosa opera company, under the direction of Mr T. H. Friend, is paying a welcome return visit, and on Monday evening, when Tannhauser was presented, the conductor, Mr Eugene Goossens, jun., had both orchestra and chorus well in hand, the more difficult passages being rendered in a masterly way. Mr. William Stephens gave an excellent interpretation of the part of Tannhauser, and his fine voice was heard to great advantage in the opening scene and in the song tournament, whilst in the final scene his ability as an actor left nothing to be desired. Miss Cecile Lorraine has a powerful yet sympathetic voice, which she has many opportunities of using to the utmost advantage as Elizabeth, a character she sustains with the utmost success, and Mr. Arthur Deane gives a capital rendering of Wolfram. Mr. Arthur Winckworth’s splendid voice does ample justice to the part of the Landgrave, and Miss Ludlam is successful as Venus, as also are Mr. Frank A. Worth as Walter, Mr. Albert Chapman as Biterolf, Mr. P. Somers as Heinrich, Mr. G. Wood as Reinmar, and Miss E. Thomas as the Shepherd Boy. On Tuesday Carmen was presented with equal success, with Miss Jessie Browning as Carmen, Miss Marie Titiens as Michaela, Mr. Reginald Brophy as Don Jose, and Mr. Arthur Deane as Escamillo. On Wednesday Balfe’s Satanella was revived, and Maritana on Thursday, and Lohengrin on Friday.” [The Era, Issue: 3209, Saturday, Mar. 24, 1900] |
| Tue 20 Mar 1900 | Carmen – Marie Titiens, Jessie Browning, Reginald Brophy, Arthur Deane |
| Wed 21st Mar 1900 | Satanella |
| Thu 22nd Mar 1900 | Maritana |
| Fri 23rd Mar 1900 | Lohengrin – Marie Titiens, Reginald Brophy |
| Sat 24 Mar 1900 (m) | Faust |
| Sat 24 Mar 1900 (e) | The Bohemian Girl |
| 26 -31 Mar ???? |
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| 13th Apr – Derby, Drill Hall |
| Fri 13th Apr 1900 | Good Friday Evening GRAND SACRED CONCERT by the CARL ROSA OPERA COMPANY – Including Full Orchestra and Chorus and Miss Marie Titiens, Miss Jessica Browning, Miss Winifred Ludlum, Miss Marie Burnett, Mr Haigh Jackson, Mr. Arthur Deane, Mr. William Stephens and Mr. Arthur Winckworth. |
| “In view of the promised visit of the Carl Rosa Opera Company to the Grand Theatre, peculiar interest attaches to the announcement made by this renowned organisation with respect to Good Friday next. On the afternoon of that day a number of the principals supported by orchestra and chorus, will give a sacred concert. On such an occasion, much will necessarily depend upon the weather. Should the day prove dull and wet, the Drill Hall is sure to be well filled, but in any case a great many will be attracted by a programme which included Rossini’s “Stabat Mater,” and numerous gems of sacred song, and which will be by eminent artists. The conductors will be Mr. Eugene Goossens, junior, and Mr. Walter Van Noorden.” [Derby Daily Telegraph, Volume: 42 , Issue: 6363, Monday, Apr. 9, 1900]
“The visit of the Carl Rosa Opera Company the week after next to the Grand Theatre will of itself be a powerful attraction, but there is one announcement made which will be read with extreme pleasure by all lovers of the highest form of vocal musical art – we refer to the performance in the Drill Hall on the afternoon of Good Friday of Rossini’s “Stabat Mater” and gems of sacred song. It is not often that we have the opportunity locally of witnessing the performance of an oratorio of this class by an experienced orchestra and thoroughly competent chorus and vocalists, and there will assuredly be no lack of people anxious to hear the last important work of a genius possessed of an unsurpassable gift of melody; Popular prices will be charged for admission, and the conductors will be Mr. Eugene Goossens and Mr. Walter Van Noorden” [Derby Mercury, Issue: 9665, Wednesday, Apr. 11, 1900] |
| > Eastbourne ? ( as mentioned in The Era) |
| 2nd – 7th Apr [1 week] Southport, Opera House, Winter Gardens |
| “SOUTHPORT – OPERA HOUSE – WINTER GARDENS, Limited. -The patrons of the theatre are favoured with a visit from the Carl Rosa Opera company, who opened a six nights’ engagement here on Monday, Wagner’s opera, Tannhauser being presented. Miss Cecile Lorraine gave a graceful and finished interpretation of Elizabeth, her vocalism being of exceptional merit. Miss Ludlam imparted a charm to the part of Venus, and Miss E. Thomas displayed very artistic vocalisation as the Shepherd Boy. Mr William Stephens was eminently successful in the title-role, alike in a dramatic and vocal sense. As the Landgrave Mr. Arthur Winckworth showed a thorough grasp of the character, his singing being very effective. Wolfram received full justice at the hands of Mr. Arthur Deane, whilst Messrs Frank A. Wood, Albert Chapman, P. Somers, and A. Newman creditably enacted their respective parts. Incidental dances were cleverly performed by Miss Annie Elliott and Miss Rosina Crabbe. On Tuesday evening Faust was produced. During the week Carmen, The Bohemian Girl, A Basso Porto, Lohengrin, and Maritana were to he staged.” [The Era, Issue: 3211, Saturday, Apr. 7, 1900] |
| “Niccola Spinelli, one of the mast energetic representstives of Young Italy in the domain of music, is likely to attract attention in London during the coming season. Negotiations are in progress for a series of matinees at the Lyric Theatre by the reorganised Carl Rosa Opera Company, with Spinelli’s “A Basso Porto” (recently tried at Brighton) as a leading feature. With his “Labilia” this composer was adjudged second to Pietro Mascagni in the memorable contest that brought forth Cavalleria Rusticana” ten years ago. Mascagni, Leoncavallo, and Puccini so long carried all before them in Italy that Spinelli took “A Basso Porto” to Cologne, where it was very cordially received, and it has been played in Berlin with success. The strongly dramatic story, from a Neapolitan source, deals with Camorristic treachery.” [Birmingham Daily Post, Issue: 13055, Monday, Apr. 16, 1900] |
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| 9th Apr Nottingham, Theatre Royal (The Era) |
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| 23rd – 28th Apr [1 week] Derby, Grand Theatre |
| Mon 23rd Apr 1900 | Carmen – Jessie Browning, Marie Titiens, Miss Ludlam, Miss Florence Lelgard, Reginald Brophy, Arthur Deane, Albert Chapman, Frank Wood, Isidor Marcil, Mr. P. Somers; c.Walter Van Noorden |
| “DERBY, GRAND THEATRE AND OPERA HOUSE. – General Manager, Mr. Ernest Gerard; Acting-Manager, Mr. Chas. Denley – The Carl Rosa Opera Company is in a occupation this week. On Monday Carmen was the attraction. Miss Jessie Browning, as the heroine, scored a distinct and well-merited success. Her singing was full of charm and artistic power throughout. To a mezzo-soprano voice of great richness and considerable range Miss Browning unites the advantages of culture and high intelligence. Mr. Reginald Brophy, who is an able and conscientious artist, acted and sang with great fervour and effect as Don Jose. Miss Marie Titiens was a most agreeable representative of Michaela, her pure, light soprano voice being well adapted to the melodious numbers assigned her, whilst Miss Ludlam and Miss Florence Lelgard made the very best use of their opportunities as Mercedes and Frasquita. A dashing and powerful exponent of the Toreador was forthcoming in the person of Mr. Arthur Deane, earnestness and intelligence being observable in all he did. Mr. Albert Chapman and Mr. Frank Wood as the chief smuggler and his craven assistant turned to best account the humorous incidents of the story, and Miss Isidor Marcil and Mr. P. Somers lent valuable assistance in the subordinate parts of Zuniga and Morales. Mr Walter Van Noorden conducted a capital band, and the chorus displayed high of evidence of capability and good training. On Tuesday Tannhauser was given, with Mr Wm. Stephens as the hero and Miss Cecile Lorraine as the Princess. The Bohemian Girl, Faust. A Basso Porto, Lohengrin, and Maritana were to be produced later in the week.” [The Era, Issue: 3214, Saturday, Apr. 28, 1900] |
| Tue 24th Apr 1900 | Tannhauser – Mr. Wm. Stephens, Miss Cecile Lorraine, Mr. Arthur Deane, Mr. Arthur Winckworth, Mr. Frank A. Wood, Mr. Albert Chapman, Mr. P. Somers, Mr. Isidor Marcil. Miss Ludlam, Miss E. Thomas , c.Mr, E. Goosens, junior |
| “ROYAL CARL ROSA OPERA COMPANY. – FINE PERFORMANCE OF ‘TANNHAUSER.” – Finished as was the representation of “Carmen,” that of “Tanuhauser” on Tuesday was distinctly more brilliant and impressive. Wagner’s great work had been given on a previous occasion, but without the least desire to disparage the meritorious efforts of the late Mr. Arthur Rousbey and his associates, it may safely he said that its wondrous beauty and its full significance were locally revealed for the first time last evening. The principal parts were in the safe keeping of accomplished and experienced artists, the choral numbers were sung with skill and taste, and the marvellous orchestration was accounted for by a band of which any company might justly be proud. All the Wagnerian dramas demand the resources of a strong organisation if they are to be fittingly interpreted. The story of “Tannhauser,” told in the old-world style, is a story of all kindreds and tongues and ages. Noble and passionate, the hero has gone astray, and when we see him first be is in the arms of Venus, for whom he has forsaken purer surroundings and even the regard of the amiable high born Princess Elizabeth. The sweets of the Court of the Queen of Love begin to cloy, and he secures his freedom; but he is destined to learn that the time honoured Divinity can frown upon the obstinate no less forcibly than she can smile upon the tractable. Tannhauser rejoins his old friends, and rejoices in the avowed love of the Princess, but whilst taking part in a tournament with other warrior-bards the hateful spell his affronted mistress has cast upon him asserts itself with disastrous results. In reply to the chivalrous Wolfram’s plea for unselfish love he sings the delights of a baser passion, and, goaded by remonstrance, insolently avows his amours with Venus. In an instant the bright hopes of an honoured career are shattered. The intervention of the devoted Elizabeth alone saves him from the fury of the indignant knights, and permission is given him to undertake a pilgrimage to Rome. This duly he embraces, but he does not find favour in the eyes of the Pope who, it appears, declares that the pilgrim shall not find absolution until his staff shall break forth into bud. Meanwhile, Elizabeth droops and dies. Tannhauser returns in a desperate frame of mind, and is only prevented from re-uniting himself to Venus by the chant of the monks bearing the lifeless body of his love, by which he falls dead, but not until he has seen his staff covered with green leaves. Wagner’s superb setting or this story of passion and folly, of love and weakness, of sin and forgiveness, would, of itself, establish his claim to rank as one of the greatest of tone-poets. The entire gamut of human emotions is touched by the firm hand of genius. From the moment that we listen to the struggle between duty and pleasure with which it opens, until we are thrilled by the noble strains which proclaim the pardon of an erring mortal and his union in death with the pure soul who has devoted herself to his reclamation, one feels he is appealed to by a master mind. Many prominent numbers of the opera are familiar to the frequenters of the concert-room, but it is only by carefully following a complete exposition of its beauties that one can grasp its teachings and form an adequate conception of its power. It is satisfactory to be able to say that the work was followed with rapt attention throughout, and that the enjoyment of the large audience found expression in enthusiastic cheers. Mr. Wm. Stephens, upon whom devolved the onerous task of impersonating the passion-torn hero, had not previously appeared in opera on the Derby stage, but there can be no two opinions as to the success of his effort. His excellent tenor voice was in good trim, and he sang throughout as only an artist can. The strain upon his vocal resources must have been severe, but he bore himself bravely until the end. If we must select any special features of his performance for commendation we single out the manliness and grace which marked his interview with the Princess, which afforded a fine contrast to his stormy encounter with the knights, and the alternating emotions expressed in the closing scene. Mr. Stephens’s acting was consistently intelligent and forcible, and, with his refined vocalisation, gives him an honourable position among English speaking operatic artists. Miss Cecile Lorraine, also a new-comer, secured an immediate and emphatic success as Elizabeth. Gracious of presence and gentle of manner, she was an ideal heroine. Her voice, as bright and flexible a soprano as we have heard for many a day, has been assiduously cultivated, and that she has the true artistic sense Was quickly shown. The confession of her love, her plea for her reckless lover, and her plaintive supplications for his return were sure indications of careful study and natural vocal and histrionic gifts. Mr. Arthur Deane was an irreproachable exponent of the gallant, high-minded Wolfram, acting and singing in admirable style. Mr. Arthur Winckworth’s fine bass voice was heard to great advantage in the music assigned to The Landgrave, and valuable assistance was rendered by Mr. Frank A. Wood, Mr. Albert Chapman, Mr. P. Somers, and Mr. Isidor Marcil. Miss Ludlam sung the music of Venus brilliantly, and Miss E. Thomas deserves a word of praise for her correct singing of the pretty air assigned to the Shepherd Boy. The members of the chorus have not many opportunities, but they furnished convincing proof of their ability. Indeed, the audience would have been glad of a repetition of the inspiring chorus and march “Hail, bright abode,” so finely was it rendered. The band, numerically stronger and more efficient than usual, distinguished itself greatly. The overture — one of the best-known of the Wagnerian series — was played with surpassing skill, and applauded so vigorously that the conductor, Mr, E. Goosens, junior — worthy son of a worthy sire — bowed his acknowledgments, whilst the marvellous instrumentation which marks the development of the story and in which the resources of a great genius and the spirit of a poet are alike displayed, was executed with unerring taste and judgment. We ought to add that the opera was admirably staged, and that the dresses and appointments were rich and appropriate. To-night ballad opera will hold the stage. “The Bohemian Girl,” with a new Arline, in the person of Miss Euginie Barker, will be given.” [Derby Daily Telegraph, Volume: 42, Issue: 6376, Wednesday, Apr. 25, 1900] |
| Wed 25th Apr 1900 | The Bohemian Girl – Euginie Barker, Miss Ludlam, Mr. Reginald Brophy, Mr. Arthur Deane, Mr. Arthur Winckworth, Mr. Frank Wood, Miss Thomas |
| “THE BOHEMIAN GIRL” AT THE GRAND THEATRE., Balfe’s charming opera, “The Bohemian Girl,” has probably been produced in Derby more frequently than either of the works which appear in the programme of the Royal Carl Rosa Opera Company during their occupancy of the boards of the Derby Grand Theatre and Opera House this week, but it can be unhesitatingly asserted that it has never had a finer representation in Derby than that given it on Wednesday evening. There was another splendid audience, and the efforts of the capable members of the company who sustained the principal parts were appreciated to the full, several of the beautiful vocal numbers with which the piece abounds being vociferously encored. The choruses were rendered with surprising skill and taste, and the specially augmented band interpreted the delightful music in irreproachable style, the result being that every member of the crowded and enthusiastic audience went away with the feeling that the evening’s entertainment had afforded them a rich treat. It is unnecessary to refer at all to the story of “The Bohemian Girl” is is too well known to need recapitulation, bus Miss Euginie Barker must be congratulated upon the admirable way in which she impersonated the trying part of the heroine. She really made an almost ideal Arline, and though once or twice she hardly appeared word perfect, her singing left nothing to be desired, and she was accorded a well-merited encore for “I dreamt that I dwelt in marble halls,” though considerable disappointment was expressed because Miss Barker did not respond to the same. Miss Ludlam was excellent as the Gipsy Queen, and her song, “Love smiles but to deceive” was most enthusiastically encored. Mr. Reginald Brophy was seen to great advantage in the part of Thadeus, Mr. Arthur Deane was admirable as Count Arnheim, and Mr. Arthur Winckworth was wonderfully good as Devilshoof. Mr. Frank Wood and Miss Thomas successfully portrayed the remaining characters. It should be added that those well-known songs “When othrr lips” and “The heart bow’d down” were heartily encored, and the production in every respect was remarkably fine. To-night “Faust” will be produced.” [Derby Daily Telegraph, Volume: 42, Issue: 6377, Thursday, Apr. 26, 1900] |
| Thu 26th Apr 1900 | Faust – Cecile Lorraine, Marie Burnett, Miss Douglas Wilson, Reginald Brophy, Arthur Winckworth, Haigh Jackson, Mr. A. Chapman |
| “THE CARL ROSA OPERA COMPANY IN DERBY. – ‘FAUST. – There was again a crowded attendance at the Derby Grand Theatre on Thursday evening, when the Carl Rosa Opera Company gave an excellent representation of Gounod’s “Faust.” The performance was in every respect equal to those given earlier in the week, than which we could extend to it no higher praise. The spirited rendering of the celebrated “Soldiers’ chorus” was one of the features of the evening, it being enthusiastically and most deservedly encored. The delightful music of the Kermesse scene was also very much enjoyed. Miss Cecile Lorraine, who was so admirable a representative of Elizabeth in the production of “Tannhauser” on Tuesday evening, was a charming Marguerite, and her singing was most appreciable. Mr. Reginald Brophv was thoroughly competent as Faust, but perhaps the greatest success of the evening was achieved by Mr. Arthur Winckworth, who scored heavily as Mephistopheles. His acting and singing were of the highest order. Mr. Haigh Jackson impersonated Valentine with considerable credit and Mr. A. Chapman was also successful in the minor part of Wagner. Miss Marie Burnett was a highly acceptable Seibel, and her fine voice was heard to particular advantage in that most beautiful and popular song, “When all was young.” Miss Douglas Wilson caused some amusement in the character of Martha. The orchestra and chorus did splendid work. To-night the new opera, “A Basso Porto” (at the harbour side), will be produced for the third time in England. It will be preceded by the lyric opera, in one act, entitled “II Piccolo Haydn.” At two o’clock on Saturday afternoon Wagner’s “Lohengrin” will be produced for the first time in Derby, and on Saturday evening Wallace’s evergreen “Maritana” will bring the week’s performances to a close.” [Derby Daily Telegraph, Volume: 42, Issue: 6378, Friday, Apr. 27, 1900] |
| Fri 27th Apr 1900 | A Basso Porto [at the Harbourside] / Il Piccolo (Haydn) |
| Sat 28th Apr 1900 (m) | Lohengrin |
| Sat 28th Apr1900 (e) | Maritana |
| ?? – ?? Norwich, Theatre Royal |
| “NORWICH, THEATRE ROYAL – Lessee, Mr. Fred Morgan.-The Royal Carl Rosa opera company, under the direction of Mr T. H. Friend, opened here on Saturday, when Gounod’s Faust was presented. Mr. Reginald Brophy as Faust sang with much ability; Mr. Arthur Winckworth as Mephistopheles both in voice and acting was excellent; Mr Haigh Jackson capably filled the part of Valentine; and Mr. A. Chapman was successful as Wagner. Miss Anita Sutherland as Siebel was in good voice, and Miss C. Wilson was well placed as Martha. Miss Cecile Lorraine as Marguerite sang with much fervour and charm, and largely contributed to the success of the opera. On Monday the house was a crowded from floor to ceiling to witness the rendering of Maritana. Mr. William Stephens was excellent as Don Cesar De Bazin, whilst Mr. Haigh Jackson rendered Don Jose in first-rate style. Mr. Albert Chapman as the King of Spain deserves every commendation, and Mr. Silverston was good as the Captain of the Guard. Mr. Davis was equally satisfactory as the Alcade, and Mr. A. Felton did well as the Marquis. Miss Marie Burnet delightfully rendered her part as Lazarillo, and Miss E. Thomas was very charming as the Marchioness. Miss Cecile Lorraine again gave every delight to the audience as Maritana, and deserves every praise. On Tuesday Balfe’s Bohemian Girl was staged; on Wednesday Bizet’s Carmen was performed; on Thursday, Wagner’s Lohengrin; and on Friday, Spinelli’s A Basso Porto.” [The Era, Issue: 3213, Saturday, Apr. 21, 1900] |
| “The Carl Rosa Opera Co., Ltd., under the direction of Mr T. H. Friend, will comnence its season, which will include six weeks in London, on August 6. The company includes Mdlle. Auralia Revy. of Buda Pesth. who will make her first appearance in English opera, and Herr Julius Walther, a Wagnerian tenor who is new to this country. Two features will be the production of Wagner’s “Siegfried,” and for the first time in England Goldmarck’s domestic and fairy opera, “The Cricket on the Hearth.” [Edinburgh Evening News, Issue: 8512, Friday, Aug. 3, 1900] |
| “The Carl Rosa Company, who have been rehearsing for the last fortnight at Ladbroke Hall, went down to-day to Eastbourne, where to-night they begin a provincial tour which, all going well, will last till next April. During the tour it is expected that the repertory will be increased by English versions of Gounod’s “Cinq Mars” and of Goldmarck’s “Cricket on the Earth,” the latter a far better choice. The company have been increased bv the engagement of Miss Revy, a soprano, who has been heard at miscellaneous conccrts in London, and Miss Yuliose Harrison, a young soprano of Canadian birth, but Scotch descent, as she is said to be a grand niece of the Earl of Mar. This lady will make her debut to-morrow in “Maritana;” Mr Julius Walther, an American tenor of German descent, is also engaged. The first week’s repertory includes only well-known operas, such as “Faust,” “Lohengrin,” “Tanuhauser,” “Maritana,” and “Carmen.” [Glasgow Herald, Issue: 188, Tuesday, Aug. 7, 1900] |
| 13th – 18th Aug 1900 [1 week] Eastbourne, Devonshire-Park Theatre
“DEVONSHIRE-PARK THEATRE.-Managing – Director, Mr A. Standen Triggs.-Under the direction of Mr T. H. Friend, the Carl Rosa Opera company is here this week with Faust, Maritana, Carmen, The Bohemian Girl, Lohengrin, and Tannhauser. Carmen occupies the bill for matinees on Wednesday and Saturday. The conductors are Mr Eugene Goosens and Mr Walter Van Noorden.” [The Era, Issue: 3229, Saturday, Aug. 11, 1900] |
| Mon 13th Aug 1900 | Faust – Aurelia Revy, Julius Walther, Alex Bevan, Maud Burnett, Arthur Deane |
| Tue 14th Aug 1900 | |
| Wed 15th Aug 1900 (m) | Carmen |
| Wed 15th Aug 1900 (e) | |
| Thu 16th Aug 1900 | |
| Fri 17th Aug 1900 | |
| Sat 18th Aug 1900 (m) | Carmen |
| Sat 18th Aug 1900 (e) | |
| 20th – 22nd Aug [3 nights and one matinee] Rhyl, Grand Pavilion |
| “AMUSEMENTS IN RHYL – GRAND PAVILION THEATRE.-Proprietors, Messrs. Carter and Warhurst; Theatrical Manager, Mr. David Williams.-On Monday, Tuesday, and Wednesday the Royal Carl Rosa opera company was here. On Monday Lohenqrin was given, and Mr. Julius Walther assumed the title-part admirably, being ably seconded by Mdlle. Aurelia Revy. On Tuesday a good house listened to Carmen, in which Miss Winifred Ludlam’s vocal talent was greatly appreciated in the leading role. Mr. Charles Stephen [sic.] was a capital Don Jose, and Mr Arthur Deane earned many plaudits as Escamillo. On Wednesday a matinee of Balfe’s Bohemian Girl was – given. Miss Lizzie Burgess as Arline was much admired, and Miss Winifred Ludlam’s Gipsy met with deserved recognition. Mr Wm. Stephens as Thaddeus was excellent, and Mr Alex. Bevan as Devilshoof was very successful. On Wednesday evening Gounod’s Faust was performed, Mr Alex. Bevan making a typical Mephistopheles and Mdlle. Aurelia Revy being a fine Marguerite. Miss D. Wilson was applauded as Martha, and Mr. Julius Walther as Faust was greatly appreciated. Mr. Haigh Jackson came in for commendation as Valentine.” [The Era, Issue: 3231, Saturday, Aug. 25, 1900] |
| Mon 20th Aug 1900 | Lohengrin – Julius Walther, Aurelia Revy, |
| Tue 21st Aug 1900 | Carmen – Winifred Ludlam, William Stephens, Arthur Deane |
| Wed 22nd Aug 1900 (m) | The Bohemian Girl – Lizzie Burgess, Winifred Ludlam, William Stephens, Alex Bevan, |
| Wed 22nd Aug 1900 (e) | Faust – Alex Bevan, Aurelia Revy, Miss Douglas Wilson, Julius Walther, Haigh Jackson |
| 27th Aug – 1 Sep [1 week] Buxton, Pavilion Theatre |
| “DERBYSHIRE. THE CARL ROSA OPERA COMPANY. This company opened on Monday at the Buxton Pavilion Theatre for a weeks engagement with “Lohengrin.” There was a crowded and fashionable audience, and the music and singing were excellent. Last night “Maritana” was performed. The company included Mdlle. Revy, the prima donna of the Royal Opera House, Buda Pesth, and Mr. Julius Walther, the Wagnerian tenor. The company is under the direction of Mr. T. H. Friend, and there is a full chorus and orchestra.” [Sheffield Independent, Volume: 40 , Issue: 14287, Wednesday, Aug. 29, 1900]
“BUXTON. PAVILION THEATRE – Manager, Mr. John Willoughby ; Acting-Manager, Mr. Arthur Willoughby – Undoubtedly the most important engagement of our dramatic season is that of the Carl Rosa Opera Company, and on Monday evening a crowded audience of fashionable folk witnesed with evident enjoyment the performance of Lohengrin. Mr Julius Walther’s Lohengrin was a masterly and artistic characterisation. Possessed of a voice of wonderful power and sweetness, he sang Wagner’s music with remarkable ease and telling effect. Mr Alex. Bevan’s rendering of King Henry deserves more than passing mention. Mr Bevan endowed the part with becoming dignity, his powerful rich voice being heard to great advantage. Mr. Haigh Jackson sang with exceptional taste and realistic passion as Frederick, and Mir Albert Chapman, another baritone of comprehensive range and quality, greatly pleased I with his singing as the Herald. Miss Winifred Ludlam’s Ortrude was full of dramatic power; and Elsa was charmingly portrayed by Miss Amelia Revy. The opera was conducted by Mr Eugene Goossens, jun. . The whole performance was under the able management of Mr T. H. Friend. Maritana, Tannhauser, Carmen, A Basso Porto, and Faust are also in the repertoire of the week.” [The Era, Issue: 3232, Saturday, Sept. 1, 1900] |
| Mon 27th Aug 1900 | Lohengrin – Julius Walther, Alex Bevan, Haigh Jackson, Albert Chapman, Winifred Ludlam, Aurelia Revy; c. Eugene Goossens jnr |
| Tue 28th Aug 1900 | Maritana |
| Wed 29th Aug 1900 | Tannhauser |
| Thu 30th Aug 1900 | Carmen |
| Fri 31st Aug 1900 | A Basso Porto |
| Sat 1st Sep 1900 | Faust |
| 3rd?? – 8th?? Sep [1 week] Stoke-on-Trent, [“Gordon”??] Opera House ?? |
| “STOKE – GORDON – Proprietor and Manager, Mr. D. H. Mountford: Assistant-Manager, Mr. Frank Mountford.-The Carl Rosa opera company is paying a welcome visit to this handsome theatre. On Monday Carmen was presented to a capital house, Lohengrin being given for the first time in this theatre on Tuesday. There was a fashionable audience to hear Wagner’s charming opera. The Lohengrin of Mr Julius Walther was an admirable performance; Mr. Alex. Bevan was heard to advantage as Henry; Mr. Haigh Jackson was a particularly clever exponent of Frederick of Telramund; and Mdlle. Aurelia Revy’s performance of Elsa was decidedly good Miss Winifred Ludlam was admirably placed as Ortrud. Maritana, A Basso Porto, Faust, Tannhauser, and The Bohemian Girl are in the week’s programme.” [The Era, Issue: 3233, Saturday, Sept. 8, 1900] |
| Mon 3rd Sep 1900 | Carmen |
| Tues 4th Sep 1900 | Lohengrin – Julius Walther, Alex Bevan, Haigh Jackson, Aurelia Revy, Winifred Ludlam |
| Wed 5th Sep 1900 | A Basso Porto |
| Thu 6th Sep 1900 | Faust |
| Fri 7th Sep 1900 | Tannhauser |
| Sat 8th Sep 1900 | The Bohemian Girl |
| 10th – 15th Sep [1 week] Hull, Grand Theatre |
| Mon 10th Sep 1900 | Tannhauser – Julius Walther, Lizzie Burgess, Aurelia Revy, Arthur Deane; c. Eugene Goosens |
| “BEFORE the FOOTLIGHTS,”TANNHAUSER” STILL POPULAR IN HULL – LAST NIGHT AT THE GRAND THEATRE. It is only the brethren of the “higher musical criticism” who feel that “Tannhauser” is a thing that palls. They glory in “Parsifal” but groan, over “Tannhauser.” But “Tannhauser” has plenty of life in it yet — for Hull, at any rate. Last night’s audience at the Grand Theatre proved this. Different though the Carl Rosa Company may be from what we knew it years ago, it still retains some dignity and distinction; and though Wagner’s opera was not rendered in a way which would justify the use of the word “perfection,” it was nevertheless presented in a form that was at any rate highly enjoyable and acceptable. The crowded audience seemed to be delighted. Such applause as broke out now and again is rarely heard in Hull. In places there was much really good work. To begin with, Mr Eugene Goossens did admirably with the Overture, which must have been listened to by the majority of the audience with intelligent interest. Unhappily, Hull has not reached the point when good taste prevents the disturbing passage to far-off seats during the performance of this matchless prelude. Pity that the theatre attendants are not authorised to detain latecomers until the overture is finished. The “Mail” commented last year upon the meagreness of the accessories which the Carl Rosa management introduce into the scene at Venusburg. Last night there was the same fault. A very sorry and unenchanting region, truly! It was quite a relief when the corybantic revels before Venus were ended, and the Goddess of Love rose from her couch to begin her prolonged and passionate scena with Tannhauser. Miss Lizzie Burgess, who was the Venus, is no stranger to Hull. She will be remembered from her connection with the Moody Manners Company. Before that, she was with the Carl Rosa combination, playing, for one thing, the part of Michaela, in “Carmen,” ten years ago. The Venuses of opera are varied. We have had fat Venuses, “stodgy” Venuses, awkward Venuses, ungainly Venuses. Miss Burgess sheds a new light on the part. She invests it with the atmosphere of graceful charm which it demands. She is a handsome Venus, a Venus who smiles an alluring smile. She is, moreover, a highly accomplished singer, and last night, whether in the soft enchantments of the charmer, or the fierce invective of the woman scorned, she displayed art of a very high type. Herr Julius Walther was the Tannhauser. He is a young German, experienced in the theatres of Munich and Hamburg. And yet they announce him as the new American tenor! He has a commanding stage presence; his chief fault as an actor seems to be in the direction of self-conscious “posing.” But his voice permits of no fault finding. It is a tenor of the Hedmondt kind. Quality and method of production remind us of Mr Hedmondt. It is a bigger voice than Hedmondt’s, however, and a little less tender. At present it shows no sign of wear. Throughout Herr Walther sang very finely. His contribution in the Hall of Song was a thoroughly artistic performance. In the long scene with Venus he sang with great dramatic fervour. His singing over the bier of Elizabeth was charged with sympathetic emotion. Altogether, a powerful and impressive Tannhauser. Mdlle. Aurelia Revy is a brilliant singer, and clearly brings to bear on the conception of the part of Elizabeth an intelligent mind. A joyous and smiling Elizabeth she gives us at first — appropriately smiling, for is she not united to her love — but later on there is a note of sadness in her manner which is very eloquent. Mdlle. Revy is very young. She is only —. No; the “Mail” will not say it. She is a Hungarian, prima donna of the Opera House at Buda Pesth, and has been with the Carl Rosa Company for five weeks only. She is a welcome acquisition. Brilliantly though she sang generally, nothing was more thoroughly in the manner of a true artist than the Supplication after Tannhauser’s delivery of his ribald song. For the rest, the parts were well filled. Especially is Mr Arthur Deane an admirable Wolfram. Considering that he was affected with tonsil trouble, He sang all his music more than creditably — “O Star of Eve” particularly. The band played throughout with care. Occasional slips there were, but, generally speaking, nothing of serious moment. There is a large chorus, and last night the male voices were heard to conspicuous advantage in the many fine passages for men’s voices which Wagner has introduced. The great concerted piece in the Hall of Song was magnificently rendered. To-night, “Maritana.” [Hull Daily Mail, Issue: 4651, Tuesday, Sept. 11, 1900] |
| Tue 11th Sep 1900 | Maritana |
| Wed 12th Sep 1900 | Lohengrin – Julius Walther, Aurelia Revy, Alex Bevan, Arthur Chapman, Haigh Jackson, Winifred Ludlam; c.Eugene Goossens |
| “THE KNIGHT OF THE SWAN” AT THE “GRAND” – Unfortunately, for the credit of musical Hull, the opportunity of hearing “Lohengrin,” performed by an able and talented company, did net draw a good house to the “Grand” lust night. The stalls, for instance, were not more than half filled. This is discouraging, for though, as we already said, the Carl Rosa Co. is not what it was a few years ago, it. still comprises some very excellent principals, and the claim of the Manager that he has had all round efficiency in his mind is no empty boast. The company are Well trained, capable, and effective, the choruses sang with marked intelligence and spirit, and the principals were well up to their work. The Elsa of the evening was Miss Aurelia Revy, and her assumption of the role was marked by many points of merit. She used her fine voice with remarkable intelligence and effect, and showed on every occasion that she is a highly trained and accomplished singer. Her acting was very appropriate. The balcony song especially was a great success, and won hearty plaudits. For Mr. Walther, as the glittering Knight, we have nothing but praise. He has a fine stage presence, and the “easy strength which makes a joke of toil,” and which last night enabled him to go through his exacting and fatiguing part with assurance and success. He is rather debonair than earnest, but he is a very graceful Knight, and in the interchange of endearments with Elsa he was greatly admired. Mr. Alex Bevan was dignified as the King, and sang with marked clearness and emphasis. The somewhat ungrateful part of Ortrud was taken acceptably enough by Miss Winifred Ludlam, who used a queenly and scornful manner, well suited to the character. More energy in the wilder scenes would have added to the impression she made. Mr Arthur Chapman was not unduly strident as the Herald, and his voice was well under control. The dramatic power of Mr. Haigh Jackson as Telramund was more noticeable than his singing, though the latter never fell below a high standard. Indeed the representation throughout was singularly free from weak spots. The orchestra under Mr. Eugene Goossens did their work very creditably, and the overture was particularly admired. The instrumentalists were never unduly noisy. The stage management was satisfactory, with the exception of the long waits, which caused the opera not to be over until 11.10, and the various tableaux, which add so much to the scenic charm of “Lohengrin,” were dealt with in no stinting spirit. The costumes were gorgeously rich, and the groupings most artistically arranged. The performance in short was an excellent one, and worthy of a much bigger house. The recalls were most hearty, and the audience repeatedly showed their warm appreciation. To-night Spineili’s new opera, “A Basso Porto.” [Hull Daily Mail, Issue: 4653, Thursday, Sept. 13, 1900] |
| Thu 13th Sep 1900 | A Basso Porto |
| “A BASSO PORTO” – A FEW WORDS ABOUT TOMORROW’S OPERA. “A Basso Porto” means “at the lower harbour.” The “lower harbour” is in Naples, and in Niccola Spinelli’s opera a very rough quarter we find it. Here the passions of the people run riot. They love with ferocity, and murder without care. They cheat, betray, and stab. We have met such people before, in “Cavalleria Rusticana,” and kindred operas. Spinelli’s opera takes us into very stormy human seas. Treachery and jealousy are the ruling emotions. We begin with the quarrels of a gang of assassins, and end with the murder of a traitor. And Love runs through it all! Luigino, the principal tenor, is the son of Maria, the dramatic soprano. He quarrels at cards with Pascale, a bass, and his mother drags him away. This is in the inn frequented by the Camorristi, a gang of assassins. Cicillo, the baritone, is also there, in love with Maria’s daughter Sesella, soprano. Maria and Luigino object. Maria has reason to. Years ago she loved Cicillo herself, and killed her rival Learning this as the opera proceeds, Cicillo swears vengeance. Luigino shall go to the dogs, and his sister shall starve — and worse! Perusal of the vocal score of the opera gives some idea of the masterly way in which Spinelli has risen to the dramatic heights to which this strenuous scene is carried — the terror-stricken confession of the mother and the mad frenzy of the man whose sweetheart she has killed. There is no toying with the theme; the music rushes with mad, resistless velocity, and carries the first act to a stirring finale, complicated by the discovery of the Camorristi that they are betrayed. The second act finds the men in the interior of the inn, where Luigino sings a lovely barcarolle. The murderous Cicillo beaks in, with curses, and a fiery scene ensues, the music becoming more dramatic and agitated as the passions of the quarrellers rise. In the midst of the conflict Cicillo denounces Luigino as the betrayer of the Camorristi, and the party breaks up amid clamourings for vengeance. The next episode is a meeting between Cicillo and Sesella, in which the man declares his passion for the daughter of the woman he once loved, and hears her declaration of love in return. The appearance of Maria leads to a thrilling duet with the daughter, in which the mother paints in harsh colours the future which Cicillo has designed for her. Sesella, convinced by her mother’s earnestness, gives up Cicillo. The Camorristi re-appear, Cicillo is proclaimed the treacherous one, proof of his guilt being hurled out by Maria. Ciciilo must die. Maria, to save him after all, promises to aid his escape on condition that he withdraws his oath to ruin herself and her children. He refuses, believing he can escape by means of his own. And to end it all, Maria stabs him. Judging from the pianoforte score, the orchestration of the opera has been the subject of careful and devoted study. It is quite in the modern manner, fierily descriptive, and full of the colour given by constant harmonic changes. There is no overture, but an instrumental interlude precedes the third act. This is especially interesting by reason of a beautiful mandolin obbligato, played in conjunction with the band. The instruction of the score is that when no capable mandolinist is available this prelude shall be omitted, and an alternative movement be substituted. Since the Carl Rosa Company, who perform “A Basso Porto” to-morrow night at the Grand Theatre, Hull, travel with an expert mandolinist, this optional movement is used as an overture to the opera.” [Hull Daily Mail, Issue: 4652, Wednesday, Sept. 12, 1900] |
| Fri 14th Sep 1900 | Faust – Lilian Eldee, |
| “Madame Lilian Eldee, who plays the part of “Marguerite” in Gounod’s “Faust” to-night, at the Grand Theatre, appears now for the first time with the Carl Rosa Company. She is, as stated last week, the wife of a well-known Yorkshire captain at the front in South Africa. She has had some continental experience as a singer, and in England has done much concert singing. On Wednesday night she sang at the Queen’s Hail concert, she made a good impression when she sang in the opera “La Boheme,” at Covent Garden. Her voice is a light soprano.” [Hull Daily Mail, Issue: 4654, Friday, Sept. 14, 1900] |
| Sat 15th Sep 1900 (m) | Carmen |
| Sat 15th Sep 1900 (e) | The Bohemian Girl |
| 17th – 22nd Sep [1 week] Belfast, Grand Opera House
“Full Orchestra and Chorus of seventy professional Operatic Artistes; Conductors: Mr. Eugene Goossens and Mr. Walter van Noorden. Laate trains on all Lines.” [Belfast News-Letter, Issue: 26556, Thursday, Sept. 13, 1900] |
| Mon 17th Sep 1900 | Tannhauser – Julius Walther, Arthur Deane, Alex Bevan, Frank A. Wood, Albert Chapman, Mr. A. Felton, Mr. Isidore Marcil, Miss Eugenie Barker, Miss Lizzie Burgess, Mdlle. Aurelia Revy; c.Eugene Goossens |
| “Those who visited this house last night must have been very agreeably surprised. It is gratifying to be able to say that the glories of the Royal Carl Rosa Opera Company, now on their annual visit to Belfast, are coming back. The performance of last night could not but have reminded the audience of the palmy days of the company. It was a starting from a new point. If the Company work up from the standard of last night, there is a bright future before them. The provinces of the United Kingdom owe very much to them; for years they have been almost the only company giving opera of the highest class outside London. Last night’s performance speaks the more highly, in as much as it, was one of Wagner’s works, that was given, and there is no music more testing than that of this great master. The opera, chosen was “Tannhauser.” With this tone-drama the public of this city should be well acquainted; they have had a good many opportunities of hearing it in recent years. One cannot but be surprised at the coldness with which it was first received; probably it was owing, to the great difference between it and the opera of the old school. Such a work as “Tannhauser” almost chains the listener to his seat, such is the spell it exercises over him. Its great wealth of musical loveliness and grandeur is one of its principal features. Wagner seems to h1ave been working from boundless resources. The themes of this opera ever haunt one by their melodic splendour and impressiveness. as if they came, on the wings of the air from some fair land far away. The orchestral and choral work is at times overpowering; no words could describe its imposing grandeur. In this massive and moss brilliant composition, Wagner has given proof of those powers which show him to he one of the greatest Masters of the art of orchestration the world has produced. The opera is founded upon a legend, in which, as here rendered, reformation is wrought through love. In “Lohengrin” the weakness of women is shown; in “Tannhauser” her power. Dramatically, the work given last night, is most complete; the subject was admirably adapted to the genius of Wagner. If “Tannhauser” was not understood at first its author is revenged now in its popularity. One would make a great mistake in confounding this composition with opera of the old school. It was Wagner’s business to reform. But although be does not write as if the main object were to give opportunities for showing off the excellencies of particular voices, yet at the same time the artistes who essay to fill the roles of Tannhauser and Elizabeth must be of high merit; one looks for this – nay, it is necessary – and without it there cannot fail to be shortcoming and disappointment. The company were fortunate in the artistes who sustained these roles last night. Mdlle. Aurelia Revy, the Elizabeth. and Mr. Julius Walther, the Tannhauser, are both new to Belfast. The former is a Hungarian and the latter an American. Both made a very favourable impression. With youth on her side and a charming presence, Mdlle. Aurelia Revy was well calculated, in addition to her vocal abilities, to take the part of Elizabeth. She possesses a soprano of great purity and flexibility. Her high notes are particularly good. She sang all her music with artistic grace and power, and was notably successful in Elizabeth’s Prayer, in the third act, which was feelingly rendered. As Tannhauser Mr. Julius Walther had most exacting music, of which he gave a very admirable exposition. His tenor is always reliable, and was used with discrimination. Dramatically, he gave a very sympathetic interpretation; he “looks” the part well. Both ‘Mdlle. Aurelia Revy and Mr. Julius Walther received unequivocal tokens of the approval of the house. Mr. Alex Bevan, a favourite in Belfast, and deservedly so, was impressive as the Landgrave, giving a good rendering of the music Miss Lizzie Burgess sang the music of Venus well. The processional March music, both orchestral and choral, was given with telling effect. The Minstrels acquitted themselves well in the second act. The ovreture, which is one of the features of the opera, was well rendered by the orchestra, under the conductorship of Mr. Eugene Goossens, who was welcomed on entering the house. The overture was received with demonstrative applause. and the conductor bowed his acknowledgements. Tonight “Carmen” will be presented.” [Belfast News-Letter, Issue: 26560, Tuesday, Sept. 18, 1900]
“OPERA HOUSE – Managing-Director, Mr. Fred W. Warden; Acting-Manager, Mr W. J. Andrews.- A crowded audience assembled here on Monday to extend a hearty welcome to the Royal Carl Rosa opera company. There have been many changes in the cast, the most important new-comer being Mr. Julius Walther, the new American tenor, for the leading roles. On Monday evening Tannhauser was presented, in which this gentleman scored an artistic triumph, the highest point of excellence being attained in the opening scenes with Venus in which Mr Walther was so effective that he was loudly recalled at the end the act. Mdlle. Aurelia Revy, the Hungarian prima donna, essayed the part of Elizabeth, and must be warmly congratulated on her success. Wagner’s exacting music was admirably rendered by this cultured artiste. Most successful also was Mr. Arthur Deane, who again submitted his excellent impersonation of Wolfram, his remarkably fine baritone voice being heard to distinct advantage in “Star of Eve” and in the “tournament of song. Miss Lizzie Burgess as Venus furnished an artistic representation, her charming voice being greatly admired. In the role of the shepherd boy Miss Eugene Barker sang the herd boy’s song with such sweetness that the audience were quite captivated. Mr Alexander Bevan’s impersonation of the Landgrave could hardly improved upon, and the roles of Walther, Biterolf, Heinrich, and Reinmar were capably sustained by Messrs Frank A. Wood, Albert Chapman, A. Felton and Isidore Marcell. The beautiful concerted music of the Meinnsingers was exquisitely rendered, and the chorus was not only powerful but well balanced. The largely augmented orchestra was satisfactory, and under the baton of Mr Eugene Goossens played the well-known overture so skilfully that the applause at its conclusion was very demonstrative. During the week Carmen, Faust, and Lohengrin are announced for performance, and on Thursday evening for the first tine in Belfast the new opera, The Harbour Side, and Piccolo Haydn were presented.” [The Era, Issue: 3235, Saturday, Sept. 22, 1900] |
| Tue 18th Sep 1900 | Carmen – William Stephens, Winifred Ludlam |
| Wed 19th Sep 1900 | Faust – Julius Walther, Alex Bevan, Haigh Jackson, Albert Chapman, Marie Burnett, Mrs. D. Wilson, Aurelia Revy; c.Eugene Goosens |
| “This work of Gounod seems never to lose its attraction and it is no wonder, glowing, as it does, with musical life and beauty, and giving such exquisite expression to the subject The performance of last night, by this company, at the Grand Opera House, was a very fine one, though not of exceptional merit. The part of Marguerita seems to afford Mdlle Aurelia Revy more score than that of Elizabeth in “Tannhauser.” At any rate, the former role appears to suit a vivacious and emotional temperament. The prima scored a marked success in the jewel scene, singing with great ease and charm, and being most rapturously encored; but it is a question if she did not surpass this in the tender passages between Marguerita and Faust. Mr. Julius Walther made an excellent Faust. He was in capital form, and looked the part admirably. He was at his best in the garden scene, which is the most trying part for the tenor. Too high praise cannot be accorded to Mr. Bevan for his conception of the part of Mephistopheles. His magnificent bass voice did full justice to the musical demands of this character. Possibly he was somewhat weaker from a histrionic point of view than some of his predecessors in this role. A greater deal of that sardonic cynicism which is essential to the part would improve the portraiture. His rendering of the “Calf of Gold” could hardly have been surpassed, though this was only one of his many triumphs. Not the least interesting items were the concerted numbers in the garden scene, which were beautifully rendered. Both Siebel and Martha were well portrayed; and Mr. Jackson was admirable as Valentine. The Soldier’s Chorus’ received the inevitable encore, and that in most emphatic style. Mr. Eugene Goosens conducted. To-night a Belfast audience will hear “The Harbour Side” for the first time. It is by Spinnelli, an Italian composer. High praise has been bestowed upon the beauty of the music, but those who attend the Grand Opera House to-night w11l be able to judge for themselves.” [Belfast News-Letter, Issue: 26562, Thursday, Sept. 20, 1900] |
| Thu 20th Sep 1900 | A Basso Porto – Winifred Ludlam, Wiliam Stephens, Arthur Deane, Isidore Marcil, Frank A. Wood, Aurelia Revy; c.Eugene Goossens |
| “Unusual interest attached to the performance by this this company at the Grand Opera House last night. A comparatively new opera – “At the Harbour Side” or to give it its native title – “A Basso Porto” – was presented for the first time to a Belfast audience. The event aroused considerable interest in musical and dramatic circles, as was evidenced by the large attendance. The Belfast public are indebted to the Carl Rosa company for including the work in the repertoire of the week. The present visit has been one of great interest. The character of the performances has been such as to remind one of the Carl Rosa Opera Company gof other days. The company deserve to be congratulated on their success in attaining a high artistic level once again. This was fully proved by the performance of last night; a remarkable work was not only well done, but with striking brilliancy. The composer, Spinnelli, a native of Turin, is only thirty-five years of age. It may be mentoned that is “Cabilia” was second in the competition that was won by “Cavalleria Rusticana.” The present work was originally produced at Cologne three or four years ago and achieve a great success in Berlin, From a musical point of view the Opera is exceedingly rich. It has quite a refreshing charm in its originality. The music flows with great ease. No bizarre effects are sought after, but the musical setting is vividly picturesque and adapts itself to the plot with wonderful realism. The story is told almost entirely in musical dialogue. and choral effects are sometimes used for the purpose of accentuation. The orchestration shows verv fine ecolouring. The histrionic groundwork is thorouuhly Italian, showing all the hot temperament of the South. Knives are drawn in the first act; the same weapon is produced in the second and there is the tragedy in the third act. The work is pitched in an exceedingly high dramatic key. We do not remember having seen work so intensely dramatic. There seems to be no relief from this high-strung condition. This, in our opinion, is the weak point of the opera. It keeps one continually on on the stretch. There is too much of the passionate. The darkness requires some light: one longs for it. But it does not come. Nevertheless, it made a, wonderful impression upon the house; and, all things considered, it deserves the description we have given it – a remarkable work. The story is founded upon one of the Neapolitan Scenes of Geoffrede Cognetti. Maria, one of the principal characters, has a son and daughter. Luigino and Sesella. The dramatis personae include Cicillo, the leader of a gang of assassins. He has lured Luigino into gambling, and is in love with Sesella. The opening of the work shows the gambling proceeding at Pascale’s inn. Maria, who had formerly been in love with Cicillo, and had murdered her rival , resents the turn things have taken; and her confession leads to one of the strong scenes. Cicillo determines to be revenged on Maria’s children, but becomes involved in his own traitorous ways. Having betrayed his companion, the Camorristi, he boldly accuses Luigino, and forthwith arranges to elope with Sesella. Maria, however, arrives in time to detail her daughter, explains the circumstances of her own desertion by Cicillo, and his scheme of revenge on her children, and exposes him as a traitor to his gang of assassins. Sesella realises Cicillo’s deceit, and, on the return of the Camorristi, Luigino is proclaimed innocent of the charge of treachery. The guilt is fixed upon Cicillo; the death sentence is passed, and Luigino is selected to deal the death blow. In the last act, Maria meets Cicillo at the harbour, and promises to effect his escape from the Camorristi if he will swear not to wreak his vengeance on her children. Cicillo, strong in his belief that his own treachery will secure the capture of his companions, still vows revenge, but fails, stabbed by Maria, just as the Camorristi rush n. The burden of the work devolved upon Miss Winifred Ludlam as Maria, Mdlle. Aurelia Revy as Sesella, Mr.William Stephens as Luigino and Mr. Arthur Deane as Cicillo. The cast was exceedingly well chosen. Both Miss Ludlam and Mdlle. Aurelia distinguished themselves by their dramatic portrayal, which was exceedingly powerful, and by the splendour of their vocal rendering. What Miss Ludlum lacked, from a histrionic point of view, as Carmen, she more than made up for as Maria, proving herself a to be a brilliant actress. Nor can too high praise be given to Mdlle. Aurelia Revy, whose charming soprano has made a very favourable impression on Belfast audiences. Mr Arthur Deane also excelled as Cicillo, coming fully up to all requirements; and Mr. William Stephens filled the role of Luigino to perfection. The principals were called before the curtain at the close of the acts and very warmly applauded. Mr Eugene Goossens conducted. The work was preceded by a lyric opera in one act entitled “Piccolo Haydn,” by Antonio Cippolino. To-day there will be a matinee performance of “Faust” and in the evening “Lohengrin,” a work of greater beauty still than “Tannhauser,” will form the programme.” [Belfast News-Letter, Friday, Issue: 26563, Sept. 21, 1900] |
| Fri 21st Sep 1900 (m) | [originally advertised as Carmen] Faust – William Stephens, Lizzie Burgess, Arthur Deane, Alexander Bevan; c. Eugene Goosens |
| Fri 20th Sep 1900 (e) | Lohengrin – Julius Walther, Aurelia Revy, Alexander Bevan, Winifred Ludlum, Albert Chapman; c. Eugene Goosens |
| “The work performed by this company at the Grand Opera House last night, in presence of a very large audience, was “Lohengrin.” Of the overpowering beauty of this opera it should scarcely be necessary to say anything. No lover of music can hear it without being profoundly moved. It affords illustrations of a kind of workmanship in which Wagner is, perhaps, unexcelled. We refer to the effects he produces by blending orchestra and chorus, uniting the principals with the latter. He may begin by working up from the orchestra, but the consummation is attained by the complete use of all the resources of the operatic stage. The grandeur of the effects is beyond description The presentation of last night was, taken all round, one that reached a high level. Mdlle. Aurelia Revy, with her fine soprano voice, gained fresh distinction as Elsa. It says a great deal for her that in music of this exacting description she sang with much ease. Her voice is used with “great artistic effect. and her personation was vary sympathetic. Mr. Julius Walther looked the part of Lohengrin well and he gave a fine rendering of his music. Too much praise cannot be accorded to Mr. Bevan. who took the part of Henry the Fowler. He was magnificent in his imploration towards the close of the first act. Miss Winifred Ludlum made an excellent Ortrude, giving her music with effect. Mr. Albert Chapman was admirable as the herald, and Mr Haigh Jackson was suited to the part of Telramund. The performance was enthusiastically received. Mr. Eugene Goossens conducted this great work with characteristic ability. “Faust” was given at a matinee performance. The principal characters were different from the last performance with the exception of Mephistopheles, which was again sustained by Mr. Bevan. Mr. William Stephens was the Faust, and Miss Lizzie Burgess the Marguerite. Arthur Deane gave an ideal, representation of the part of Valentine. The death scene in the fourth act furnished proof of his histrionic ability. The present visit of the Carl Rosa Opera Company will close tonight with the presentation of Maritana.” [Belfast News-Letter, Issue: 26564, Saturday, Sept. 22, 1900] |
| Sat 21st Sep 1900 | Maritana – William Stephens, Lizzie Burgess, Haigh Jackson, Albert Chapman, Isidore Marcil, Albert Fenton, Marie Burnett, Nora Roy; c. Walter van Noorden |
| 24th – 29th Sep [1 week] Dublin, Gaiety Theatre |
| Mon 24th Sep 1900 | Lohengrin – Mr. Julius Walther (Lohengrin), Mr. Alex Bevan (Henry the Fowler), Mr. Haigh Jackson (Frederick of Telramund), Mr. Albert Chapman (The Herald), Miss Winifred Ludlam (Ortrude), Mdlle. Aurelia Revy (Elsa); c.Mr. Eugene Goossens |
| “CARL ROSA OPERA COMPANY IN “LOHENGRIN” – An extremely large audience filled the Gaiety Theatre last night when the Carl Rosa Opera Company entered upon a short engagement, commencing with the production of “Lohengrin.” The Carl Rosa Company has gone through some vicissitudes in recent years, and although the present organisation of operatic art is far from being one and the same as the grand old company which years ago boasted much that was best in the traditions of opera, yet the magic of the name Carl Rosa is still potent enough to gather together a highly creditable combination, as evidenced by last night’s performance. Time was, and recently enough, to be within the recollection of those who followed the opera stage for only a limited period, when the Carl Rosa company, at the height of its fame, would visit us for four weeks, commencing at Horse Show week; now we have to content ourselves with a stay of a week in our midst. Last night’s performance of “Lohengrin” proved that the reorganisation of the Carl Rosa Company has not been unfruitful in results. The piece was presented, as regards principals, orchestra and staging, in a way that brought out to striking effect the irresistible beauty of the old German legend, with Wagner’s matchless musical settings. An interesting feature of the production was the fact that a tenor, new to Dublin, was introduced, who can sing – with really artistic effect the exacting music of the title role. The advent oi a new tenor into the arena of opera – once his capacity has stood the test — is an event par excellence in connection with matters musical, and the auspicious debut of Mr. Julius Walther, a German singer, in Dublin is consequently something of more than passing importance, Mr. Walther sings with artistic taste and splendid expression. Men have taken the part who have boasted better than he as far as what is known as stage presence is concerned, men have walked the stage in the same role and borne themselves with a larger measure of external dignity, but judging Mr. Walther as an artist rather than as an actor, he is a tenor whose talent is decidedly out of the common. And considering that Mr. Walther has youth on his side, he is a vocalist of great promise if his voice is allowed to develop itself without being overstrained. Mr. Alexr. Bevan, whose gifts Dublin audiences have already had an opportunity of hearing to advantage, sang with spirit as Henry the Fowler. Mr. Albert Chapman used his robust voice with splendid effect as the Herald. Mr. Haigh Jackson sang and acted in capital style as Frederick. Mdlle. Aurelia Revy, as Elsa, sang with sweetness, and her acting also appealed to the emotions of the audience Miss Winifred Ludlum, the contralto, as Ortude, acquitted herself dramatically. The staging of the piece was picturesque, especially fine being the court scene in the first act. The chorus was not a strong point of the production. It might have been somewhat larger at times, and once or twice a little want of unison presented some blemish. The orchestra, under Mr. Goossens, was thoroughly efficient and rendered a full measure of justice to the succession of melodic masterpieces for which the opera is so deservedly famed. To-night “Carmen” will be produced.” [Irish Daily Independent, Tuesday, September 25, 1900; Page: 6]
“THE CARL ROSA OPERAS – Last evening, at the Gaiety Theatre, the famous and ever-welcome Carl Rosa company commenced an engagement for a week with a performance of Wagner’s Lohengrin. The house was crowded in every part. Additional accommodation for the augmented band had to be found in one of the omnibus boxes. The conductor was Mr. Eugene Goossens. The performance of “Lohengrin” was an admirable one in every way both as regarded solo ad concerted effects. All the salient and peculiar features of this particular work of the great modern maestro – the fine orchestra, the grand and impressive, though intricate, choral and concerted music, and the abundant – perhaps it might be nearer the truth to say the too superabundant, though always lofty and thrilling, musical declamation – were wrought out with most satisfying effect. The exquisite and truly original introduction which sums up so much of what follows was capitally played by the band, and was attentively listened to and I applauded by the audience. Of bath band end chorus it may be said that they were thoroughly up to the mark, and did their work well throughout the evening. The premier vocalist was undoubtedly Mr Julius Walther, who as Lohengrin fully justified the laudatory terms in which his name was mentioned in the programme. He exhibited a tenor voice of ample power and most agreeable quality, always strong without straining, and tender and sympathetic in a high degree. Mr Walther’s face and figure were most apt for the representation of the ethereal knight. His fine vocalism, characterised by both musical and dramatic excellence, made a decided impression on the audience. The part of Elsa was, on the whole, verv creditably sustained by Mdlle. Aurelia Revy. Her appearance well became the part, and she sang artistically and with a good conception of the music, but allowed herself to be betrayed into too much vibrato. In this respect her singing compared unfavourably with that of Mr Walther’s, who only vibrated with delicacy and at the right moments. Mr. Alexander Bevan, as Henry the Fowler, and Mr. Haigh Jackson, as Frederick of Telramund, did excellently. The leading vocalists were more than once complimented by the audience. Miss Winifred Ludlum as Ortrud, sang her music brilliantly, dramatically, and without vibrato. It may be added that “Lohengrin” has not often been heard to such advantage in Dublin as it was last night. “Carmen” will be the opera this evening.” [Freeman’s Journal, Tuesday, Sept. 25, 1900]
“GAIETY THEATRE.-Lessee, Michael Gunn, Limited Manager, Mr Charles Hyland. – The Carl Rosa opera company opened here on Monday, when a large audience assembled to witness the performance of Wagner’s Lohengrin, which was admirably put on. Herr Julius Walther appeared to great advantage in the role of Lohengrin, in which he displayed ample power and sang his numbers in a tender and sympathetic manner. Mr Alexander Bevan was very good and sang admirably in the part of Henry the Fowler; the Frederick of Telramund was exceedingly well played by Mr. Haigh Jackson; Miss Winifred Ludlam gave a brilliant performance of Ortrude, singing in a most pleasing and effective manner and Mr. Albert Chapman sang excellently in the Part of Herald. Mdlle. Aurelia Revy acted very gracefully and sang with sweetness in the part of Elsa. The staging was excellent, and the choruses were sung in an effective manner. A large audience attended on Tuesday night, when Carmen was performed. Miss Winifred Ludlam achieved a great success in the title role, her vocalism being extremely good. Miss Ludlam was most heartily and deservedly applauded for her excellent performance. The part of Don Jose was cleverly portrayed by Mr William Stephens. who sang his music with great spirit. Miss Lizzie Burgess acted in a sympathetic style, and sang sweetly as Michela. Mr. Arthur Deane was admirable as Escamillo; his rendering of the Toreador song was most effective, and received enthusiastic applause. The Dancairo of Mr. Albert Chapman was verv good, and Mr. Frank A. Wood as Remendado was capital. Mr. Walter Van Noorden conducted the orchestra in splendid style.” [The Era, Issue: 3236, Saturday, Sept. 29, 1900] |
| Tue 25th Sep 1900 | Carmen – Mr. William Stephens (Don Jose), Miss Lizzie Burgess (Michaela), Mr. Arthur Deane (Escamillo), Mr. Albert Chapman (Dancairo), Mr. Frank A. Wood (Remendado), Mr. Isidore Marcil (Zuniga), Mr. A. Fenton (Lilas Pastia) Miss Eugenie Barker (Mercedes), Miss Florence Lelgarde (Frasquita), Miss Winifred Ludlum (Carmen); c.Mr. Walter Van Noorden |
| “A large audience attended the Gaiety Theatre last night — although the balcony presented plenty of room to spare —when the Car! Rosa Opera Company appeared in “Carmen.” The performance was a really admirable one, and the excellent achievements of the Carl Rosa Company so far cause a feeling of regret that the present engagement at the Gaiety will last no longer than a week. The principals in the opera last night proved thoroughly competent to take their respective parts, while the other accessories to the effective presenting of Bizet’s beautiful piece were equally creditable. Miss Winifred Ludlam was a distinct success in the title role. The character of Carmen is, indeed, a complex one, exacting in its vocalism, and demanding at the same time exceptional histrionic gifts. Many a vocalist who can sing the music with skill lacks the ability to act the part, but it is gratifying to find that Miss Winifred Ludlum not only scored brilliantly in her singing as Carmen last night but also entered in thorough-going style into the spirit of the part from a dramatic point of view. Her singing was pervaded with commendable richness of voice and refinement of enunciation. while her acting showed forth the character with a natural assumption of coquettishness. and defiant roguishness which produced a captivating impression on the audience. True there have been one or two Carmens whose demeanour gave way to a more fascinating degree of abandon and dare-devilry of mannerism, but considering how difficult it is to find an artiste who not alone can sing Carmen but can do justice to the acting of the part, Miss Ludlum is entitled to hearty praise for the manner in which she adapts herself to the part, without any manifestations of restraint. Her portrayal of the Gipsy girl was greeted last night with a warmth of well-deserved applause. Mr. William Stephens as Don Jose, sang with an intensity of spirit and culture. Miss Lizzie Burgess sang sweetly as Michaela, and acted in sympathetic style. Mr. Arthur Deane, as Escamillo, was admirable and his singing of the Toreador song was full of artistic vigour, eliciting enthusiastic applause. Mr. Albert Chapman, as Dancairo, and Mr. Frank A. Wood, as Remendado, made the most of these parts. The choruses were strong and well balanced, while the staging was effective. The orchestra, under the baton of Mr. Walter Van Noorden, played in splendid style, rendering full justice to the exquisite music of the work. Tonight “Tannhauser.” [Irish Daily Independent, Wednesday, September 26, 1900; Page: 6] |
| Wed 26th Sep 1900 | Tannhauser – Mr. Julius Walther (Tannhauser), Mr Arthur Deane (Wolfram), Mr. Alex Bevan (The Landgrave), Mr. Frank A. Wood (Walther), Mr. Albert Chapman (Biterolf), Mr. Isidore Marcil (Reinmar), Miss Eugenie Barker (Shepherd Boy), Miss Lizzie Burgess (Venus), Mdlle. Aurelia Revy (Elizabeth) |
| Thu 27th Sep 1900 | Faust – Mr. Julius Walther (Faust), Mr. Alex Bevan (Mephistopheles), Mr. Haigh Jackson (Valentine), Mr. Albert Chapman (Wagner), Miss Marie Burnett (Siebel), Miss D. Wilson (Martha), Miss Florence O’Kell [“Irish Prima Donna; her first appearance on any Stage”] (Marguerita) |
| “A new prima-donna has made her debut with the Carl Rosa Company in Miss Florence O’Kell, a young lady who was born in Australia not very many years ago. So greatly were her powers of singing esteemed “down under” that she became know as the Queensland Melba.” [, Manchester Courier and Lancashire General Advertiser, Volume: 76 , Issue: 13695, Saturday, Sept. 29, 1900] |
| Fri 28th Sep 1900 | A Basso Porto (At the lower harbour) – Miss Winifred Ludlam (Maria), Mr. William Stephens (Luigino), Mr. Arthur Deane (Cieilio), Mr. Isidore Marcil (Pascalo), Mr. Frank A. Wood (Pichillo), Mdlle. Aurelia Revy (Sesella) |
| Sat 29th Sep 1900 (m) | Carmen – Mr. Julius Walther (Don Jose), Miss Lizzie Burgess (Michaela), Mr. Arthur Deane (Escamillo), Mr. Albert Chapman (Dancairo), Mr. Frank A. Wood (Remendado), Miss Eugenie Barker (Mercedes), Miss Florence Lelgarde (Frasquita), Miss Winifred Ludlum (Carmen) |
| Sat 29th Sep 1900 (e) | Maritana – Mr. William Stephens (Don Cesar de Bazin), Mr. Haigh Jackson (Don Jose), Mr. Albert Chapman (King of Spain), Miss Marie Burnett (Lazarillo), Miss Nora Roy (Marchioness), Miss Lizzie Burgess (Maritana) |
| 1st – 6th Oct [1 week] Chester, Royalty Theatre |
| “CARL ROSA OPERA COMPANY – There are memories awakened by the visit of this famous combination, memories of great artists who have left the ranks, but worthy successors have been found both in organisation and artistic ability. The work chosen by the company for Monday night at the Royalty Theatre, Chester, has probably no equal from the point of view of testing the capabilities of the tenor role. In presenting “Lohengrin,” with Mr. Julius Walther in the title part, the company are giving Chester opera goers an opportunity of hearing the finest exponent of Wagnerian music now on the operatic stage. Mr. William Stevens, another successful tenor, who has acquired a high reputation in London and the large towns, will make his reappearance on Tuesday night in “Carmen.” He has a voice of great power, tender and sympathetic in a high degree. Mr. Alexander Bevan, whose gifts Chester audiences have already had an opportunity of hearing to advantage, sings the part of Henry the Fowler with remarkable spirit. Other members of the company are Mr. Arthur Deane, a fine baritone, Messrs. Haigh Jackson, Frank Wood, Marcil, Davis, and Chapman. Miss Aurelia Revy, the Hungarian prima donna ; Miss Lizzie Burgess, Miss Ludlam, and Miss Barker. The week’s operas are — Monday, “Lohengrin;” Tuesday, “Carmen;” Wednesday. “Faust;” Thursday, “The Harbour Side,” Friday, “Tannhauser;” Saturday morning, “Carmen;” Saturday night, “Bohemian Girl.” [Cheshire Observer, Volume: 48 , Issue: 2512, Saturday, Sept. 29, 1900] |
| Mon 1st Oct 1900 | Lohengrin – Julius Walther, Aurelia Revy, Alexander Bevan, Arthur Deane, Winifred Ludlum; c.Eugene Goosens |
| “Those who have regarded grand opera in the light of rare exotic and had the privilege of hearing “Lohengrin” on Monday night at the Royalty Theatre must have been impressed’ with the conviction that the Carl Rosa combination gave a very highly creditable performance and will compare favourably, with any organization now touring. The piece was presented as regards principals, chorus and orchestra and staging in a, way that brought out in striking effect the irresistible beauty of the old German legend with Wagner’s matchless musical settings, Mr. Julius Walther, a German tenor of high Continental repute, sang the title role with artistic taste and splendid expression. Undoubtedly he has a great future before him – his voice is very powerful, his upper register, being particularly good. Miss Aurilla Revy is gifted with a soprano of good range. Her Elsa was a sympathetic performance. Ortude found a highly capable exponent in Miss Winifred Ludham. Her voice is one of great sweetness and flexibility, but she is much more than a sweet singer. She is instinctively an artist with keen intelligence and fine sensibility. Mr. Alexander Bevan’s fine powerful voice told with wonderful effect in the prayer. Telramund as interpreted by Mr. Haigh Jackson, was vocally and histrionically a pronounced success. In the duet of the second act with Ortrude, the music was intelligently and artistically rendered. Mr. Albert Chapman used his robust basso voice, with splendid effect. The chorus showed evidence of careful training. The orchestra, under Mr. Goosens creditably acquitted itself. Mr. T. H. Friend, to whom we are indebted for the courtesies extended to the press, is to be congratulated on the general excellence of the members of the company.” [Cheshire Observer, Volume: 48 , Issue: 2513, Saturday, Oct. 6, 1900] |
| Tue 2nd Oct 1900 | Carmen |
| Wed 3rd Oct 1900 | Faust |
| Thu 4th Oct 1900 | A Basso Porto (“The Harbour Side”) |
| Fri 5th Oct 1900 | Tannhauser |
| Sat 6th Oct 1900 (m) | Carmen |
| Sat 6th Oct 1900 (e) | The Bohemian Girl |
| 8th – 13th Oct 1900 [1 week] Oldham, Empire Theatre |
| “EMPIRE – Lessee, Mr Joseph Platt; Manager, Mr Stafford Grafton – For the second time only within a period of seventeen years the Carl Rosa opera company has visited Oldham. Herr Julius Walther is described as the great Wagnerian tenor, and to him was assigned the titular character, and with “The Song of the Grail” he raised the audience to the highest pitch of enthusiasm. Mdlle. Aurelia Revy was the Elsa, and the new debutante bids fair to occupy a prominent position in the operatic firmament. The other characters were sustained by Miss Winifred Ludlam and Messrs Alex. Bevan, Haigh Jacobson, and Albert Chapman. On Tuesday evening the performance was graced by the presence of Miss Ella Russell. when Carmen was set down for representation, Miss Winifred Ludlam sustaining the name-role with distinction and verve. On Wednesday his worship the Mayor (Mr John Hood) honoured the performance by his presence, when Tannhauser was set down for delectation, the theatre again being crowded; and for the third time enthusiasm prevailed. Thursday saw Maritana, and Friday was set apart for the initial staging in the town of The Harbour Side (“A Basso Porto.”) The orchestration of the various works has been brilliantly executed, and the chorus is one of exceptional “weight” and ability. Mr T H. Friend has personally staged the operas.” [The Era, Issue: 3238, Saturday, Oct. 13, 1900] |
| Mon 8th Oct 1900 | Lohengrin – Julius Walther, Aurelia Revy, Winifred Ludlam, Alexander Bevan, Haigh Jacobson, Albert Chapman |
| Tue 9th Oct 1900 | Carmen – Winifred Ludlam |
| Wed 10th Oct 1900 | Tannhauser – Sidney Poyser |
| “A great many people in this neighbourhood will be interested to learn that a young and talented local vocalist has just made his debut on the operatic stage, and that has showed so much promise that there is every reason to hope he has a bright and successful career before him. We are alluding to Mr. Sidney Poyser, of Swarkestone. A few years ago he was associated with amateur opera in this town, and, acting on sound advice, he commenced the study of music under Dr. Huntley. After being with this well known organist and musician eight months Mr. Poyser gained competition appointments in Newcastle-on-Tyne and Worcester cathedrals on consecutive days. He accepted the one at Worcester and remained there two and a half years. Then Mr. Charles Santley heard him and advised a special course of study in London, with the result that ten mouths later he won competitions at Lincoln and the American Church at Paris. Whilst in France Mr. Poyser studied for a considerable time under Monsieur Alfred Giraudot, of the Grand Opera, and returned to London last Christmas. In July he gave a most successful concert at Steinway Hall, and just after he received an invitation to join the Carl Rosa Opera Company. This he accepted, and the other day he made his appearance in opera at Oldham, where he undertook, with very gratifying results, the part of the Landgrave in “Tannhauser.” Mr. Poyser was highly complimented by the management and the Press upon the favourable impression he created, and the ability with which he interpreted the part, and his many Derby friends will doubtless be pleased to know that he will appear at our local theatre when the Carl Rosa Opera Company come to Derby next spring. Besides possessing a splendid voice, Mr. Poyser has the additional advantage of a fine stage presence, and we hope his career will in every respect prove successful.” [Derby Daily Telegraph, Volume: 43 , Issue: 6531, Tuesday, Oct. 23, 1900] |
| Thu 11th Oct 1900 | Maritana |
| Fri 12th Oct 1900 | A Basso Porto (“The Harbour Side”) |
| Sat 13th Oct 1900 (m) | Faust – Julius Walther, Alexander Bevan |
| “DR. FAUSTUS AND THE GOBLET – ALARMING INCIDENT AT AN OLDHAM THEATRE – The audience at the Empire Theatre, Oldham, were treated to an unrehearsed incident on Saturday afternoon when “Faust” was produced by the Carl Rosa Opera Company. In the first act a goblet, into which evidently too much spirits had been poured, was given by Mephistopheles (Mr. Alexander Bevan) to Faust (Mr. Julius Walther). As soon as the goblet had changed hands flames burst out. and Mr. Walther’s hand was burned. When he felt the heat he dropped the goblet, and, had the two actors not had presence of mind, the stage would have been set on fire. However, they soon stamped out the flames, and continued the act as if nothing had happened, but on the re-appearance of Mr. Walther in the second act, it was noticed that his hand was bandaged, and throughout the opera he appeared to be in pain.” [Manchester Courier and Lancashire General Advertiser, Volume: 76 , Issue: 13708, Monday, Oct. 15, 1900]
“EXCITING INCIDENT IN A THEATRE – The Royal Carl Rosa Opera Company was playing Gounod’s “Faust” on Saturday afternoon at the Empire Theatre, Oldham, with Herr Julius Walther in the title role and Mr. Alex. Bevan as Mephistopheles In the first act the latter hands Faust a flaming goblet, from which he drinks. On Saturday, however, the concoctor of the draught had been rather liberal with the supply of methylated spirit, and as Faust took the cup the flame blazed up and scorched his hand. He dropped the cup, and both the performers stamped the flames out before any further damage was done. The whole thing happened so quickly that only a few of the audience, who were well acquainted with the action of the opera, were aware that anything unusual had occurred; but for the remainder of the afternoon, the tenor had his hand wrapped up in a bandage, evidently suffering considerably, though he went through with the part to the finish.” [Derby Daily Telegraph, Volume: 43 , Issue: 6525, Tuesday, Oct. 16, 1900] |
| Sat 13th Oct 1900 (e) | ?? |
| “The Carl Rosa opera company last week broke all records at the Empire, Oldham, at present prices, and Mr Grafton has rebooked the company for an annual visit.” [The Era, Issue: 3239, Saturday, Oct. 20, 1900] |
| 15th – 20th Oct [1 week] Bradford, Theatre Royal |
| Monday 15th Oct 1900 | Lohengrin – Julius Walther, Aurelia Revy, Winifred Ludlum, Haigh Jackson, Alexander Bevan |
| “CARL ROSA COMPANY IN BRADFORD – The Carl Rosa Opera Company, to the delight of all lovers of grand opera, has lived through its recent trials and tribulations, and under the guidance of Mr. T. H. Friend would appear now to be in a fair way to retain some of the lost glory of the past. There has been a return to the policy of the late Mr. Carl Rosa himself. The company is not made up of one star, with all the other parts merely filled, but every character is well sustained and capably rendered. New talent has been sought for with considerable success, and last night Bradfordians had the opportunity of hearing for the first time Mr. Julius Walther, tenor, and Mdlle. Aurelia Revy. soprano, both of whom will become very popular in their particular spheres. Mr. Walther is essentially dramatic, and admirably suited to Wagner’s work, and last night, at the Theatre Royal, he appeared in the part of Lohengrin, carrying conviction at every point, as well as rendering the music of the part with taste and effect. The duet with Elsa towards the close was a really splendid piece of work. Nor did Mdlle. Aurelia Revy, as the heroine of the piece, fall short. Less dramatic than some of her predecessors, she nevertheless conveyed absolutely the intensity of feeling which moves through her part. and her sweet voice always commanded the ear of the audience. Miss Ludlam we have seen before, and again she shared in the honours of the evening by her graphic rendering of Ortruda’s scheming for the downfall of Elsa, whilst Mr. Haigh Jackson, as Frederick of Telramund, worked with her to good purpose. The part of Henry the Fowler was filled efficiently by Mr. Alex Bevan, and the chorus was strong all the way through.” [Leeds Mercury, Tuesday, Issue: 19512, Oct. 16, 1900] |
| Tue 16th Oct 1900 | Lohengrin – Julius Walther, Aurelia Revy, Alexander Bevan, Haigh Jackson, Winifred Ludlum, Albert Chapman; c. Eugene Goossens |
| “THEATRE ROYAL – Lessee, Mr. John Hart; General Manager, Mr W. M. Hart – The short season which was commenced on Monday by the Carl Rosa opera company is an event of considerable interest to the regular patrons of the theatre. The week was commenced with an admirable performance of Lohengrin, Mr. Eugene Goossens treated the orchestration, which is a main factor in the recital of the legend of “The Knight of the Swan,” excellently, and Mdlle. Aurelia Revy scored a veritable triumph as Elsa, her pathos and tenderness being exquisite. Mr Julius Walther, the graceful tenor, was an ideal Lohengrin. With excellent effect Mr. Alex. Bevan played Henry the Fowler; Miss Winifred Ludlam was heard to advantage as Ortrude. Mr. Haigh Jackson as Frederick of Telramund and Mr. Albert Chapman as the Herald were effective; and the production was admirable from a spectacular point of view, great applause greeting the performance. Carmen was the opera on Tuesday evening, and during the week Maritana, Tannhauser, Faust, The Bohemian Girl, and At the Harbour Side are billed for representation.” [The Era, Issue: 3239, Saturday, Oct. 20, 1900] |
| Wed 17th Oct 1900 | Carmen |
| Thu 18th Oct 1900 | ?? |
| Fri 19th Oct 1900 | ?? |
| Sat 20th Oct 1900 | ?? |
| 22nd – 27th Nov [ 1 week] Leeds, Grand Theatre
“CINQ MARS,” the light romantic opera by the late Charles Gounod, will be presented in English by the Carl Rosa opera company at the Grand Theatre, Leeds, on Oct. 26th, with the following ladies and gentlemen in the cast:- Messrs Julius Walther, Arthur Dean, Eugene Barker, Alexander Bevan, Haigh Jackson, Isidore Marcil, Frank A. Wood, Innis, Albert Chapman, and Davis; Mesdames Lizzie Burgess, Marie Burnett, and Aurelia Revy.” [The Era, Issue: 3239, Saturday, Oct. 20, 1900] |
| Mon 22nd Oct 1900 | Tannhauser – Julius Walther, Aurelia Revy, Arthur Deane, Eugenie Barker, Alex Bevan, Lizzie Burgess; c.Eugene Goossens |
| “GRAND OPERA IN LEEDS – THE CARL ROSA COMPANY – It says a good deal for the methods employed by the founder of the one great English provincial combination exploiting grand opera that, notwithstanding the vicissitudes which the company that bears his name has of recent years experienced, the magic words Carl Rosa are still sufficient to crowd a theatre in the provinces even when “The Bohemian Girl” or “Maritana” does not constitute the bill. To those *who have followed the fortunes of the company these last few years, the more recent changes and experiments – for such they were – will be familiar enough. There is no necessity for dwelling now either on the failures of those who sought to restore its original prestige to the company, or the reasons that led to those failures. It is sufficient to know that the head of affairs now is essentially the right man in the right place. What Mr. T. H. Friend does not know about the Carl Rosa Company, and what its exact requirements are, and what its legitimate aims should be, is not, assuredly, worth knowing. Under brighter auspices than many a previous tour of the company had been blessed with, the present tour started some few weeks back at Eastbourne, and up to the present moment the success achieved, both artistically and financially, has, one takes it, almost exceeded the most hopeful expectations. There seems little reason to fear that Leeds is going to spoil the record, for there was an astonishingly good house last night, when “Tannhauser” was given. Leeds, it would seem, won’t have light opera; it will scarcely countenance “musical comedy.” except of one particular brand; it gives the cold shoulder to comedy; it is but lukewarm in its attitude towards farce; it sometimes pretends to patronise Shakespeare, though in reality it can’t abide him,; and it tolerates pantomime much in the same spirit that one makes allowances for old age. What is there left? Well, there is grand opera, and, judging by the crowded gallery, circles, stalls, and pit last night, there is something to be said, after all, in support of the view that appreciation is not entirely lacking on the part of the “masses” amongst the playgoers, whatever may be said of the “classes.” To be candid, the latter plump for musical comedy of the sort already hinted at. “Tannhauser,” as played by the Carl Rosa Company last night, was a distinct success. It is unusual to employ exaggerated adjectives in regard to a performance of grand opera in the provinces, otherwise the performance might well have been described as brilliant. The main feature of it was that it introduced to us two new vocalists in the persons of Mr. Julius Walther and Mdlle. Aurelia Revy. Both, curiously enough, hail from Hungary. Mr. Walther is described on the programme as “the great Wagnerian tenor,” which seems to suggest limitations which Mr. Walther does not possess. There is no doubt about one thing, official description apart. The house last night almost literally rose at Mr. Walther and Mdlle. Revy, and the curtain at the finish had to be raised over and over again. Mr. Walther makes, in appearance, something approaching an ideal Tannhauser, and his voice is of that robust type which is remarkable in these days of degenerate tenors, by its singular rarity. Certainly, Mr. Walther appeared quite at home in the music so generously allotted to the part, and he gained all his effects with an absence of artificial means that was refreshing. Moreover, he is an admirable actor. Mdlle. Revy had a great reception. She was a most sympathetic Elizabeth, but her singing at once secured her the good opinions of her hearers – opinions that were pronounced last night with no uncertain voice. Hers is what may most aptly be termed a dramatic soprano, capable of giving expression to most of the emotions from passion to love, and of singular purity. Mdlle. Revy is especially good when singing with Mr. Walther – the excellence of each vocalist seems to spur the other on to yet better results. The company have evidently a valuable prima donna in Mdlle. Revy. There was a new Venus in Miss Lizzie Burgess, but this lady scored a really great success. True, her voice was occasionally overtaxed in some of the more trying music at the opening: but, on the whole, it was a pleasure to listen to Miss Burgess, and to recognise how worthy an acquisition she is to Mr. Friend’s resources. There are, happily, old faces and old names still. Mr. Arthur Deane was a splendid Wolfram, and sang magnificently. Mr. Alex. Bevan, the Landgrave, was equal to his task throughout, and Mr. Frank A. Wood was a good Walter. The solo of the shepherd boy, sung by Miss Eugenie Barker, was a capital instance of how much effective attention the Carl Rosa management are now paying to comparative detail, for Miss Barker is an accomplished singer, with an evidently artistic perception. Then there was the band. Mr. Eugene Goossens, who is one of the best conductors we have for this kind of work, occupied the desk last night, and his success was distinctly gratifying. Bar an unaccountable aversion on the part of the trombones to pay a strict regard to tempo in the overture – not a defect to overlook, however, in this particular instance – bar this, the work of the band was wonderfully good, especially when all he circumstances are taken into consideration, and when it is remembered that this is not a festival band. Altogether, “Tannhauser,” as given last night, formed a happy omen of what may be expected during the rest of the week. It was really one of the most brilliant nights that the Grand Theatre has witnessed for many a long day. This evening “Carmen” will be played.” [Leeds Mercury, Issue: 19518, Tuesday, Oct. 23, 1900] |
| Tue 23rd Oct 1900 | Carmen |
| Wed 24th Oct 1900 | Lohengrin – Julius Walther, Aurelia Revy, Alexander Bevan, Haigh Jackson, Winifred Ludlum; c. Eugene Goossens |
| “THE CARL ROSA OPERA COMPANY – The little it knows of Wagner certainly amuses Leeds for there was again a crowded house at the Grand Theatre last evening when the Carl Rosa Company produced “Lohengrin.” This and “Tannhauser” are always safe cards to play in Leeds; but what it would be were any other of the works of the Master of Bayreuth attempted must be regarded as open to question. The experiment has not yet been attempted, and probably a good many years will have to be recorded yet ere the Carl Rosa or any other daring combination tempt fate and risk their reputation by the representation of any Wagnerian opera outside the two already mentioned. However, “Lohengrin” last night was a noteworthy example of how well the Carl Rosa Company as at present constituted can exploit Wagner if they only try. It was in every respect a much better performance than that of “Tannhauser” on Monday night. And this must be regarded as praise indeed. “Tannhauser” on Monday was not devoid of obvious faults; but “Lohengrin” last night was a triumph. “Lohengrin” has the advantage of being an opera readily understood by the people, and therefore the story is followed with an interest that is not open to interpretation by doubts as to what “it is all about.” The story of “Lohgengrin” is a poem which proves that even poetry need not necessarily be too far above the intelligence of the average nineteenth-century intelligence as represented in the popular parts of a modern playhouse. Wagner was his own librettist here, and he couldn’t have made a better choice. The story finishes without the hopeless note of tragedy that disrupts the finale of “Tannhauser,” but with just that suggestion of what might have been, and so nearly was, that makes a poetic story acceptable to the material world of today. The chief weakness of “Lohengrin” as an opera, lies in the fact that the scene between Frederick and Ortrude at night is attenuated to the last [xxxx]. What they have to say, and the decision these two come to in the end, seems capable, in the ordinary mind, of fruition in less than half the time devoted to it in the opera, thereby ensuring a saving of valuable time, and relieving to a considerable extent the monotony of the incident – the only monotonous period of the work, in fact. This may be heresy, but the truth has often figured as such in times past. Of course, the chief interest in last night’s performance centred in the Lohengrin of Mr. Julius Walther and the Elsa of Mdlle. Aurelia Revy. Which of the twain secured the higher honours it would be a hard task to determine. Mr. Walther appeared absolutely perfection, both in vocalism and in presence. The audience will not soon forget his original entrance in – or should it be, on? – the Swan – a magnificent figure, the embodiment of the fancies of German mythology. But this was a secondary consideration after all. Mr. Walther sang superbly, and without strain or effort. It was a thoroughly splendid performance all round. He was admirably supported by Mdlle. Revy, whose singing and gestures and all round acting as the pathetic Elsa at one stamped her as a true artist, a worthy exponent of the period temperament, even if these points remained in doubt after her performance as Elizabeth in “Tannhauser.” The reception both of these gifted performers received last night was the verdict of a numerous jury, to whom the idea of a dissentient voice would have been intolerably obnoxious. Miss Winifred Ludlam was a satisfactory Ortruda. Her ideas of the character were adequately expressed, both in mannerism and vocally. There was something original, or possibly even striking, in her resisting this hypocritical conception: but for all that it was a highly creditable performance. Miss Ludlum was best in her wild prayer for vengeance, though it is clear she taxed her voice in those angry passages in that appeared its greatest capacity. Of course, the art of taxing ones vocal powers to that extent lies in doing without any one else knowing it. Frederick von Telramund was played by Mr. Haigh Jackson who did well and looked even better, and the same assertion will do very conveniently applied to the approach that Mr. Albert Chapman took into the performance of the Herald. Lastly, there was Mr. Alex Bevan whose Henry the Fowler was almost identical, both in terms of merit and particularly in personal appearance, with his Landgrave in “Tannhauser.” The work of the chorus in “Lohengrin” las night was a notable feature. The members exhibited poise one had not hitherto suspected, and the sopranos were especially good. Mr. Eugene Goossens conducted and kept his forces admirably under control: the band, in fact, we hardly ever guilty of the suspicion of detracting from the many merits of a most gripping performance. After Wagner, Balfe: and so perhaps we are to have “The Bohemian Girl,” though it is true that the reprehensible habit of “mixing the drinks” is a trifle more to be deprecated.” [Leeds Mercury, Issue: 19520, Thursday, Oct. 25, 1900] |
| Thu 25th Oct 1900 | The Bohemian Girl |
| “You may take “The Shop Girl,” “The Circus Girl,” “The Gaiety Girl,” “The Ballet Girl,” “The Telephone Girl,” and “The Runaway Girl,” but “The Bohemian Girl,” for popularity, beats them all. Early last evening there was a queue outside the Grand Theatre that would have surprised even Wilson Barrett himself. “Tannhauser” on Monday attracted a big house, and “Lohengrin” on Wednesday an even more numerous audience – whilst “Carmen,” – on Tuesday, did excellent business. But once more, the immortal Balfe romps in an easy Winner, for the takings at the Grand Theatre last night exceeded anything previously recorded during the present visit of the Carl Rosa Company. The house hung to to the story and the string of ballads with an intensity that would have been amusing had it not been so astonishing-. But, after all, it is only what is to be expected. The modern lady vocalist, for example, who charms all her acquaintances at private musical evenings during the winter months, goes out to supper with modern songs by Maud Valerie White, and Sullivan, and Sidney Jones, and perhaps an occasional German composer, and everybody, apparently, is thrilled by her contributions, until some gushing listener in the corner by the fireside says, “Oh, how lovely! But do you think you could sing us “I dreamt I dwelt in marble halls” This is the sort of spirit that goes so far to make Balfe’s “masterpiece” the money-taking opera it is, has been, and, apparently, for ever will be. The incongruities of much of the piece do not matter in the slightest to the people, who crowd to see if; but, in this connection, one felt intensely grateful last night to a slight rearrangement in the orthodox stare of things. Everybody knows and appreciates the unhappy state of mind that the Count Arnheim must he in during the performance of that lingering clarinet symphony which precedes “The heart bow’d down,” and most of us have waited with our hearts in our mouths for the last note of that elongated introduction. Last evening the soloist had the theatre all to himself, and there Was nothing to detract one’s attention from the admirable exercises he indulged in, for the Count with the de-pressed heart did not appear until a couple of bars or so before he started his philosophical recital and dreary reflection of which this particular soul-stirring ballad is composed. But outside all this, let it be cheerfully and readily conceded that the performance Was an admirable one – possibly the best that has been given to Leeds within the memory of the present generation. Everybody I sang and acted well, and it will suffice, just to mention names – Mr. William Stephens (Thaddeus), Mr. Isidore Marcil (Count Arnheim), Mr. Alex. Bevan (Devilshoof), Miss Winifred Ludlam (Gipsy Queen), Miss Nora Roy (Budo), and Miss Lizzie Burgess (a charming Arline). Perhaps a special Word of praise should be given to Mr. Frank A. Wood for his really humorous impersonation. of the flowery Florestein. Mr. Walter Van Noorden conducted.” [Leeds Mercury, Issue: 19521, Friday, Oct. 26, 1900] |
| Fri 26th Oct 1900 | Cinq Mars – Julius Walther, Aurelia Revy |
| “GOUNOD’S CINQ MARS – The first performance in England of Gounod’s “Cinq Mars” by the Carl Rosa Company, at the Leeds Grand Theatre to night, forms an event of some Musical interest. The opera was written to oblige Carvalho on the latter’s accession to the post of director of the Opera Comique. It was finished within twenty-six days, and signs Of haste are more or less evident in the music. The opera, which was originally in four acts, is founded upon Alfred de Vigny’s romance of the same name, as adapted by Paul Poirson and Louis Gallet. it opens with a brief introduction embodying a funeral march that is afterwards employed more or less significantly. The curtain rises upon the chateau of the mother of Cinq-Mars. Among the visitors at the chateau is De Thou, the intimate friend of Cinq-Mars, who taxes the latter with being in love with the Princess Marie. Cinq-Mars admits the impeachment, and laments the fate that separates him from his idol. A book is opened at random, and the friends chance to read what amounts to a prophecy of their fate. The act closes with a love scene between Cinq-Mars and the Princess. The second act introduces the Court of Louis XIII. The King favours the marriage of Cinq-Mars and the Princess, but the great and wily Cardinal of the time has other designs, and intends the Princess to marry the King of Poland. There is a Watteau-like masque in this act, with accompanying music, that is full of quaint and old-time grace. Subsequently the question of a conspiracy arises. and Cinq-Mars joins the plotters. There is a betrothal scene in the third act, with the opening funeral march casting a sinister shadow upon it. Another shadow is thrown upon it by Father Joseph, the villain of the story, who shortly confides to the heroine that he has discovered Cinq-Mars is a traitor, and that nothing but her renunciation of him can save the rebel. Catastrophe arrives with the last act, wherein Cinq-Mars and his friend De Thou fall under sentence of death. The Princess Marie seeks to deliver the friends, but it is too late, the block awaits them, and the curtain falls as the prisoners are led away. “Cinq-Mars” is not one of Gounod’s finest operas, but it assuredly contains much to justify occasional hearing.” [Leeds Mercury, Issue: 19521, Friday, Oct. 26, 1900] |
| “GRAND THEATRE – Managing Director, Mr John Hart stage and General Manager, Mr Fred. Vincent – The Carl Rosa opera company opened on Monday with Tannhauser. In the title role, Mr Julius Walther, a newcomer, who has a fine presence and possesses an admirable voice, sang with effect. Another newcomer, Miss Aurelia Revy as the Elizabeth, made a good impression, acting with genuine feeling. Miss Lizzie Burgess sang the part of Venus efficiently. Mr. Deane’s Wolfram was excellent; he has a baritone voice of pleasant quality. Mr. Bevan was a dignified Landgrave. Messrs Wood, Chapman, Felton, and Marcil were capable representatives of the other minstrels, and Miss Barker was good as the shepherd boy. The chorus sang well, and the ensembles of the second act were particularly well done. The orchestra, under Mr Eugene Goossens very capable conductorship, worked hard. On Friday, Gounod’s romantic opera Cinq Mars was performed for the first time in England with Mr Julius Walther as Henry D’Effiat and Mdlle. Aurelia Revy as Princess Marie.” [The Era, Issue: 3240, Saturday, Oct. 27, 1900] |
| Sat 27th Oct 1900 (m) | A Basso Porto |
| Sat 27th Oct 1900 (e) | Faust |
| “THE CARL ROSA OPERA COMPANY – SPINELLI’S NEW YORK – “A Basso Porto,” or, as the English version is called, “At the Harbour Side,” was produced for the first time in Leeds at a matinee performance by the Carl Rosa Company at the Grand Theatre on Saturday. The new opera, about which so much has been heard, and which was said to resemble in many respects the familiar “Cavalleria Rusticana,” was accorded a very encouraging reception by a house that was by no means crowded, nor, for the matter of that, inclined, perhaps, to be in too critical a mood. Spinelli is a, young man, and a disciple of what is known now as the Young Italian School, and for that reason he has a good deal to learn. He has an excellent advertisement to favour him, at any rate, for had it not been for Mascagni, Spinelli would have occupied the envied Position in that admirable operatic composing competition which resulted in “Cavalleria” being thrust upon the notice of a delighted Europe. But we are not for the moment concerned with what Spinelli did, except in relation to the three-act opera, “A Basso Porto.” One of the principal charms of Mascagni’s masterpiece is its concentration, and the story of Spinelli’s opera, which is also one of jealousy and the stiletto, might well have been confined to the same limits. As it is, “A Basso Porto” has an almost disconcertingly short third act, whilst at least one portion of the middle scene strikes one as altogether too unnecessarily drawn out to an extent, in fact, that unfortunately spoils what effect the main idea of this particular incident might have had. To be candid, it must be confessed that, despite some obvious merits, “A Basso Porto” is rather dull. Concentration would probably have prevented such an impression being formed. As it is, the opera is too short for an evening performance, and just too long to constitute the half of a double bill. It does very well for a matinee, however. What strikes one most about it is that the composer has entirely subjugated his vocal effects, such as they are, to his orchestral exercises. One could very well sit and listen to the score of “A Basso Porto,” played by a competent band, and without hearing a note of the vocal music, without feeling unduly bored. The instrumental share in the opera is, in fact, its chiefest claim to one’s attention. The scene itself is not in any sense daringly original. It is thoroughly consistent with the ideas that seem to imbue the majority of the known composers of Spinelli’s type, country, and age. But there can hardly be said to be any strongly marked characteristics about Spinelli’s music, such as distinguishes the work of Mascagni, Perosi, or Leoncavallo. The promise of the overture is not duly fulfilled in all that follows it. The overture is a neat piece of writing, effective and attractive, yet leaving no sensations that would be worth the trouble to analyse in the minds of those who listened to it. There is, of course. an intermezzo, only it is not called by that name. It passes as the instrumental prelude of the third act, and it is, if anything, rather better and gives evidence of more definite ideas than the original overture. The colouring in the orchestration of the opera itself is laid on generously. Two things Spinelli is obviously in love with – the employment of brass, often in the most unexpected places, and the use of the twelve-eight tempo in the more earnest and passionate passages. An Italian composer who had not the gift of melody would be a singular phenomenon indeed, and Spineili is very happy in his inspirations here – notably at the close of the first act and in the song sung by the hero in the inn at the beginning of the second. A curious feature is the introduction of a chorus that really looks as if it had been dragged in for no other reason than that a three-act grand opera without one would scarcely have been “the thing.” As a matter of fact, the work the chorus are called upon to perform is almost infinitesimal, but the little choral writing included in the score is good. Spinelli has not made the best use of his opportunity in the despairing solo of the principal female character at the finish, but it is easy to imagine what the composer sought to attain. The first act is decidedly the best of the three from every point Of view, though there is some very good m music in the long-drawn-out scene between mother and daughter in the inn scene. To recite the story of “A Basso Porto” would serve no useful purpose – it is simply a case of jealousy, and the Italian accompaniment – murder. It has a jerky finish, which it just manages to prove, up to a certain point, dramatic. Before leaving the music it may be said that the employment of the mandoline in the prelude to the third act is rather happy, and no little praise is due to the young lady who played this instrument on Saturday afternoon in so effective a fashion. Miss Winifred Ludlam, as the maternal Maria, carried off the honours of the performance, and sang and acted with considerable vigour and effect. Mdlle. Aurelia Revy was content with a small part as the daughter, Sesella, but, of course, did that little well, and Mr. William Stephens was entirely satisfying as her brother, Luigino. The Cicillo of Mr. Arthur Deane was another capital performance by this versatile artist, to whom little seems to come amiss. Mr. Isidore Marcil and Mr. Frank A Wood also figured in the cast. The work, of the band, conducted by Mr. Eugene Goossens, was excellent, though not uniformly so, the trombones now and then appearing to flounder in difficulties that, to put it mildly, hardly added to the dramatic effect of the whole. – GOUNOD’S “FAUST” – Curiously enough, “Faust,” in the evening, was perhaps the least satisfactory performance of the whole week. So much was expected that possibly, after an arduous and most highly creditable week’s work, the company were nor found in their best form. Moreover, the average opera-goer has seen so many performances of “Faust ” that the spirit of comparison is all the harder to resist. There was a tremendous house – money was everywhere refused, and how many had to be content with wishing they had been enabled to get even standing room one has no means of estimating. It must not be supposed for one moment that the performance was either a bad or even an indifferent one. It merely did not reach that high artistic standard which the company attained in “Tannhauser” on Monday, “Lohengrin” on Wednesday, and “Cinq Mars” on Friday. The chief disappointment was in the Faust of Mr. Julius Walther. But it would be most unfair to set too much importance upon the shortcomings of Mr. Walther on Saturday night after his magnificent work during the rest of the week – Most-operatic tenors of his type – and there are sadly too few – would have been in no mood at all to undertake the exacting work that Faust demands from the artist. Mr. Walther seemed tired, and not himself, but he sang the “Salve dimora” excellently, and rose admirably to the occasion in that last grand trio. The great success of the evening was the Margharita of Mdlle. Aurelia Revy, whose singing was, if anything. better than ever. This was especially the case in the Jewel Song and at the dramatic close, though both she and Mr. Walther made much of the beautiful love music in the garden scene. Mdlle. Revy is to be congratulated on making her Margharita a more natural girl in the earlier-stages of the opera than the majority of modern singers on the operatic stage do. She does not crawl when she first meets Faust; she walks as if she had an object at the end of her journey, and was not promenading as a sort of depressed invalid. The house was delighted with her, and had good reason for its enthusiasm. The Mephistopheles of Mr. Alex. Bevan was another very clever performance; his singing is invariably a pleasure to listen to, and the other characters were al satisfactorily assumed. They were Miss Marie Burnett (Siebel), Mr. Haigh Jackson (Valentine), Mr. Albert Chapman (Wagner), and Miss D. Wilson (Martha). The chorus did moderately well, and the soldiers’ scene met with what it is the proper form to term the inevitable encore. On the work of the band, under Mr. Eugene Goossens’s energetic direction, only praise can be bestowed. Taken altogether, the season of opera at the Grand Theatre last week was a splendid achievement – certainly the bast work accomplished by the Carl Rosa Company in Leeds for many years.” [Leeds Mercury, Issue: 19523, Monday, Oct. 29, 1900] |
