| 1902 – 1903 Season |
| 1st – 6th Sep [1 week] Birmingham, Prince of Wales Theatre | |
| “The Carl Rosa troupe will start their new tour at Birmingham, and later they will go to the London suburbs. At the outset the company will depend upon the stock operas, but a revival with new scenery and dresses of Mozart’s “Figaro” is in contemplation. “Tristan” and “Cinq Mars” will be given in English in the course of the tour. The company will include Mesdames Lucille Hill, Burgess, Ludlam, Seiter (a new singer from Riga), and Coomber: Messrs Hedmondt, Cunningham, Edward Davies (a new Welsh tenor), Ludwig, Deane, Bevan, and others with, as conductors, Messrs E. Goossens and Walter van Noorden.” [Western Daily Press, Volume: 89, Issue: 13802, Monday, Sept. 1, 1902] | |
| Mon 1st Sep 1902 | Tannhauser |
| Tue 2nd Sep 1902 | Carmen |
| Wed 3rd Sep 1902 | Il Trovatore |
| Thu 4th Sep 1902 (m) | Tannhauser |
| Thu 4th Sep 1902 (e) | Faust |
| Fri 5th Sep 1902 | Lohengrin |
| Sat 6th Sep 1902 | Cinq Mars |
| 8th – 13th Sep [1 week] Hull, Grand Theatre (??) | |
| as mentioned in Yorkshire Evening Post, Issue 3750, Saturday, Sept. 6, 1902, page 5 |
| 15th – 20th Sep [1 week] Sheffield, Lyceum Theatre | |
| Mon 15th Sep 1902 | Tannhauser |
| “AMUSEMENTS IN SHEFFIELD – CARL ROSA OPERA AT THE LYCEUM – “TANNHAUSER” – The rehabilitate .d Royal Carl Rosa Opera Company, now in the 28th year of its existence, with its host o£ accomplished vocal and instrumental constituents, is once more on a visit to Sheffield, and last night commenced a week’s engagement at the Lyceum Theatre by the performance of Wagner’s famous opera “Tannhauser.” There was a large attendance in all parts o£ the house, and there is small doubt that the doings of the company during the remainder of its stay in this city will have full recognition. The programme for the week offers nothing in the way of novelty, which is to be regretted, seeing that the company’s repertory includes several fine works altogether new to Sheffield. But it provides a variety of time-tested operas which still retain their powers to attract the public: and, seeing that an operatic organisation is not carried on altogether in the interest of the art, blame cannot attach to the management for its respect for the financial side of the business. Novelties, produced at much expense, have rarely proved lucrative in Sheffield. To criticise a performance by the Carl Rosa Opera Company of “Tannhauser” would be only to repeat an oft-told tale. No work in its repertory is better suited to its means, and its production last night may with perfect justice claim a conspicuous place in the annals of the company. The magnificent overture was played with rare intelligence, and its exposition, so true to the meaning of its composer, argued the insight of the conductor, Mr. Goossens. At the close there arose throughout the house a demand for a repetition so spontaneous that the demand might fairly have been complied with. From the beginning it may he said that Mr. Goosens’ reading of the score showed how thoroughly and how sympathetically he had grasped Wagner’s innermost intentions, and many opportunities were taken by the audience of acknowledging his skill. The orchestra throughout was excellent in its treatment of the luminous instrumentation of Wagner, which is continually in evidence in its graphic depiction of human emotions and its strange materialising of the supernatural beings who dwell in the mystic Venusberg. Praise, and hearty praise too, should also be given to the chorus for their part in the sustenance of the performance of a drama which is crowded with difficulties in the way of execution, which they accomplished in a manner worthy of the high reputation which, owing to the quality of voice and intelligence of expression, they deservedly hold. The vocal principals were:— Miss Lucile Hill (Elizabeth), Miss Winifred Ludlam (Venus), Mr. Alex Bevan (The Landgrave), Mr. Arthur Deane (Wolftam), Mr Edward Davies (Walther), Mr. A. Chapman (Biterolf), Mr. A. Felton (Heinrich), Mr. Charles Hampden (Reinmar), Miss Annie Walker (Shepherd boy), and Mr. E. C. Hedmondt (Tannhauser). Mr Hedmondt did full justice to the trying role, and, often as he has taken the part in Sheffield, he never perhaps exerted himself with more effect and purpose. It was. in short, a supremely poetical realisation of a character which Wagner obviously designed as symbolising human frailties and the divinity of that assistance which alone can raise the fallen. Miss Lucile Hill’s Elizabeth was also highly successful. The admiration, worship, and pity it is her wont to evoke for the character were all present in a marked degree. The apostrophe to the “Charmed Hall of song was grandly sung, and her rendering of “Elizabeth’s Prayer” was full of pathos. Mr. Arthur Deane got at the heart of Wolfram, whose generous, lofty, and protective nature he illustrated with becoming refinement Mr. Alex. Bevan’s was a dignified and musical presentation of The Landgrave. Mr. Edward Davies, Mr. Chapman. Mr. Felton, Mr. Hampden, and Miss Annie Walker also attested their artistic value. Miss Winifred Ludlam’s familiarity with the Venus music was all to her advantage. The scene in the first act between Venus and Tannhauser was one of superb dramatic intensity, and as a vocal effort was singularly fine. In short, the performance was a triumph. To-night “Maritana” will be given.” [Sheffield Evening Telegraph, Issue: 4756, Tuesday, Sept. 16, 1902] | |
| Tues 16th Sep 1902 | Maritana |
| “The second night of the sojourn in Sheffield of the Royal Carl Rosa Opera Company was marked by the attendance at the Lyceum Theatre of a large and interested house and an excellent performance of Vincent Wallace’s evergreen opera “Maritana.” Miss Lizzie Burgess filled to admiration the role of the aspiring Gitana: her appearance and manner were alike captivating. and the music of the part well suited her flexible and cultured voice. Several of her vocal efforts met with deserved recognition, and in more than one instance significant applause was won. She was particularly successful in her singing of the legend with its effective choral refrain, and the ballad ” Scenes that ae brightest,” and her share of the concerted music was accomplished with telling effect. The Lazarillo of Miss Huntingdon was excellent, and, small though the part may be, it became important by reason of the care which the artiste bestowed upon its presentation. Her singing of “Alas! those chimes” was extremely effective. Mr. Robert Cunningham appeared as Don Caesar de Bazan, and made a decided success of the martial air “Let me like a soldier fall” declaiming it with an astonishing amount of vigour and grandeur of voice. Such a display was irresistible, and a repetition of the song became inevitable. In the familiar ballads that occur later in the opera all the sweeter qualities of his voice, and his artistic style were displayed to the often-expressed delight of his listeners. The part of Don Jose was taken by Mr. Haigh Jackson, whose rendering of “In Happy Moments” was encored: and as the King of Spain, Mr. Albert Chapman did well. Credit must be given to both chorus and band: to the former for its brightness and tunefulness and effective ensembles. and to the band for careful and painstaking work under the baton of Mr. Walter Van Noorden. To-night Mozart’s opera, “The Marriage of Figaro.” will be given, with Miss Lucile Hill. Miss Lilian Coomber. and Miss Lizzie Burgess in the cast.” [Sheffield Evening Telegraph, Issue: 4757, Wednesday, Sept. 17, 1902] | |
| Wed 17th Sep 1902 | The Marriage of Figaro |
| “A long period has elapsed since Mozart’s opera, “The Marriage of Figaro” was last performed in Sheffield, and the management of the Carl Rosa company is to be thanked for including it in this week’s programme, as well as for its very efficient rendition at the Lyceum Theatre last night, under the conductorship of Mr Walter Van Noorden. There was a large attendance in all parts of the house, except the grand circle. Mozart’s great work (his greatest after “Don Giovanni”) is in every sense of the word a musicians’ opera. It abounds in examples of every class of vocal music, from the solo to the septette, all perfect gems that sparkle and scintillate in endless and never-tiring variety. From the overture (the fine playing of which testified to the efficiency of the orchestra) to the grand finale of the opera the whole work is rife with harmonies, both vocal and instrumental, of the most exquisite character, and holds the listener enthralled from first to last. The music never cloys. Miss Lucile Hill took the part of the Countess Almaviva and was cordially welcomed on her appearance at the beginning of the second act. She realised the character to perfection, and her vocal efforts were of that high artistic order which has won the lady so much renown. Her singing of the aria “Vanished are ye, bright hours,” in the third act will be remembered. Cherubino was entrusted to Miss Lilian Coomber. and her personation of the difficult but grateful part was one of undoubted merit. It proved her ability as an actress, and furnished ample evidence of her vocalistic skill. Her singing throughout, and especially of the well-known cavatina. “Ye, who love power well know” (which was re-demanded), was remarkably effective. Miss Lizzie Burgess. as Susanna, sang and acted with good taste. and entered completely into the vivacity of her part, her effective voice adding materially to the success of the concerted numbers of the opera. Mr. Arthur Deane whose appearance in the familiar costume of Figaro was warmly greeted, did much that would tend to enhance his enviable operatic reputation by his personation of the titular character. To say nothing of his sprightly acting, his careful and artistic singing was worthy of all praise Mr. Haigh Jackson was a capital Count Almaviva, and he sang the air. “Shall I while vainly sighing.” excellently well. The remainder of the cast was in the capable hands of Mr. Alex. Bevan (Dr Bartolo). Mr Albert Felton (Basilio), Mr. Robert Chapman (Antonio) and Miss Douglas Wilson (Marcellina). Balfe’s “Bohemian Girl” will be performed this evening.” [Sheffield Evening Telegraph, Issue: 4758, Thursday, Sept. 18, 1902] | |
| Thu 18th Sep 1902 | The Bohemian Girl |
| “Last night – the fourth of the visit to Sheffield of the Royal Carl Rosa Opera Company — a performance was given in the Lyceum Theatre of “The Bohemian Girl.” cast in a liberal manner, as will be inferred when it is said that Miss Lizzie Burgess, Miss Winifred Ludlam, Mr. Edward Davies, and Mr. Haigh Jackson were included. There was, of course, a full house. It will be considered scarcely necessary to offer lengthy observations upon a performance of Balfe’s favourite opera with the principals that hare been named, with whom Messrs. Albert Felton and Albert Chapman collaborated. The overture, constructed largely of material subsequently heard in the body of the work, was interesting, if only for its simplicity and vivacity. Indeed, a hearing of this picturesque and melodious ballad opera is valuable, inasmuch as it brings to mind the extensions and developments which have been made in opera during the last forty or fifty years. Miss Lizzie Burgess made a charming Arline both in appearance and manner, and dressed with much taste. Notwithstanding the strain upon her on two evenings previously, no diminution was apparent in the volume of tone or resources of this painstaking artiste. She roused the warmest plaudits of a delighted house by a rendering of “I dreamt I dwelt in marble halls” full of tenderness and vocal charm. She and Mr. Edward Davies (Thaddeus) sang the chain of duets in the second act with much effect, and in the last act Miss Burgess displayed much dramatic force. Mr Edward Davies, the new Welsh tenor, proved himself to be a valuable acquisition to the company. He was everywhere efficient, not only as an actor, but as a vocalist, and gave an energetic and forceful reading of the part of Thaddeus. In the ballads. “When other lips” and “The fair land of Poland,” his efforts were rewarded with decisive demands for repetitions. Miss Winifred Ludlam was an ideal Gipsy Queen, and gave a beautiful rendering of the song. “Love smiles to deceive,” which did not fail to win its accustomed tribute, and the artiste was even more successful in the encore. Count Arnheim was capitally represented by Mr. Haigh Jackson, whose fine baritone was advantageously heard in his singing of “A Soldier’s Life” and “The heart bowed down.” Mr. Albert Chapman as Devilshoof, and Mr. Albert Felton as Florestein, did justice to their respective parts. The chorus again displayed those qualities of brightness and proficiency that have marked their work during previous evenings. The band is entitled to praise, for they played quite up to their usual standard under the conductorship of Mr Walter “Van Noorden. The excellent playing of the clarinet solo prefacing the Count’s famous song should not be forgotten. Gounod’s “Faust” will be performed this evening.” [Sheffield Evening Telegraph, Issue: 4759, Friday, Sept. 19, 1902] | |
| Fri 19th Sep 1902 | Faust |
| Sat 20th Sep 1902 (m) | Carmen |
| Sat 20th Sep 1902 (e) | Il Trovatore |
“Writing to the “Stage” to-day regarding the condition of opera in England, Mr Walter Van Noorden, the conductor of the Carl Rosa Opera Company, makes the following interesting remarks:— “It is impossible to give an artistic week’s performance under £500. With the exception of about eight big towns, it is not possible to find theatres where sufficient money can be taken to pay these expenses, plus and share of the local management, and leave a profit, even a trifling one. Cheap prices have now been introduced. This is a perfectly legitimate business move if it can be made to pay, but it is a serious factor in the engaging of a company, we are naturally desirous of having a first-rate company — first-rate in the ‘rank and file,’ not only in the stars; and if a man is an artistic violinist or chorister he knows his value, and charges accordingly. You cannot get a good orchestra under £4 a man. I challenge anyone to find instrumentalists capable of playing “Tannhauser” or “Tristan” at £2 5s or £2 10s a week. It would not be fair or reasonable to expect it. Turning now to the artistic side of the matter, and particularly the production of novelties, it is generally admitted the Carl Rosa did a great deal in this way. Look at the following list of composers whose operas have been produced by this company:— Goring Thomas, Cowen, Stanford, McCunn, Mackenzie, Massenet, Puccini, Godard, Humperdinck, Goldmark, Spinelli, Appolini, and Gounod. This is only a short list compiled from memory, but it ls a melancholy fact that the novelty is generally the worst house in the week. We have played “Tristan” and ‘Maritana’ in the same week, and “Maritana” was £50 more than “Tristan. Do it not make us grieve? You perceive, then, the terrible obstacles there are in the way of English Opera becoming a great and lasting institution on the same game plan as the German houses.” [Hull Daily Mail, Issue: 5279, Friday, Sept. 19, 1902]
22nd Sep – 4th Oct ???
| 6th – 11th Oct [1 week] Leeds, Grand Theatre | |
| Mon 6th Oct 1902 | Tannhauser |
| “The performance of “Tannhauser” by the Carl Rosa Company at the Leeds Grand Theatre last night served to introduce a new Tannhauser to the Leeds public. This was Mr. Robert Cunningham, who, though an old member of the Carl Rosa, had not been heard in the title-role in Wagner’s great work. On the last two occasions when the company visited Leeds the part was undertaken by Mr. Julius Walther. The new Tannhauser is gifted with a natural tenor voice of good quality. The general effect of his singing, however, is somewhat marred by a lack of real dramatic power. Mr. Cunningham’s action is rather stilted, and particularly is this so in the more passionate passages of Wagner’s music. Though he was seen at his best when reciting the account of his pilgrimage to and from Rome to obtain absolution, he scarcely realised the emotional quality of the narrative. Regarded as a whole, however, his performance was very good indeed. The part is not an easy one to play — there are few characters in opera more exacting, in fact — and Mr. Cunningham sang to the end without showing signs of fatigue; his intonation and enunciation were admirable throughout, and the reception extended to him at the close was right well deserved. Of Miss Lucile Hill’s representation of Elizabeth, it is hardly necessary to speak. She was in brilliant voice, and her enunciation was, as it ever is, without flaw. The only fault that could be found with the Wolfram of Mr Arthur Deane was that at times his intonation was not altogether above suspicion; otherwise he acquitted himself with distinction, and sang the scena, “O, star of eve,” with true pathos and feeling. Miss Winifred Ludlam gave a sufficiently dramatic interpretation of the character of Venus without overdoing it. As the Landgrave, Mr. A. Bevan sang and played splendidly. The invisible chorus in the opening scene was less successful than usual, and the effect was further spoiled by the noise of falling scenery. This shortcoming was more than atoned for, however, in the hall of song, where a particularly fine rendering of the popular march was heard. The fine overture was so admirably played through that Mr. Eugene Goossens, the conductor, had to bow his acknowledgments to the repeated demands of the audience. To-night: ” Maritana.” [Yorkshire Evening Post, Issue: 3776, Tuesday, Oct. 7, 1902] | |
| Tue 7th Oct 1902 | Maritana |
| Wed 8th Oct 1902 | The Bohemian Girl |
| Thu 9th Oct 1902 | (originally advertised as Tristan and Isolda (First time in Leeds) but: “Miss Lucile Hill Indisposed.—The announcement is made to-day that, in consequence of the indisposition of Miss Lucile Hill, the projected performance of Wagner’s “Tristan and Isolde,” by the Carl Rosa Opera Company, at the Leeds Grand Theatre, to-night, has had to be abandoned. Instead “Lohengrin” will be presented, with Mr. E. C. Hedmondt in the title role. Miss Hill is stated to be suffering from bronchitis and pleurisy.” [Yorkshire Evening Post, Issue: 3778, Thursday, Oct. 9, 1902] / Lohengrin – |
| Fri 10th Oct 1902 | The Marriage of Figaro |
| “The Carl Rosa Opera Company, after an interval of many years, have revived Mozart’s “The Marriage of Figaro,” and last night io was produced in the Grand Theatre, Leeds, to the delight of a crowded audience. It is not the original “Marriage de Figaro”; even in Mozart’s day Beaumarchais’s plot was too riske to permit of anything but an adaptation for a composer whose genius would make it world-known. But enough of sprightly intrigue is retained to suggest much that is omitted, and Mozart’s music refines all the essentials of opera-bouffe. Mr. Ludwig amply filled the part of the scheming Count, and was in perfect voice; Miss Lizzie Burgess was a bright and natural Susannah; Mr. Arthur Deane interpreted Figaro with much force, but lacked ease; Miss Lilian Coomber was a delightfully playful Cherubino; and last but not least Miss Winifred Ludlam, as the Countess, sang with rare purity, and was several times recalled. “Carmen” was chosen for to-day’s matinee, and to-night the week’s engagement closes with Gounod’s “Faust.” [Yorkshire Evening Post, Issue: 3780, Saturday, Oct. 11, 1902] | |
| Sat 11th Oct 1902 (m) | Carmen |
| Sat 11th Oct 1902 (e) | Faust |
| “…The efficiency displayed by the Carl Rosa Company at the Leeds Grand, this week, must be attributed in a huge measure to the energetic managership of Mr. T. H. Friend. It is not so very long since that the famous organisation was threatened with extinction. The fortunes of the company were at a very low ebb, indeed when Mr. Friend came to the rescue, but he has worked a transformation. The company is once more on a sound business footing, and grand opera is being made to pay. There have been one or two notable changes in the cast since the Carl Rosa Company was last in Leeds. Mr. Julius Walther, who was here last year, has gone back to Germany. There was, it may be recollected, some talk of him floating an opera company of his own in England but this project fell through. Mr. E. C. Hedmondt still retains his connection with the company. Another old and familiar figure is Mr. Ludwig, who has been associated with the company for something like 29 years. One of the latest acquisitions is Fraulein Toni Seiter, who has signed a three years’ contract. Miss Seiter has been on tour in this country for about six weeks. At to-day’s matinee performance she played the part of Carmen in Bizet’s popular opera. The company have also a very promising artist in Mr. Edward Davies a young Welshman, who is only 21 years old. He Was discovered at Cardiff about a year ago. Though so young, Mr. Davies has a tenor voice of splendid quality and wonderful timbre. It reminds one strongly of Mr. Walther’s, so strongly, indeed, that even Mr. Friend, hearing him at a rehearsal a short time back, left his office to ascertain what Mr. Walther was doing there. Miss Lilian Coomber, as already mentioned in “The Evening Post,” has a really charming soprano voice, and her Elsa in “Lohengrin” stands out as one of the features of the week. “The Marriage of Figaro,” which was played to a big house last night, has not been heard in Leeds for something like 14 or 15 years. It is full of tuneful melody, and the pity is that it is not more often produced. Overheard in the dress circle, at the Leeds Grand Theatre at the performance of “Tannhauser,” on Monday evening: (1st critic:) I say, I can’t stand this thing at all. (2nd critic:) No, it is very heavy, isn’t it? I prefer “Lohengrin;” it is much more catchy!” [Yorkshire Evening Post, Issue: 3780, Saturday, Oct. 11, 1902] |
“…We may add that during the approaching visit of the Royal Carl Rosa Company “Tristan and Isolda* will be performed for the first time in Bristol. This announcement will be received with pleasure by lovers of music in Bristol.” [Western Daily Press, Volume: 89, Issue: 13835, Thursday, Oct. 9, 1902]
| 21st Oct [5 nights and one matinee] Manchester, Queen’s Theatre | |
| Tue 21st Oct 1902 | Carmen – Fraulein Toni Seiter, Miss Lilian Coomber, Mr. E. C. Hedmondt |
| “”CARMEN” AT THE QUEEN’S AN OPERATIC STAR FROM RIGA IN THE TITLE-ROLE – Yesterday the Carl Rosa Company submitted their ever-popular “Carmen” to their patrons Frl. Tony or Toni Seiter (both spellings are given) essayed the difficult part of the heroine, and inevitably challenged comparison with several famous •impersonators of that character. Apart from a slight accent which makes her claim to be a “gitana” somewhat amusing, she lacks at present more than one of the essentials of the part, though she was very properly successful in obtaining recognition of her efforts on many occasions. Mr. Hedmondt as Don Jose showed that he is still to be reckoned with as one of the lights of the operatic stage, and he was well supported by the rest of the company. Mr. Arthur Deane’s Escamillo has many good points, and Micaela was committed to the safe hands of Miss Lilian Coomber. The other principals were Misses Nora Roy and Annie Walker (Mercedes and Frasquita), Mr. Gilbert Davies (Dancairo), Mr. Newman (Remendado), Mr. C. Hampden (Zuniga), Mr. A. Felton (Lilas Pastia), and Mr. A. Chapman (Morales). The musical arrangements were satisfactorily looked after by Mr. Walter van Noorden. There was a much better attendance than on Monday evening. To night the opera down for production is “The Bohemian Girl.” [Manchester Courier and Lancashire General Advertiser, Volume: 78, Issue: 14338, Wednesday, Oct. 22, 1902] | |
| Wed 22nd Oct 1902 | The Bohemian Girl |
| Thu 23rd Oct 1902 | Cavalleria Rusticana – Mr. E. C. Hedmondt (Turridu; his original character) / I Pagliacci – Mr. E.C. Hedmondt (Canio), Miss Lizzie Burgess (Nedda) |
| “Mascagni’s one-act opera “Cavalleria Rusticana” and Leoncavallo’s “Pagliacci” were given by the Carl Rosa Opera Company last night. Notwithstanding counter musical attractions in the city, the audience was a large one — the largest there has yet been this week. Comparing the relative musical values of, say, “Faust” and “Cavalleria,” the audiences of Monday and Thursday seem misplaced. Yet “Cavalleria Rusticana” to most people has a charm, a freshness of atmosphere and colour, which “Faust” has not. The Sicilian village scene, with its church, cottage, and inn; the villagers making Easter holiday, church-going yet merry withal, all afford ample scope for really sparkling music, while the love tragedy of Santuzza and Turiddu provides opportunity for heavier, more dramatic music and acting. The opera is essentially Italian, and its alternating spasms of passion and frenzies of despair are treated musically with no unstinting hand. They are apt to shock the more stolid musician; their surface pathos does not convince him; he hears, but does not feel, and so, probably, goes away unsatisfied. But there are few surfaces more fitted for allowing a display of detail and sparkling decoration, both instrumental and vocal, than the. Italian opera. Its skeleton framework must needs be hidden, and what better hiding can there lie than something flimsy, airy, and not too close fitting. The performance was in every way excellent. The orchestra, under Mr. Eugene Goossens, played with attack and precision. The intonation of both wood and strings was good. It seemed rather unfortunate “scoring” that at the last chord of the “Intermezzo” the flutes should be introduced. They were slightly out of tune, and rather spoiled the effect of the beautiful ending. Mr. E. C. Hedmondt as Turiddu was in excellent voice, and infused into his singing great dramatic power. Mr. Haigh Jackson took the part of Alfio. In his song, “Gaily go my horses fleet,” the enunciation was not very distinct, but all his other singing was admirable. Miss Winifred Ludlam’s Santuzza was effective, and showed good vocal ability. Miss Annie Walker and Miss Douglas Wilson were both good in their respective parts. In Pagliacci,” Mr. Arthur Deane’s fine baritone voice was heard to good, advantage in the part of Tonio. Miss Lizzie Burgess, as Nedda, sang and acted with conspicuous ability. “ [Manchester Courier and Lancashire General Advertiser, Volume: 78, Issue: 14340, Friday, Oct. 24, 1902] | |
| Fri 24th Oct 1902 | The Marriage of Figaro – Miss Lucile Hill, Miss Lilian Coomber, Mr. Ludwig, Miss Lizzie Burgess, Mr. Arthur Deane |
| “The Carl Rosa Opera Company have been at the Queen’s Theatre this week. They have appeared in several favourite works, the performance of which has given great satisfaction. I fear however, that the attendance has not been as numerous as the merits of the operas produced have deserved. “Tannhauser” will be performed at a matinee to-day, and “Faust” to-night.” [Manchester Courier and Lancashire General Advertiser, Volume: 78, Issue: 14341, Saturday, Oct. 25, 1902] | |
| Sat 25th Oct 1902 (m) | Tannhauser – Miss Lucile Hill, Miss Ludlam, Messrs. Robert Cunningham, Arthur Deane, Alex Bevan |
| “QUEEN’S THEATRE – THE CARL ROSA COMPANY IN “TANNHAUSER” – After an inauspicious beginning, the Carl Rosa Company during the latter part of the week secured the reward which was their due in fuller houses and a wider recognition of their merits than at first seemed probable. With one exception, they have not gone out of the beaten track, though in times gone by, “Figaro” was as much a part of the ordinary repertoire as “II Trovatore” or “Robert le Diable.” On Saturday afternoon the only Wagnerian opera of the week was performed, and here Miss Lucile Hill showed to great advantage as Elizabeth. Mme. Ella Russell was by common consent admitted to be the chief exponent of this part, but she has no long a monopoly it, Miss Hill’s rendering being refined and realistic and her singing full of charm. The parts of Venus (Miss Winifred Ludlam) and Tannhauser (Mr. Robert Cunnningham), were also in good hands, and Mr. Alex Bevan, as the Landgrave, showed all the dignity which that character demands. As a whole the performance was thoroughly satisfactory, and it was verty proper that Mr. Goossens, the conductor, should be summoned before the curtain at the close to be congratulated along with the rermainder of the company. “Faust” was given in the the evening, before a far larger audience than at the first representation.” [Manchester Courier and Lancashire General Advertiser, Volume: 78, Issue: 14342, Monday, Oct. 27, 1902] | |
| Sat 25th Oct 1902 (e) | Faust – Mr E. C. Hedmondt, Mr Haigh Jackson, Mr. Alex Bevan, Frl. Toni Seiter, Miss Lilian Coomber; c. Mr. Eugene Goossens |
27th Oct – 15th Nov ???
| 17th – ?? Nov [1 week] Bristol, Princes Theatre “The Carl Rosa Grand Opera Company” | |
| “Lovers of opera in Bristol will learn with gratification that Mr J. M. Chute has made an arrangement with the Carl Rosa Company to appear at the Prince’s Theatre next week. In the selection of works there is something to please most tastes, those chosen being “Carmen,” “Tannhauser,” “Maritana,” “Cavalleria Rusticana,” “Pagliacci,” “Tristan and Isolda,” “Marriage of Figaro,” and “Faust.” As Mozart’s comic masterpiece will be given at a matinee on Saturday, Nov. 22nd, there will be seven performances. Artistes of eminence will appear, among others Miss Lucile Hill, Miss Lizzie Burgess, Fraulein Toni Seiter, Miss Winifred Ludlam, Mr Robert Cunningham, and Mr E. C. Hedmondt.” [Western Daily Press, Monday, Volume: 89, Issue: 13862, Nov. 10, 1902] | |
| Mon 17th Nov 1902 | Carmen |
| “The annual visit of the famous Royal Carl Rosa Opera Company to the Prince’s Theatre is always eagerly looked forward to, and the programme arranged for this week includes a list of operas which should ensure a successful engagement. Bizet’s romantic opera, “Carmen,” was performed last night, and the large audience showed their appreciation of the delightful music, effective acting, and the attractive setting by their frequent and hearty applause. A good many Carmens have been met with at the Prince’s since the first time Bizet’s popular piece was presented here, and last evening the audience had the opportunity of seeing a fresh exponent of the title role. The Carmen last evening was Fraulein Tony Seiter (from the Opera House, Riga), whose rendering of the part was an exceedingly effective one. She has evidently carefully studied the character, and she not only looks the part, but her acting portrayed to the life the bold impetuous, fascinating Spanish gipsy to whose wiles Don Jose succumbs. She sings nicely, and employs her voice with finished effect. The Don Jose of Mr. E. C. Hedmondt was a very fine performance, and one of his best efforts, perhaps, was given in the tavern scene, when he realises that his love for Carmen means his ruin. He sings also as well as he acts, and his clear tenor tones were heard to advantage in the music allotted to the part. Miss Lizzie Burgess sang with taste and expression as the peasant girl, Michaela, and Mr Arthur Deane was a dashing Escamillo, his rendering of the “Toreador” song gaining a well-merited encore. The comedy element was in good hands with Mr. Gilbert Davies and Mr. Newman as Dancairo and Remendado. The other characters were well filled by members of the company. The choruses are as usual most effectively rendered and the band is augmented by the members of the opera company orchestra. This evening “Tannhauser” is announced, on Wednesday “Maritana,” on Thursday “Cavalleria” and “Pagliacci,” on Friday “Tristan and Isolda” will be performed for the first time in Bristol, on Saturday evening “Faust” is announced, and at the matinee on Saturday afternoon the “Marriage of Figaro” is promised.” [Western Daily Press Tuesday, Volume: 89, Issue: 13869, Nov. 18, 1902] | |
| Tue 18th Nov 1902 | Tannhauser |
| “Quarter of a century ago, when Wagner’s work was ridiculed and misunderstood, few would have ventured to predict that at the beginning of the twentieth century “Tannhauser” would be the most popular opera in this country, but, tested by the frequency of performance and the admiration the opera always evokes, such is now the case. It is not merely that the overture is performed almost to satiety by every orchestra and military band, that every amateur soprano thinks it incumbent to sing “Elisabeth’s Prayer,” and every baritone to render “O Star of Eve;” the opera in its entirety can now be regarded as an annual delight for those cities visited by the Carl Rosa Company, and although the charm of novelty has long been lost, and the cast differs in every respect from that which rendered the first, and, perhaps, the most impressive, performance by the company in this city, there was a very large audience at the Prince’s Theatre to hear and see the opera last evening. And the performance must be deemed one of the best ever given in the city. The defects were few. Occasionally most of the vocalists tired with the strain of the exacting work allotted to them and made a faulty note, and there were moments when we could have wished for a richer tone in the orchestra; but, on the whole, the performance was remarkably well balanced, and it was admirably presented. The stage manager, Mr G. Beale, is entitled to recognition for the excellent way in which the effects were produced, and the chorus singing was altogether excellent. The crescendo and diminuendo passages for the Pilgrims when off the stage were extremely well rendered, and the glorious chorus in the Hall of Song was a fitting sequel to the finely played pageant music. Mr Eugene Goossens has had a long experience in conducting “Tannhauser,” and knows exactly what effects ought to be secured. Miss Lucile Hill gave what we consider to be the best performance she has given here of Elisabeth. She was in very good voice, and sang throughout with perfect expression. Another marked success was that of Mr Robert Cunningham as Tannhauser, a role he has never previously undertaken in this city. His clear and pure tenor voice was able to bear with comparative ease the prolonged strains of a most exacting part, and although other actors have been more dramatic in the final scene. Mr Cunningham presented a careful and consistent study. Miss Winifred Ludlam sang the Venus music brilliantly, and Mr Arthur Deane, as Wolfram, was admirable not only in the famous arias but in his duet with Tannhauser. The other parts were adequately filled, and the Carl Rosa Company have no reason to be ashamed of the standard of representation they are now able to give this magnificent work. It is interesting to learn that so great has been the demand for seats on Friday night, when “Tristan and Isolda” will be produced here for the first time, that extra rows of Fauteuils will be added. To-night there will be the one lapse of the week into ballad opera, and the persons who have the courage t,o admit their love of simple melody will have an opportunity of once more hearing “Maritana.” [Western Daily Press, Volume: 89, Issue: 13870, Wednesday, Nov. 19, 1902] | |
| Wed 19th Nov 1902 | Maritana |
| Thu 20th Nov 1902 | Cavalleria Rusticana / I Pagliacci |
| “THE CARL ROSA WEEK – “CAVALLERIA RUSTICANA” AND “PAGLIACCI” – Last night was not the first occasion on which Maacagni’s “Cavallena Rusticana” and Leoncavallo’s “I Pagliacci” have been partners on a playbill for the same evening at the Prince’s Theatre, nor the first occasion either on which they have been performed here by the Carl Rosa Opera Company. The association is not altogether approved by many critics, for each of the very brief operas deals with the same style of circumstance, so that the effects of both are diminished by the lack of contrast, which, doubtless, would serve to bring out and accentuate the merits and rich colouring of either. None the less, the audience last night, and it was a very large one, showed their unbounded satisfaction, and the intense enthusiasm with which the playing of the charming intermezzo from “Cavalleria Rusticana.” was received made one for the moment forget that that lovely piece of music has for months, if not years past, taken turns with “Dolly Gray,” “Maggie Murphy’s Home,” “Rosie O’Grady,” and other tunes of a kindred character, on many a barrel organ more or less well regulated by a player, usually less than more, Italian. The circumstances of the all-too-short opera are supposed to occur on an Easter morning outside a church, and that gives the villagers an opportunity for beautiful chorus work, whilst the change from the lovers wooing to jealousy and altercation affords some scope for work of light and shade, from gay to grave. Amongst the former mention must be made of Lola’s “O gentle flower of gold,” and of the latter order the more meritorious are Santnzza’s “Love, see, I implore thee,” and Turridu’s farewell to his mother The solo and chorus, ” Rejoice, the Lord, has arisen,” was admirably rendered and aroused the enthusiasm of the audience, which also heartily approved and encored the intermezzo. Bristolians have had opportunities in the past of appreciating Mdlle. Marie Duma and Miss Rita Elaudi as Santnzza, and by comparison with them last night Miss Winifred Ludlam deserves hearty commendation, for her conception of the part left nothing to be desired in the matter of fervour. Mr Robert Cunningham as Turridu — a part so successfully filled by Mr Barton McGuckin — was also vocally happy, and to exceptional advantage was beard in the capital drinking song, “See, the merry wine is winking.” A generous word of praise is also due to Miss Annie Walker’s Lola and Mr Haigh Jackson’s Alfio. The tragic two-act opera by Leoncavallo followed, and it was most favourably received. Miss Lizzie Burgess, the merits of whose charming voice are well known, adequately filled the role of Nedda, and she was particularly happy in the solo, “Ah, ye beautiful song birds,” though she excelled herself in the closing scene, her judicious acting alone competing with her admirable control of voice. The Canio of Mr. E. C. Hedmondt calls for exceptional praise, his pure rich voice being heard to advantage all through, and especially in declaiming the lines at the end of the first act, “On with the motley, the paint, and the powder;” whilst he also put full dramatic force into “I hoped in passion so blessedly confiding” in the second act. Mr. Haigh Jackson made a fervent lover, and his solo, “Why hast thou taught me love?” was received with hearty applause. The prologue was admirably delivered by Mr Arthur Deane, who made an excellent Tonio, and he was generously and deservedly applauded for “I know that you hate me and laugh in derision.” Altogether the performance was as great a success artistically as it was a treat musically. To-night the attraction will be “Tristan and Isolda,” for which there has been an exceptionally heavy booking, and to-morrow’s matinee performance will be “The Marriage of Figaro,” in which three prima donnas will take part, whilst in the evening “Faust” will be staged.” [Western Daily Press, Friday, Volume: 89, Issue: 13872, Nov. 21, 1902] | |
| Fri 21st Nov 1902 | Tristan and Isolda – Mr E. C. Hedmondt (Tristan:), Mr. Alex Bevan (King Mark), Mr. Arthur Deane (Kurvenal), Mr. Albert Chapman (Melot), Mr. Edward Davies (A shepherd), Mr. Newman (A Steersman), Miss Winnifred Ludlam (Brangaena), Miss Lucile Hill (Isolda); c. Mr. Eugene Goossens |
| “Though the advanced works of Richard Wagner can never become popular, if for no other reason than that they make extraordinary demands upon the principal singers, it is good to have them occasionally presented in a city like Bristol, which contains a tolerably numerous body who admire the creations of the Bayreuth master, especially those of his “third period.” Some time ago “Siegfried” was placed upon the stage at the Prince’s Theatre, and last night “Tristan and Isolda” was brought forward by the Carl Rosa Company. The management may be commended for affording local admirers of Wagner an opportunity of witnessing a production in which the hero, noble-minded and the soul of honour, is compelled by a love-potion he drinks unknowingly to forswear himself and act in the basest manner to the man who has placed implicit trust in him. If the opera of “Tristan and Isolda” had not till now been presented on the stage in this city, some ardent worshippers of Wagner nearly ten years ago arranged for a series of five lectures on the work by Mr Carl Armbruster, and they were delivered at All Saints’ Hall. At this time the analysis and illustration of the remarkable production attracted comparatively few persons, though their enthusiasm was sufficient to leaven a large mass. The truth must be told, however. Wagner culture locally is confined chiefly to the earlier compositions of the master. Of course, those who knew anything of the creations of the Bayreuth musician were able to quite appreciate the frequently repeated remark of Mr Armbruster that with a pianoforte it is impossible to give an adequate idea of his intentions; but admitting this, the explanatory discourses and illustrations were sufficiently effective to render those who had the opportunity of witnessing the stage representation to appreciate the production more intelligently than if they had received no previous insight into the opera. Wagner’s more advanced views are strikingly apparent in “Tristan and Isolda.” which was first produced at Munich and later at Darmstadt. The dramatic effect of the work is exceedingly powerful, the plot is skilful and skilfully worked out, and the music is well adapted to illustrate and even interpret the plot. As the composer’s theories are not theories of music so much as of opera, it is impossible to give a correct idea either of the text or the music separately. The two are so fused together in obedience to a philosophical principle, that they must be studied not simply together, but simultaneously. The love tale of Tristan and Isolda is of remote origin, and is to be found in a French romance of the twelfth century, in a German poem by Eilhart von Oberg (1190), besides our own “Morte d’Arthur.” The opening incidents of the story are everywhere the same, and these Wagner has preserved, putting, however, a more poetic and dramatic conclusion than that afforded by the legend. Before the opening of the musical drama there was a “past,” and events had happened which bore upon the personages introduced. Tristan, nephew of Mark, King of Cornwall once fought and killed Morold, an Irish chief, who came over to demand tribute. His head being sent home in scorn to his friends, the Princess Isolda, his betrothed, found in it a splinter of Tristan’s sword. Tristan himself had been so injured in the encounter that he ordered himself to be placed in a boat with all his arms and cast, adrift to perish. The boat chanced to drift to the precise spot on the Irish coast held by his late enemy. He changed his name and was hospitably entertained, his wounds being healed by Isolda, who was clever in the practice of the healing art. One day Isolda’s maid found a notch in the stranger’s sword which corresponded to the splinter in Morold’s head. Tristan was banished from Ireland, though not before he had fallen in love with Isolde, and she had returned his passion. Soon afterwards the hero was sent by his uncle to make peace with the Irish, and to demand the hand of Isolda for Mark, to seal the bond. The offer was accepted, and Tristan brought his beloved to wed with his uncle. Her mother, knowing Isolda’s affections were set upon Tristan, intrusted a love-potion to the hands of her attendant, with instructions to give it to the bride on her wedding day. According to the old story, the heroine took it by mistake during the voyage. With the voyage the drama begins, and a sketch of the incidents in the opera has already appeared in our columns. The characters were thus apportioned: — Tristan: Mr. E. C. Hedmondt, King Mark: Mr Alex Bevan, Kurvenal: Mr Arthur Deane, Chelot: Mr Albert Chapman, A shepherd: Mr Edward Davies, A Steersman: Mr Newman, Brangaena: Miss Winnifred Ludlam, Isolda: Miss Lucile Hill. In the music there is much which seems incomprehensible at a first hearing. Certain portions of the music have been given at orchestral concerts, especially the overture and Isolda’s death song, in which latter there occur reminiscences of the long love duet in the second act. These are the most elaborately treated numbers in the work, though the hand of a master is perceptible throughout. The extraordinary richness of the orchestration, the power with which the climax of each act is led up to and sustained, the splendid treatment of the leading motives — all these are points which will strike every true lover of dramatic music. As to the leading motives there are 65 or 70, a few of which are absolutely important to bear in mind. There is some difficulty in I applying names to the motives. Love is the subject glorified in the drama, and the two figures Tristan and Isolda are so affected by the grand theme that it seems only natural, and some of the phrases show this, that one and the same motive should designate now one thing and now another thing. As the main subject is of a graver kind than any other of the Wagnerian stories, so the points of relief are more frequent. The Sailor’s Song, which without accompaniment of any kind commences the action of the drama; the song sung by Kurvenal, with a choral refrain, in honour of Tristan; the long and weird tune played on the shepherd’s pipe at the beginning of act III — by a contrast between these and the rest of the music, if not by their intrinsic beauty or musical importance, there is imparted a most welcome sense of relief. Miss Lucile Hill proved an extremely competent exponent of the part of Isolda, and she has won the suffrages of the musical public of Bristol by the beauty of her voice and the earnestness which she infuses into all she undertakes. She had gained renown in opera before making her first appearance in this city, but she originally formed the acquaintance of a local audience on the concert platform upon a ladies’ night of the Society of Gleemen in December 1897, while early in the following year she sang for the Great Western Railway employees. Her success in the lyric drama has been most gratifying, and in the trying passages for Isolda she was able to achieve a splendid result. Indeed of her impersonation it is well nigh impossible to speak too highly. It is difficult to know whether to admire most her ringing voice and excellent method, or her intelligence in rendering music exacting in every respect. Throughout all she did rendered her assumption of the part of the heroine worthy of praise. As Tristann Mr. Hedmondt proved admirable from a dramatic point of view, and his vocalisation was very fine in the first act, and in the duet in the second act, where his fluent execution and great declamatory power were calculated to win the approval of the audience. Although there is a grand duet between Isolda and Tristan in the first act, it is excelled by the prolonged duet in the clandestine meeting in the garden between the pair. The purport seems a development of Schopenhauer’s theory of love, which is said to be a somewhat mysterious reconciliation of eternal separation and eternal union. The noble quality of the voices was demonstrated in this Wagnerian illustration of linked sweetness long drawn out. The Brangaena of Miss Winifred Ludlam, a part which is arduous and rather thankless, was rendered with great dramatic power and intelligence. Mr. Alexander Bevan deserves praise for the effective manner in which he delivered King Mark’s music in the second act. The accompaniments were admirably played by an augmented orchestra, some special instruments from London being brought into requisition for this performance. Mr. Eugene Goossens conducted with exemplary judgment, and his efforts were recognised by the audience, who so persistently applauded at the close of the first act that the drop scene had to be repeatedly raised, and at length the principal vocalists appeared on the stage with the conductor. If fixed attention while The curtain was up and the heartiest applause when it was down proved anything, they surely demonstrated that the performance was an unqualified success. It may be added that care had been taken with the stage accessories, so as to present the musical drama attractively, and certainly the verdict of the assembly who thronged the theatre must have been that the presentation reflected the utmost credit upon all concerned.” [Western Daily Press, Volume: 89 , Issue: 13873, Saturday, Nov. 22, 1902] | |
| Sat 22nd Nov 1902 (m) | The Marriage of Figaro – Miss Winifred Ludlam, Miss Lizzie Burgess, Miss Lilian Coomber, Mr. Arthur Deane, Mr. Ludwig, Miss Douglas Wilson, Mr. Chas. Hampden, Mr. A. Felton, Mr. Arthur Chapman, Mr Gilbert Davies; c. Mr .Walter Van Noorden |
| Sat 22nd Nov 1902 (e) | Faust – Miss Lilian Coomber, Fraulein Toni Seiter, Miss Douglas Wilson, Mr. Robert Cunningham, Mr. Alex. Bevan, Mr. Haigh Jackson , Mr Albert Chapman; c.Mr. Eugene Goossens, |
| “Saturday’s programme included a matinee performance of “The Marriage of Figaro,” and why Mozart’s bright and tuneful opera failed to secure a full bouse, it is somewhat difficult to understand, unless the reason be that there have been few opportunities of becoming familiar with the music, which is of a sparkling character, and embraces many operatic gems of unusual beauty. We believe the opera, was produced by Mr Arthur Rousebey some six or seven years ago, but it had not been given by the Carl Boss Company since the early eighties, when Julia Gaylord, Georgina Burns, Marie Rose and Leslie Crony were in the cast. The performance on Saturday, if it did not quite come up to the high standard realised on the occasion referred to, was an excellent one, and the principals were recalled at the close of each act. Miss Winifred Ludlam was the Countess, Miss Lizzie Burgess Susanne, Miss Lilian Coomber Cherubino, Mr. Arthur Deane Figaro, and Mr. Ludwig the Count, and other characters were taken by Miss Douglas Wilson, Mr. Chas. Hampden, Mr. A. Felton, Mr. Arthur Chapman, and Mr Gilbert Davies. Mr Walter Van Noorden conducted the orchestra, which finely interpreted the charming overture, and kept itself in full sympathy with the vocalists throughout. Miss Burgess has rarely been seen or heard to greater advantage than in the role of Susanne, and her rendering of the recitative and air, “Welcome happiest moment,” in the garden scene, was an artistic triumph. The letter duet with the Countess was another very pleasing feature. The Cavatina at the opening of the second act, and the air “Vanished are ye bright hours for ever” in the third act, were tastefully rendered by Miss Ludlam. Mr. Arthur Deane made himself very popular as Figaro, and Mr. Ludwig was an able exponent of the jealous Count, the intrigues against whom by Susanne, the Countess, and Figaro, produce many humorous situations. Praise must also be given to Miss Coomber for her delightful impersonation of Cherubino. The several charming trios and quartets were done full justice to, and the chorus was in good voice, the spirited finale to the first act having to be repeated. In the evening “Faust” was performed before a large and appreciative audience. There was a capable cast, and Gounod’s popular opera, received a pleasing rendering, both vocally and instrumentally. Miss Lilian Coomber, as Marguerite, sang in a charming manner, her Jewel Song being heartily applauded; and Fraulein Toni Seiter and Miss Douglas Wilson gained much favour as Siebel and Martha respectively. The part of Faust was admirably Sung by Mr. Robert Cunningham, whose beautiful voice was heard to considerable effect. Mr. Alex. Bevan did ample justice to Mephistopheles, and Mr. Haigh Jackson (Valentine) and Mr Albert Chapman (Wagner) also deserve much praise. Under Mr. Eugene Goossens, the conductor, the orchestra interpreted the instrumental music in masterly style.” [Western Daily Press, Volume: 89, Issue: 13874, Monday, Nov. 24, 1902] |
24th Nov – 6th Dec ???
“CARL ROSA CO. AND HERR WALTHER – LITIGATION SETTLED – The case of the Carl Rosa Opera Company (Limited) v. Walther, was before Mr. Justice Buckley to-day. The action was brought against Herr Julius Walther, to restrain him from performing without the permission of the plaintiff, at any theatre or public place of entertainment other than the plaintiffs’ during the period of an agreement by which defendant was engaged as principal tenor, at a salary of £45. or in certain events £30 a week, for three seasons, commencing last September. Plaintiffs alleged that the defendant had wrongfully threatened to perform with other companies. The defendant denied. The case was eventually settled.” [Sheffield Evening Telegraph, Issue: 4822, Tuesday, Dec. 2, 1902]
“OPERA COMPANY AND SINGER – Yesterday, in the Chancery Division, the Carl Rosa Opera Company sued Mr Julius Walther, the tenor, for damages for alleged breach of contract. It. appeared that plaintiffs had engaged defendant for a long term at a salary of £45 a week, but a dispute had arisen as to subsidiary conditions. A good deal of evidence had been taken when a suggestion by Mr. Justice Buckley that there should be a friendly consultation was adopted by counsel, with the result that an arrangement was soon arrived at.” [Hull Daily Mail, Wednesday, Issue: 5343, Dec. 3, 1902]
| 8th – 13th Dec [1 week] Nottingham, Theatre Royal | |
| Mon 8th Dec 1902 | Tannhauser |
| “Tannhauser” is usually the Monday night battlhorse of the Carl Rosa Opera Company in Nottingham, so that the performance at the Theatre Royal last evening, when the famous operatic organisation inaugurated their engagement, was quite in accordance with custom. The opening scene of the drama reintroduced to a Nottingham audience Mr. E. C. Hedmondt, the gifted Canadian vocalist, who, as a robust tenor, has had few superiors in recent years. Mr. Hedmondt is eminently fitted for the representation of heroic roles in grand opera, and he retains his exceptional powers in a marked degree. He early gave proof of being in capital voice, delivering Tannhauser’s appeals to Venus with rare power and acting, as he has always done, with the utmost vigour An excellent exponent of the goddess was forthcoming in Miss Winifred Ludlam, who has, in addition to her appearances in grand opera, sung upon the concert platform in Nottingham, if memory serves. A mezzo-soprano of admirable quality, she has improved consistently in recent years, and sang the trying music of Venus with complete success. The scene in the Thuringian Pass was remarkable for the superlative excellence of the male septett, which was magnificently given by Messrs. Hedmondt, Arthur Deane, Alex. Bevan, E. Davies, Albert Chapman, A. Felton, and C. Hampden. Mr. Deane sang the solo with much earnestness, producing a beautiful quality of tone, and his splendid baritone was heard to the greatest advantage. The “Greeting” to the Hall of Song was delivered very finely, and all through the act Miss Hill sang exceedingly well. The strenuous duet with Tannhauser was rendered in a manner which delighted the audience, both the soprano and tenor singing with rousing effect. The Song Tourney was heralded by a creditable display upon the part of the choristers, the famous chorus “Hail, Bright Abode” being given with great brilliancy. In the Tourney itself, everyone of the soloists acquitted themselves well. Mr. Deane’s treatment of “Gazing around upon this fair assembly” was a model of refinement, and Mr. Edward Davies, a young tenor who, if he fulfils his early promise, should gain a prominent position on the operatic stage, created a favourable impression in Walther’s music. Mr. Chapman was responsible for a vigorous interpretation of the passage allotted to Reinmar. and Mr. Hedmondt and Miss Hill closed the act in stirring fashion by their work in the episode following Tannhauser’s mistaken declaration. The curtain had to be raised after each act in response to the applause of the audience, and as the performance was quite up to the Carl Rosa standard the approval manifested was easy to be understood. A concluding word of commendation should be awarded to the stage management. To-night “The Bohemian Girl” is to be played, with Miss Lizzie Burgess, Mr. Robert Cuningham, and Mr. William Ludwig in the chief roles.” [Nottingham Evening Post, Issue: 7577, Tuesday, Dec. 9, 1902] | |
| Tue 9th Dec 1902 | The Bohemian Girl – Lizzie Burgess, Robert Cunningham, Mr. Ludwig |
| Wed 10th Dec 1902 | Cinq Mars – Lucile Hill, Arthur Deane, Julius Walther |
| Thu 11th Dec 1902 | Maritana |
| Fri 12th Dec 1902 | The Marriage of Figaro |
| Sat 13th Dec 1902 (m) | Carmen |
| Sat 13th Dec 1902 (e) | Faust |
15th – 23rd Dec ???
| 26th – 27th Dec [Fri and Sat only] Bradford, St George’s Hall | |
| 26th Dec 1902 | |
| 27th Dec 1902 |
| 5th – 10th Jan [1 week] Huddersfield, Royal Theatre | |
| Mon 5th Jan 1903 | |
| Tue 6th Jan 1903 | |
| Wed 7th Jan 1903 | |
| Thu 8th Jan 1903 | |
| Fri 9th Jan | Cinq Mars |
| Sat 10th Jan 1903 (m) | Lohengrin |
| Sat 10th Jan 1903 (e) |
| 26th Jan – 1 Feb [1 week] Derby, Grand Theatre | |
| “General interest will be felt in the announcement that on Monday next the Royal Carl Rosa Opera Company is to commence a week’s engagement at the Grand. The visits of this famous organisation are always cordially welcomed by the people of Derby, so that it is safe to predict a series of admirable and liberally-patronised performances. In accordance with custom. Mr. Purcell recently invited his patrons to decide for themselves what works should be interpreted, and it may interest our readers to know that the “vote” has resulted as follows:— Monday, “Lohengrin;” Tuesday, “Maritana;” Wednesday, “Bohemian Girl;” Thursday, “Cinq Mars;” Friday, “Cavalleria Rusticana” and “Pagliacci;” Saturday afternoon, “Tannhauser;” Saturday evening, “Faust.” It may be added that the company includes all, or nearly all, the distinguished artists who appeared here last spring with so much success.” [Derby Daily Telegraph, Volume: 48, Issue: 7221, Tuesday, Jan. 20, 1903] | |
| Mon 26th Jan 1903 | Lohengrin – Herr Julius Walther (Lohengrin), Mr. Alex. Bevan (Henry the Fowler), Mr. A. Chapman (The King’s Herald), Mr Haigh Jackson (Frederick of Telramund), Miss Annie Walker, Miss Clare Gordon, Miss Nora Roy, Miss J. Walsh (Four Pages), Miss Winifred Ludlam (Ortrude), Miss Lucile Hill (Elsa of Brabant); c.Mr. Eugene Goossens |
| “The annual visit of the Carl Rosa Opera Company to Derby, which is regarded as one of the chief attractions of the winter season at the Grand Theatre, commenced last night under the most favourable auspices, a crowded house receiving a fine performance of the opera mentioned with the greatest enthusiasm. As we explained on a previous occasion, Mr. Purcell’s patrons were given an opportunity of choosing for themselves what the week’s programme should be, a “friendly vote” having been taken on the subject a week or two ago. It will be seen that as a result of this arrangement a variety of tastes have been consulted. The list of selected works includes several operas by the great German master, two compositions of Charles Gounod, examples of the New Italian School, and two of the most popular of English ballad operas, “Maritana” and “The Bohemian Girl.” Last night’s interpretation of “Lohengrin” presented no new features, but a high level of artistic excellence was maintained throughout. It is to be doubted whether there is a more Attractive feature in Herr Julius Walther’s repertoire than his impersonation of the Knight of the Swan. It may be interesting to remark that his first appearance in Derby was at a morning performance of “Lohengrin.” He sang with his wonted finish and fervour, and acted with remarkable force and feeling. His great scene with Elsa in the third act was powerfully sustained, and called for the most unstinted applause. Again when he discloses his identity preparatory to leaving his wife for ever, his rendering of the exquisite music allotted him was remarkably fine, and deeply impressed the audience. Miss Lucille Hill repeated her beautiful rendering of the sorely tried Elsa of Brabant, singing with rare conscientiousness, and acting as only an experienced and earnest artiste can. One of the strongest, features of the production was the Ortrude of Miss Winifred Ludlam, whose beautiful singing was rendered the more effective by the depth and intensity of her histrionic powers. Mr. Haigh Jackson was, vocally and dramatically speaking, an able Frederick of Telramund. his fine voice being heard to advantage throughout. Mr. Alex. Bevan was a dignified Henry the Fowler, and the part of the King’s Herald was in the capable hands of Mr. A. Chapman, whilst the Misses Annie Walker, Clare Gordon, Nora Roy, and J. Walsh were the four pages. The band, under the skilful and sympathetic conductorship of Mr. Eugene Goossens, interpreted the wonderful orchestration with conspicuous success. The musicians were loudly and deservedly applauded for their performance of the overture and the ever-popular prelude to the third act. The chorus, too, was as capable as could be desired, and the audience showed a keen appreciation of their efforts, especially after their singing of the well-known and , ever-popular “Bridal chorus.” To-night the company will perform Wallace’s ever-popular “Maritana.” [Derby Daily Telegraph, Volume: 48, Issue: 7227, Tuesday, Jan. 27, 1903] | |
| Tue 27th Jan 1903 | Maritana – Mr. Robert Cunningham, Mr. Haigh Jackson, Mr. A. Chapman, Miss Lizzie Burgess, Miss Nora Roy, Mr. Albert Felton, Mr. Innis, Miss Douglas Wilson; c.Mr. Walter Van Noorden |
| “The Carl Rosa Opera Company were greeted with another crowded and enthusiastic audience on Tuesday evening at the Grand Theatre, Derby, when, under the skilful direction of Mr. Walter Van Noorden. Wallace’s charming and ever-popular opera, “Maritana” was submitted with that thoroughness and artistic finish which has gained for the famous organisation such a distinguished place in the musical world. All the well-known and popular numbers, “Alas, those chimes,” “Let me like a soldier fall.” “In happy moments.” and “Scenes that are brightest.” were, together with others, charmingly rendered, and received with unstinted applause, whilst on several occasions the audience were not satisfied until the demand for an encore had been complied with. Mr. Robert Cunningham was the jovial and rollicking Don Caesar, and the musical numbers allotted to him were interpreted with that style and finish which only the accomplished artist is capable of. The role of Den Jose was once again in the capable hands of Mr. Haigh Jackson, and we need hardly add that he acquitted himself with conspicuous success. Mr. A. Chapman made a capital King, and h« was heartily applauded, the duet in the third act by him and Don Caesar being exceptionally well rendered. Maritana was played by Miss Lizzie Burgess, an old favourite with Derby audiences, and she was in excellent voice, and sang the beautiful soprano music which is so characteristic of the opera in a manner which at once charmed the audience and brought forth rapturous applause. Lazarillo was most capably presented by Miss Nora Roy. her rich contralto voice being heard to distinct advantage. The minor parts, the Marquis (Mr. Albert Felton). the Captain of the Guard (Mr. Innis), and the Marchioness (Miss Douglas Wilson), were all well sustained, whilst the full chorus and orchestra left nothing to be desired, and added in no small way to the very successful performance of the opera. To-night (Wednesday) Balfe’s tuneful opera, the “Bohemian Girl.” will be performed.” [Derby Daily Telegraph, Volume: 48, Issue: 7229, Thursday, Jan. 29, 1903] | |
| Wed 28th Jan 1903 | The Bohemian Girl |
| Thu 29th Jan 1903 | Cinq Mars – Herr Julius Walther, Miss Lucille Hill, Mr. Arthur Dean, Mr. Alex. Bevan, Mr. Gilbert Davies, Miss Bertha Cooke, Fraulein Toni Seiter; c.Mr. Walter Van Noorden |
| “The popuilarity of the famous Carl Rosa Opera Company was exemplified in a most remarkable manner again on Thursday evening. when, on the occasion of the production of “Cinq Mars,” the Derby Grand Theatre and Opera House wag crowded by a critical and delighted audience — an audience, moreover, which grew quite enthusiastic at the magnificent interpretation which was given to Gounod’s charming opera “Cinq Mars,” or “The Conspiracy,” was first produced in Derby in January of last year and who have read the well-known novel by Paul de Vigny, from which it is adapted, are aware, the story deals primarily with the life of the Marquis de Cinq Mars who, in addition to being an obstacle in the path of the great Cardinal, wins the love of the Princess Marie, whom the Cardinal has decided must marry the King of Poland. The Marquis bids defiance to the Cardinal and for his part in the conspiracy to overthrow him is condemned to death, the Princess being thwarted at the eleventh hour in her attempt to rescue her lover and his faithful friend, the Comte de Thou. The lovely musical gems with which the piece abounds were admirably rendered, and under the experienced conductorship of Mr. Walter Van Noorden, the opera was given in a manner that could not fail to please the most fastidious and exacting. The cast, so far as the principals are concerned, was practically the same as on the occasion of its first production in Derby, and Herr Julius Walther again undertook the role of Cinq Mars with conspicuous success and ability. His singing, too, was splendid, whether it was in the impassioned scenes with the Princess or in the choice numbers that fell to his lot, and nothing could have been finer than his exquisite rendering of “Image ever dear and living.” Miss Lucille Hill, as was the case last year, was entrusted with the part of the Princess Marie, and made an ideal heroine, her acting and singing alike being faultless. Her chief vocal success was probably in the air “Night pure and resplendent,” but at all she was effective, if not actually brilliant. Mr. Arthur Deane as the Comte de Thou, scored a distinct triumph, and his great song, “On the stream” was vociferously encored that he was compelled to repeat it. Mr. Alex. Bevan was seen to advantage as the fanatical Father Joseph, and he, too, was in fine voice and his rendering of the exultant air, in which he proclaims that he has the plotters in his grasp, was extremely good. Mr. Gilbert Davies made a capital King, Miss Bertha Cooke was very good as Marion, and sang “Sweet shepherds” in most agreeable style, whilst Fraulein Toni Seiter made a charming shepherd boy, and sang “Whilst your beauty” in a manner that gained her hearty applause. The choruses were all rendered with animation, spirit, and precision, but one of the features of the production was the impressive duet between the Marquis de Cinq Mars and the Comte de Thou, “Oh, Saviour, help; our trembling souls sustain.” which they so feelingly interpreted as they went forth to meet their doom just as the Princess enters the prison too late to save them, and the curtain falls. The orchestra played the difficult and beautiful music in admirable style, and at the close the principal artistes and the conductor had to repeatedly bow their acknowledgments. To-night “Cavalleria Rusticana” and ” Pagliacci” will be produced.” [Derby Daily Telegraph, Volume: 48, Issue: 7230, Friday, Jan. 30, 1903] | |
| Fri 30th Jan 1903 | Cavalleria Rusticana – Miss Winifred Ludlam, Mr. Robert Cunningham, Mr. Haigh Jackson, Miss Annie Walker, Miss Douglas Wilson; c. Mr. Eugene Goossens / I Pagliacci – Miss Lilian Coombes, Mr. Hedmondt, Mr. Arthur Deane, Mr. Haigh Jackson, Mr. E. Davies; c. Mr. Eugene Goossens |
| “Both these interesting works had been performed in Derby before last evening, but, unless we are mistaken, by another company. It is, however, safe to say that their strength and charm were never so fully revealed to local audiences as they were by the artists of the Carl Rosa organisation. “Rustic Chivalry” secured world-wide renown for Pietro Mascagni many years ago, and although he has presented a good many more samples of his genius to the public, his fame is still based upon the short piece in question. Curious to relate, Leoncavallo’s experience has been very similar. “Pagliacci” made him known, and in the judgement of the people he has done nothing since of corresponding merit. It is a noteworthy fact, too, that both of these deservedly popular operas deal with love and hate in their most ungovernable forms. In Mascagni’s work, illicit love leads to the abandonment of a trustful girl, and the death of the fickle hero at the hand of the husband whose honour he has assailed. The peace of Canio the strolling player is disturbed by the attentions which a handsome young farmer pays to his wife Nedda. Here, also, an affectionate spouse is converted into an infuriated monster who kills his wife, and “knifes” her paramour under very startling conditions. “Pagliacci” is a play within a plav. Canio whilst strutting his own little stage for the edification of a village audiences imparts a terrible realism to a seme between a jealous husband and a coquettish wife. Both operas were admirably rendered. The exciting incidents depicted in them were presented with undoubted histrionic ability, whilst the music was interpreted with a depth of intensity which deeply stirred the very large audience. The most remarkable feature in the performance of “Cavalleria Rusticana” was Miss Winifred Ludlam’s impersonation of the sorely tried Snntuzza. Often as we have commended this able and conscientious artist, we can recall no effort of hers comparable with the embodiment just mentioned. Her acting was full of power, and her singing unfailingly brilliant. Mr. Robert Cunningham bore himself well as the reckless village libertine, Turridu, and Mr. Haigh Jackson was an excellent Alfio. Miss Annie Walker was effective as the foolish young wife, Lola, and Miss Douglas Wilson gave an acceptable impersonation of Mother Lucia, “Pagliacci” introduced to us Miss Lilian Coombes as Nedda, and her pleasant voice and attractive presence quickly won favour. She sang correctly, and presented a highly creditable dramatic sketch of the frail wife. Mr. Hedmondt’s delineation of the passion-torn Canio was exceedingly powerful, and as much may be said of Mr. Arthur Deane’s impersonation of Tonio, the revengeful clown. Mr. Haigh Jackson, as Silvio, and Mr. E. Davies, as Beppo, completed a cast of exceptional strength. The choral numbers in both works were finely sung and the picturesque orchestration was admirably played under Mr. Eugene Goossens’ direction. “Faust” will be performed this evening.” [Derby Daily Telegraph, Volume: 48, Issue: 7232, Monday, Feb. 2, 1903] | |
| Sat 1st Feb 1903 (m) | Tannhauser |
| Sat 1st Feb 1903 (e) | Faust |
“BRISTOL CHORAL SOCIETY – Particulars of this society’s forthcoming performance of Gounod’s “Faust” are announced in our advertising columns. The principal artistes, Miss Lucile Hill, Mr. Robert Cunningham, Mr. Haigh Jackson, and Mr. Alexander Bevan, from the Carl Rosa Opera Company, will sing their parts in costume; and the Waltz and the Ballet will he danced by Miss Elliott, the eminent dancer of the Carl Rosa Opera Company. For the first time in Great Britain, the “Walpurgis Night” scene will be performed at this concert. The production will be one of great interest to the musical world. The most beautiful dance music ever written is Gounod’s ballet music to “Faust,” and this occurs in the middle of this act, and will be danced by Miss Elliott. The orchestra will be placed in front of the platform, as in a theatre. The performance will be under the conduct of Mr George Riseley. Special excursion trains hare been arranged by the G.W.R. Company from Reading, Newbury, Hungerford, Marlborough, Devizes, Bradford-on-Avon, Limpley Stoke, Bath, Wells, Shepton Mallet, Frome, Clutton, Pensford, Cardiff, Newport and Severn Tunnnel Junction; and by the Midland Railway Company from Birmingham, Cheltenham. Gloucester, Stonehouse, Thornbury and intermediate stations, returning at the close of the performance. The plan of the room may be seen at Messrs Duck, Son, and Pinker’s.” [ Western Daily Press, Volume: 90, Issue: 13932, Thursday, Jan. 22, 1903]
3rd Feb – 7th Mar ???
| ?? – ?? Mar? [2 visits] Worcester [dates and location unclear] | |
| CARL ROSA IN WORCESTER: “…Quite recently, however, we have been favoured with two visits from the Carl Rosa company, and the crowded houses on each occasion proved that Worcester audiences appreciate opera when placed before them in an attractive manner- It must be confessed, however, that public support has not invariably waited upon good performances, as witness the fiasco at the matinee of “Shamus O’Brien” some years ago, when the performers outnumbered the audience, and the performance was abandoned. This is only an isolated instance, and, generally speaking, high-class operatic representations are sure of a hearty welcome.” [Worcestershire Chronicle, Volume: 65, Issue: 3393, Saturday, Mar. 21, 1903] |
| 9th Mar – ??? [2 weeks] Newcastle, Theatre Royal | |
| “Opera in Newcastle — A very great attraction at the Theatre Royal will be the Carl Rosa Opera Company, who will present during the fortnight’s engagement, no fewer than eleven operas including “Lohengrin,” “Trovatore,” “Faust,” “Bohemian Girl,” “Marriage of Figaro,” “Cavalleria Rusticana,” “Pagliacci,” “Maritana,” “Tannhauser,” “Cinq Mars” and “Carmen.” The operas in each case will be represented by large and attractive companies.” [Shields Daily Gazette, Volume: 53, Issue: 14541, Wednesday, Feb. 25, 1903] | |
| Mon 9th Mar 1903 | Lohengrin – (originally advertised as: Lucille Hill, Julius Walther; but) – Julius Walther, Lilian Coomber, Winifred Ludlam, Alex Bevan; c.Eugene Goossens |
| “The Carl Rosa Opera Company are appearing at the Theatre Royal, Newcastle, and in their extensive repertoire lovers of all that is best in opera will have the fullest opportunity during the next fortnight of gratifying their musical tastes. The opening performance was given last evening, when Wagner’s beautiful “Lohengrin” was submitted to the approval of a large, critical, and kindly appreciative audience. The rendering of the opera was all that could be desired, the principals being all artistes of well tried ability, while the choruses and orchestration were exceedingly fine. In the role of “Lohengrin,” Herr Julius Walther, the great Wagnerian tenor, more than realised expectations. His splendid voice made light of the most difficult music, and he took his part with a dignity of bearing which added considerably to the charm of his singing. He was heard with rapt attention, and was frequently the recipient of hearty applause. The part of “Ortrude” was admirably taken by Miss Winifred Ludlam, and “Elsa” found a capable exponent in Miss Lilian Coomber, the vocalisation of both ladies being of a most finished character. Mr Alex. Bevan delighted the audience as “Henry the Fowler,” his resonant bass voice being heard to advantage in everything he sang. To-night the company will perform “Il Trovatore” with a slight change of caste. On Wednesday Gounod’s “Faust” will be given, and on Thursday, Balfe’s “Bohemian Girl.” [Shields Daily Gazette, Volume: 53, Issue: 14552, Tuesday, Mar. 10, 1903] / “OPERA AT THE THEATRE ROYAL NEWCASTLE – For a great number of years past the Carl Rosa Opera Company has presented all that is best in opera to provincial towns in the best possible way. and there is good reason for saying that that honourable tradition is being worthily upheld to-day. Indeed, no better proof could be afforded of that than the performance of “Lohengrin” last night at the Theatre Royal, where the company has just opened a fortnight’s engagement. At the head of the cast was Herr Julius Walther, the renowned Wagnerian tenor, who appeared in the name part. He sang the trying music superbly, and, bearing himself with dignity throughout, his performance cannot be spoken of in other words than those of the highest praise. The Elsa of Miss Lilian Coomber lacked nothing in vocalisation, her rich voice being used with admirable effect. Miss Winifred Ludlam sustained the part of Ortrude, and on both musical and histrionic counts she was conspicuously successful. All the other characters are admirably placed. Mr. Eugene Goossens conducted. “Trovatore” will be staged to-night.” [Sunderland Daily Echo and Shipping Gazette, Issue: 9093, Tuesday, Mar. 10, 1903] | |
| Tue 10th Mar 1903 | Il Trovatore – Lilian Coomber, Robert Cunningham |
| Wed 11th Mar 1903 | Faust – Lucille Hill, E. C. Hedmondt |
| Thu 12th Mar 1903 | The Bohemian Girl – Lizzie Burgess, Robert Cunningham |
| Fri 13th Mar 1903 | The Marriage of Figaro – Lucille Hill, Lilian Coomber, Lizzie Burgess |
| Sat 14th Mar 1903 (m) | Cavalleria Rusticana – E. C. Hedmondt, Winfred Ludlam / I Pagliacci – Lilian Coomber, Julius Walther |
| Sat 14th Mar 1903 (e) | Maritana – Lizzie Burgess, Robert Cunningham |
| Mon 16th Mar 1903 | Tannhauser |
| Tue 17th Mar 1903 | The Bohemian Girl |
| Wed 18th Mar 1903 | Cinq Mars |
| Thu 19th Mar 1903 | Carmen |
| Fri 20th Mar 1903 | Lohengrin |
| Sat 21st Mar 1903 (m) | Lohengrin |
| Sat 21st Mar 1903 | Faust |
| 23rd – 28th Mar [1 week] Bristol, Prince’s Theatre | |
| “The Carl Rosa week during tbe year at the Prince’s Theatre is an enjoyable time for local lovers of opera, and a glance at the scheme for the approaching performances shows that tastes of all kinds have been studied. No arrangement works would be adequate without some of Wagner’s musical dramas, and two of the most popular, “Lohengrin” and “Tannhauser” appear, the former to be presented on the opening night next Monday, aa well as at a matinee on Thursday, and the latter on Saturday, March 28, which will bring the engagement to a termination. The older amateur, whose taste was developed by Verdi, has been cared for on the Tuesday, when “Trovatore” is to t be staged, and the following night the lovers of ballad opera may be expected to assemble in force to again welcome Balfe’s evergreen “Bohemian Girl.” The romantic production “Faust” which will perpetuate the name of Gounod more perhaps than any other of the French master’s efforts, is set down as the attraction for Thursday evening, and may be expected to draw a large number of those who in the recent concert version by the Choral Society. For Friday Bizet’s “Carmen” is provided. It will thus be seen that Bristol people have been well catered for in respect to the opera week, and the enterprise of Mr J. M. Chute should be liberally rewarded. The array of artists is powerful, such admirable singers as Miss Lucile Hill. Miss Lizzie Burgees, Mr. Robert Cunningham, Mr. Alex Bevan, and Mr E.C. Hedmondt being forthcoming, while the company has been further strengthened by the presence of Herr Julius Walther, the celebrated exponent of Wagner’s music.” [Western Daily Press, Volume: 90, Issue: 13977, Monday, Mar. 16, 1903] | |
| Mon 23rd Mar 1903 | Lohengrin |
| “THE CARL ROSA OPERA COMPANY AT THE PRINCE’S THEATRE -“LOHENGRIN” – The visit of the famous Royal Carl Rosa Opera Company to the Prince’s Theatre this weak is not marked by the production of any selections from its extensive repertoire which are new to Bristolians, but it may safely be said that the whole of the operas to be presented are tried favourites, and it is perhaps quite as safe to predict that the visit will be a successful one. The engagement commenced last night with Wagner’s “Lohengrin” which has not been seen here since 1901, when it was performed at a matinee. The. representation last everting was witnessed by a very large audience, who were not slow to express their appreciation of the beautiful music contained in the dramatic story unfolded in what must be regarded at being one of the most attractive of Wagner’s striking works. The cast was much the same as on the last occasion upon which the opera was presented here, the characters being sustained as under:— Lohengrin, Herr Julius Walther; Henry The. Fowler, Mr. Alex Bevan; the King’s Herald, Mr A. Chapman; Frederick of Telramund, Mr. Haigh Jackson; Ortrude, Miss Winifred Ludlam; Elsa of Brabant , Lucile Hill. On the last occasion the part, of Henry the Fowler was sustained by Mr Arthur Winckworth, who is replaced by Mr. Alex Bevan, and the part of the King’s Herald by Mr. H. Asprey Dick, who is now succeeded by Mr A. Chapman. At the hands of the above artistes, the music of the composer was skilfully and artistically interpreted. and their efforts were Well supported by the admirable trained chorus. The prelude was delightfully played, and the sweetly tender theme in which Elsa relates the appearance in a trance of a Knight of heavenly beauty and the equally charming song of thanks to the swan, were both sung with excellent effect. The choral number announcing the approach of Lohengrin was a grand example of dramatic music and the joyful ensemble in which King and chorus express their satisfaction at the victory gained by the Knight over Count Telramund makes fitting finale to the first act. Of the following acts, the numbers which pleased the audience most, perhaps, were the glad strains of the “Bridal Chorus,” he two melodies sung by Lohengrin, “In distant lands” and the impressive parting song, “Beloved swan,” and the beautiful duet in the second scene of the last act. A special feature of the opera is the remarkable fine orchestral effects, and these were most capably interpreted by a strong band of musicians under the conductor, Mr. Eugene Goossens. As Elsa of Brabant, Miss Lucile Hill was equally as successful as she was on the last occasion she sustained the part here. Her impersonation was throughout an intelligent and pleasing one, and she used her voice with excellent effect, among her best efforts being “Lonely My Lot Deploring,” “In Silver Armour Gleaming,” “Ye Gentle Zephyrs,” and the balcony song. “May Blessings Great Attend Her.” As Lohengrin, Herr Walther made a dignified hero, while his acting was that of a thorough artiste. His pure tenor voice was heard to advantage in the declamatory passages, and he also scored a success in the farewell to the swan and the bridal chamber duet. Miss Winifred Ludlam filled the trying role of Ortrude in a style which left nothing to be desired, and her singing in the duet with Telramund, and with Elsa in the second act, served admirably to display the range and flexibility of her voice. The Telramund of Mr. Haigh Jackson was a capital performance, and Mr A. Chapman sang the music allotted to the part of the Herald most successfully, whilst Mr. Alex Bevan had ample scope for the display of his fine bass voice in some of the passages assigned to King Henry.” [Western Daily Press, Volume: 90, Issue: 13984, Tuesday, Mar. 24, 1903] | |
| Tue 24th Mar 1903 | Il Trovatore – Mr. Robert Cunningham (Manrico), Miss Lillian Coomber (Leonora), Mr. Haigh Jackson (Count di Luna), Miss Bertha Cooke (Inez), Miss Winifred Ludlam (Azucena), Mr. Albert Chapman (Ferrando), and Mr Newman (Ruiz);c.Mr. Walter van Noorden |
| “It is many years since the Carl Rosa Company included in their Bristol repertoire Verdi’s Trovatore, and on this account, as well as the popularity of the opera, it was most gratifying to find that during the present visit an opportunity was given to renew acquaintance with what many consider to be one of Verdi’s most delightful works, and last night it received a hearty welcome and afforded as much enjoyment as on any previous occasion. The production, needless to say, was fully in accord with the Carl Rosa traditions, and Mr. Robert Cunningham (Manrico), Miss Lillian Coomber (Leonora), Mr. Haigh Jackson (Count di Luna), Miss Bertha Cooke (Inez), Miss Winifred Ludlam (Azucena), Mr. Albert Chapman (Ferrando), and Mr Newman (Ruiz) might be congratulated upon the success which rewarded their painstaking efforts. If not so numerous as the high standard of of the performance merited, the audience showed the keenest appreciation of the many forms of music with which the opera abounds and the applause which greeted Miss Lillian Coomber’s rendering of the air “Tacea la notte” was a sincere tribute to the singer. Miss Winifred Ludlam. too, won well merited favour for her conception of the stirring song “stride la Vampa.” The music of the Miserere scene charmed the audience, and Mr. Cunningham and Miss Coomber had to acknowledge the prolonged applause repeatedly. The duet “Home to our Mountains,” which Mr. Cunningham and Miss Ludlam were associated, too, met with an enthusiastic reception. Mr Jackson’s rendering of the melodious song “The Tempest of the Heart” must also be accounted one of the most successful efforts of the opera. The opera was produced under the able conductorship of Mr. Walter van Noorden, and the staging and effects, especially that for the encampment scene, left nothing to be desired.” [Western Daily Press, Volume: 90, Issue: 13985, Mar. 25, 1903] | |
| Wed 25th Mar 1903 | The Bohemian Girl – Mr. Robert Cunningham, Mr. Ludwig, Mr. Edward Davies, Mr. Alex Bevan, Miss Winifred Ludlam, Miss Douglas Wilson, Miss Lizzie Burgess |
| “The charming music and many delightful melodies contained in Balfe’s ever-popular “Bohemian Girl” drew a large audience to the Prince’s Theatre last evening, when this favourite opera was presented by the members of the Carl Rosa Opera Company. Time does not seem to have lessened the attractive influence which Balfe’s tuneful score has exercised for so many years, neither has familiarity weakened the charm of the gems of melody which have given pleasure to thousands of appreciative listeners. The performance last night was marked by the completeness which is associated with the productions by the Carl Rosa Company, and it is needless to say that the opera was well received, and that encores were the rule. The cast was as follows:— Thaddeus, Mr. Robert Cunningham; Count Arnheim, Mr. Ludwig; Florestein, Mr. Edward Davies; Devilshoof, Mr. Alex Bevan; Gipsy Queen, Miss Winifred Ludlam: Buda, Miss Douglas Wilson; Arline, Miss Lizzie Burgess. Mr. Ludwig gave an excellent impersonation of the part of Count Arnheim, and his fine bass tones were heard to advantage in the music allotted to the part. The favourite number, “The Heart Bowed Down,” won the usual encore, but the audience would have probably enjoyed the rendering more if there had been lees tremolo. Mr Robert Cunningham, as Thaddeus, was in good voice, and gave a spirited performance as the Polish hero. In “When other Lips” he won the usual encore, and ” The Fair Land of Poland* was sung by him with 3tirring effect. Miss Lizzie Burgess again appeared as Arline, and her pleasing performance as the gipsy maiden won warm tokens of approval from the audience. Her finished vocalisation found plenty of scope in the music assigned to Arline, and the well-known “I Dreamt that I Dwelt” was enthusiastically encored. Miss Winifred Ludlam was an imposing Gipsy Queen, and her expressive singing of tbe interrelated song. “Love Smiles but to Deceive.” earned a well-merited encore. Mr Alex Bevan made a rollicking Devilshoof.” [Western Daily Press, Thursday, Volume: 90, Issue: 13986, Mar 26, 1903] | |
| Thu 26th Mar 1903 (m) | Lohengrin |
| Thu 26th Mar 1903 (e) | Faust – Mr. Ludwig, Mr. Arthur Deane, Miss Lizzie Burgess, Mr. Robert Cunningham, Fraulein Toni Seiter, Mr. A. Chapman, Miss Douglas Wilson; c.Mr Eugene Goossens |
| “CARL ROSA WEEK – “FAUST” – The recent costume performance of Gounod’s “Faust” by the Bristol Choral Society lent an added interest to the inclusion of that ever-popular opera in the scheme of the Carl Rosa visit to Bristol, and there was a large audience at the Prince’s Theatre last evening, who received wish marked approval a most finished performance. There were several differences in the cast from that of the last performance in November, Mr. Ludwig superseding Mr. Alexander Bevan as Mephistopheles and Mr. Arthur Deane playing Valentine in place of Mr. Haigh Jackson, while Miss Lizzie Burgess succeeded Miss Lilian Coomber as Marguerite. Mr. Robert Cunningham’s Faust was a fine performance, although he was suffering very sightly from he effects of a cold. He was, perhaps, heard to the best advantage a the garden scene, in the quartets with Miss Burgess, Miss Wilson, and Mr Ludwig, but throughout the evening his intonation was all that could be desired. Mr. Ludwig displayed high qualities aa Mephistopheles, and his rendering of “The Calf of Gold” in be second set was one of his best efforts, equalled only by his singing of the serenade in the fourth act. Mr. Arthur Deane’s Valentine gave a capital rendering of “Even brave hearts,” whilst his enactment of the very trying death scene elicited the heartiest recognition. Miss Lizzie Burgess was a charming Marguerite, and scored a triumph in the famous Jewel Song, wherein her excellent vocal powers were used to the full. Praise must be given to Fraulein Toni Seiter for a most creditable conception of Siebel, her “When all was young” being one of the gems of the evening, and Mr. A. Chapman (Wagner) and Miss Douglas Wilson (Martha) were responsible for careful treatment of their roles. The chorus was, as usual, well balanced and powerful, and I the ever-popular “Soldiers’ Chorus” was deservedly encored. The orchestra, under the conductorship of Mr Eugene Goossens, was efficient in the broadest sense of the word.” [Western Daily Press, Volume: 90, Issue: 13987, Friday, Mar. 27, 1903] | |
| Fri 27th Mar 1903 | Carmen |
| Sat 28th Mar 1903 | Tannhauser – Miss Lilian Coomber, Mr. Robert Cunningham, Mr. Arthur Deane, Mr Alex. Bevan, Miss Winifred Ludlam, Mr. Edward Davies (Walkieri), Mr. Albert Chapman (Biterolf), Mr. A. Felton (Henrich), Mr. Charles Hampden (Reinmar), Miss Annie Walker (a shepherd boy); c.Mr Eugene Goossens |
| “The Visit of the Carl Rosa Opera Company — After a series of enjoyable performances, the Carl Rosa Opera Company brought to a close on Saturday evening, at the Prince’s Theatre, their brief visit to Bristol. Admirable selections had been made from the company’s extensive repertoire during the week, and the final opera, the inclusion of which gave considerable pleasure to local lovers of high-class music, was Wagner’s “Tannhauser,” which was rendered on Saturday night with all the instrumental, vocal, and histrionic excellencies to be expected from such a company. Unfortunately, Miss Lucile Hill and Herr Julius Walther. who had been in the cast, were suffering from temporary indisposition, but Miss Lilian Coomber and Mr. Robert Cunningham, as Elisabeth and Tannhauser respectively, proved very efficient substitutes. The performance, it may be said, was excellent throughout, and the beautiful music of “Tannhauser,” as interpreted by both vocalists and instrumentalists, was thoroughly enjoyed by the audience, who were not slow in showing their appreciation of the more noteworthy numbers. The performance of the magnificent overture, with the sublime Pilgrims’ Chant, by the band, under the conductorship of Mr. Eugene Goossens, gave unstinted pleasure, and the conductor deserved the hearty applause with which it was received. Miss Lilian Coomber made an admirable Elisabeth. Her singing and acting were very pleasing. Her vocalisation, indeed, was exceedingly effective even in the more exacting numbers, and she demonstrated the fact that she had a good conception of the part, as well as vocal capabilities of a high order. Mr. Robert Cunningham sang in good style as Tannhauser. his voice being heard to excellent effect in the tournament of song in the second act. Mr. Arthur Deane, too, did much to ensure success by his performance as Wolfram. He was in capital voice, and his singing was evidently greatly appreciated. As the Landgrave, Mr. Alex. Bevan admirably sang the music incidental to the part, and creditable service was also rendered by Miss Winifred Ludlam “Venus”. Mr. Edward Davies (Walkieri), Mr. Albert Chapman (Biterolf), Mr. A. Felton (Henrich), Mr. Charles Hampden (Reinmar), and Miss Annie Walker (a shepherd boy). The chorus, for whom there is plenty of scope, acquitted themselves in an able manner, and manifested a familiarity with the music which was very commendable.” [Western Daily Press, Volume: 90, Issue: 13989, Monday, Mar. 30, 1903] |
| 30th Mar – 4th Apr [1 week] Manchester, Queens Theatre | |
| Mon 30th Mar 1903 | Cavalleria Rusticana – Robert Cunningham, Winifred Ludlam, Haigh Jackson, Annie Walker, Miss Douglas Wilson / I Pagliacci – Lilian Coomber, E. C. Hedmondt, Arthur Deane, Haigh Jackson, Edward Davies; c. Eugene Goossens |
| “Following closely upon the week of opera at the Prince’s Theatre, the Carl Rosa Company gave their first performance yesterday, and by selecting “Cavalleria” and “Pagliacci” afforded Manchester opera lovers a third opportunity of hearing these works in little over a week. A capital array of principals was secured, Mr. Robert Cunningham, Mr. Haigh Jackson, Miss Annie Walker, Miss Douglas Wilson, and Miss Winifred Ludlam taking the parts of Turriddu, Alfio, Lola, Lucia, and Santuzza respectively, among whom the first and last deserve special praise. The chorus was not altogether beyond reproach, but as a whole the musical arrangements were good, and the harpist in “Cavalleria” played with rare charm. In “Pagliacci” Mr. Hedmondt (Canio) at once showed that he has lost none of his old power, and being well supported by Mr. Deane (Tonio) — whose rendering of the Prologue was very successful — Mr. Haigh Jackson (Silvio), Mr. Edward Davies (Beppi), and last, but not least. Miss Lillian Coomber (Nedda). the performance evoked hearty applause. Mr. Goossens made an excellent conductor, his indications being followed with precision by all his forces. There was a very fair attendance. Ihis evening “Tannhauser” will he given, with Mr. Hedmondt in the title role, and Misses Ludlam and Lucile Hill as Venus and Elizabeth respectively.” [Manchester Courier and Lancashire General Advertiser, Volume: 79, Issue: 14474, Tuesday, Mar. 31, 1903] | |
| Tue 31st Mar 1903 | Tannhauser –E. C. Hedmondt, Lucile Hill, Alex Bevan, Haigh Jackson, Winifred Ludlam; c. Eugene Goosens |
| “The great Wagnerian operas appear to be in abeyance in Manchester at present, since last week “Lohengrin” only was performed, and the Carl Rosa company this week are confining their attention to “Tannhauser.” Judging by the attendance yesterday, however, it would not have been a mistake to draw still further upon this source, since a really full house has at last been secured. It was satisfactory to observe that the overture was eagerly awaited, there being very few late comers. Of this performance it may be said that with the resources at command it was a most meritorious effort, and gave a foretaste of what was to follow. Mr. Hedmondt was in the all-important part of Tannhauser, and, struggling bravely with a slight hoarseness which eventually disappeared, he exhibited a fervour and intensity of passion which it was impossible to resist. Miss Lucile Hill’s sweet and clear Voice was admirably suited to Elizabeth, and Miss Winifred Ludlam, as Venus, came off very well in a most trying part. Under the circumstances, it was not surprising that the principals were frequently recalled, and the enthusiasm of the audience was reflected in the manner in which they warmed to their tasks. Mr. Jackson as Wolfram and Mr. Bevan as the Landgrave deserve their meed of praise, and the less important parts were also in good hands. The Tournament of Song proved highly successful, the accomplished harpist again distinguishing herself. Much praise is due to Mr. Goossens, who conducted, and, indeed, the whole company may be congratulated upon the performance without reserve. This evening “The Bohemian Girl” will be produced.” [Manchester Courier and Lancashire General Advertiser, Volume: 79, Issue: 14475, Wednesday, Apr. 1, 1903] | |
| Wed 1st April 1903 | The Bohemian Girl -Robert Cunningham, Mr. Ludwig, Lizzie Burgess, (Miss Agnes Molteno?), Miss Douglas Wilson, Alex Bevan, Mr. Ludwig, Mr Edward Davies, Winifred Ludlam |
| “The fact that “Tannhauser” and “The Bohemian Girl” can be performed by the game company on successive evenings might, give rise to several reflections, amongst others that the power of a few airs to keep alive an opera intrinsically worthless is by no means to be despised. It must be admitted, moreover, that with a sprightly Arline, an earnest Thaddeus, and a roguish Devilshoof, the situations have a certain amount of “go” in them, and the appalling inanity of the libretto can be lost sight of in its musical garb. Yesterday the company appeared under very favourable conditions. Miss Coomber being Arline, Miss Ludlam the gipsy queen, and Miss Wilson Buda; while the part of Devilshoof, Thaddeus, Arnheim and Florestein were assigned to Masters. Bevan, Cunningham. Ludwig, and Davies. Mr. Cunningham’s singing is better than his acting, but Mr. Bevan was equally successful in both departments. The familiar airs were all well sung, and were encored as usual, and a special word of praise is due to the chorus; The attendance was fair, but by no means equal to that of the preceding evening. Tonight, for the first time in England, Giordano’s opera “Andre Chenier” will be performed.” [Manchester Courier and Lancashire General Advertiser, Volume: 79, Issue: 14476, Thursday, Apr. 2, 1903] | |
| Thu 2nd April 1903 | Andrea Chenier (“Grand Production – First time in England”) – Julius Walther, Lizzie Burgess |
| “A NEW OPERA – “ANDRE CHENIER” AT THE QUEENS THEATRE – During its twenty-eight years of existence the Rosa company has introduced a number of operas to this country, but for a long time there has been nothing to rank with “Carmen.” “Mignon,” or even “Aida,” not to mention the Wagnerian series, little known and under estimated until experience had proved their value. It is a pleasure, therefore, to welcome a modern work which is likely to gain on acquaintance, and, if allowance is made for the inevitable drawbacks of a first performance, the sterling merits which lie behind will not long be obscured. The opera is work of a young Italian composer, Umberto Giordano, who has drawn his inspiration not from fable but from history, Andre Chenier. the hero, being a notable figure in the troublous times which followed the fall of the French Monarchy. A few liberties have been taken with the actual details of his career but if these are regarded. so to speak, through Turneresque spectacles, it is quite possible that the reality falls but little short of Giordano’s conception. Self-reared on Greek literature, a predilection which his mother’s nationality may explain. Chenier Abandoned the military career for which he was destined, and devoted himself, though not without interruption, to the pursuit of letters. Like all thoughtful men of his day, he took up the cause of the poor and oppressed against the most corrupt aristocracy the world has over seen, but the excesses which were committed under a Republican form of government called forth his bitter denunciations, and he incurred the displeasure of Robespierre, with the usual result. Within three days this monster himself fell a victim to the infuriated populace, so that by this narrow margin France lost a writer who. by continuing along the path he had already chosen, might have been one of the chief ornaments of his agee. Add to this that he addressed one of his finest poems “La Jeune Captive,” to a lady of title, Mlle. de Coigny, and that his fate was indirectly the result of his opposition to the arrest of a Mme. de Pastoret, and it will be seen that all the elements of a genuine tragedy are present, and need only the touch of a practised hand to give them an effective presentation. This has been done by the librettist. Signor Illica, whose “book,” even through the medium of a translation, reads very well, while the composer is to be warmly congratulated upon his share of the work. The first act introduces us to the salon of the Countess de Coigny (Frl. Toni Seiter), where artists, poets, politicians, men of letters, and so forth, are assembled for an evening’s entertainment. Chenier (Herr Walther) is there, too, but until playfully rallied for his silence by Madeleine, the Countess’s daughter (Miss Lizzie Burgess) he takes little part in the proceedings. Then, however, he launches forth into an improvisation, mainly in praise of love, but incidentally rebuking the rich for their callousness towards their poorer brethren. Scarce has he finished his song when a chant is heard outside, and Gerard throwing open the folding doors, admits a crew of starving peasants, led by his father. The gay throng, however, pay little attention, and presently the besiegers are driven out, and the dance is resumed, though Gerard, whose position as a lackey has long galled him, throws in his lot with the paupers. This scene is very brilliant, but is interrupted by Chenier’s solo, which yesterday lacked something of Herr Julius Walther not having taken the measure of his surroundings so early, and being rather incommoded by the orchestra, which was at first too loud. There was an air of unreality, too, in the behaviour of the beggar crew, but Fleville (Mr. Gilbert), Chenier, and the chorus infused vigour into their work and the curtain fell amid continued applause. Act II, shows both Gerard and Chenier in new positions the one being an important public official, and latter, now a celebrity, being advised by his friend Roucher (Mr. Bevan) to ignore the missives of an unknown lady admirer, and to make the best use of his passport. He neglects to do so, however, and meets a rival for Madeleine’s affections in Gerard. It is Madeleine, indeed, who, moved by Chenier’s improvisation above referred to, has come with his attendant, Bersi, to the capital, and written the anonymous letters. Thenceforward Chenier and Gerard are enemies, and the latter, having a spy (Mr. Davies) in his employ, is able to collect evidence against anyone. The scene is more powerful than its predecessor, and affords Bersi a good opportunity, of which she availed herself to the full. The chief interest here, as elsewhere, centres in those portions of the opera wherein two persons occupy the stage, the ensemble pieces being less effective. By this time the music had revealed itself as a blend of Wagner. Meyerbeer, Gounod, and perhaps Massenet, but it is by no means a slavish imitation of any of these styles, and it is all times appropriate to the sentiment in progress. Act III, is the longest of the whole, and carries the action within measurable distance of the end. The tribunal sits in judgment on the prisoners who are brought before them, and the decorum of the court is sadly interfered with — occasionally in dumb show — by a crowd of women, who struggle for the best places, and pass comments on the proceedings in a most reprehensible fashion. Chenier is summoned to answer a false indictment, drawn up by Gerard, but after an interview with Madeleine — one of the finest portions the opera —Gerard’s better nature asserts itself, and he endeavours to undo his work, but in vain. Finally, Chenier, now awaiting his doom, is visited by Madeleine, whose love prompts her to die with him, and a simple piece of strategy enables her to achieve this object. The “Marseillaise” is heard for the first and only time in this act, and then merely as a vocal solo behind the scenes. A single performance affords not nearly enough ground for a full consideration of the opera, but the work possesses all the essentials of success, and time alone can show what degree of popularity it will enjoy in this country. One thing is quite certain, viz., that very great pains had been taken with the preparation, and Mr. Goossens, the conductor, must be included in the list of those to whom much praise is due. There was a good attendance, and if the number of recalls can be taken as a guide the performance on Saturday will be the chief success of the week. This evening “Figaro” will be produced.” [Manchester Courier and Lancashire General Advertiser, Volume: 79, Issue: 14477, Friday, Apr. 3, 1903] | |
| Fri 3rd April 1903 | The Marriage of Figaro –Lucile Hill, Lilian Coomber, Lizzie Burgess, Mr. Ludwig |
| Sat 4th April 1903 (m) | Faust – Lucile Hill, Robert Cunningham, Alex Bevan, Haigh Jackson |
| “A larger audience should have welcomed the capital performance of “Faust” on Saturday afternoon. Mr. Cunningham as Faust, was in good form, and the fine voice of Miss Luciie Hill, as Marguerite, was heard to advantage. The acting and singing in the garden and prison scenes were especially good, Mr. Bevan’s conception of Mephistopheles being notable. Apart, too, from his able rendering of the music, Mr. Jackson’s vigorous and dramatic representation of Valentine was most effective. The concerted pieces were well given, and the famous Soldiers’ Chorus received a well-deserved encore. The orchestra throughout was excellent.” [Manchester Courier and Lancashire General Advertiser, Monday, Volume: 79, Issue: 14479, Apr. 6, 1903] | |
| Sat 4th April 1903 (e) | Andrea Chenier– Julius Walther, Lizzie Burgess |
5th Apr – 9th May ???
| ?? – ?? Apr [??week(s)] London, Camden Theatre [dates and other repertore unclear] | |
| Wed 15th Apr 1903 | Andrea Chenier |
| 11th- 16th May [1 week] Portsmouth, Theatre Royal | |
| “VISIT OF THE CARL ROSA CO – The Carl Rosa Opera Co. is to pay another welcome visit to the Portsmouth Theatre Royal next week. Needless to say, a most attractive programme has ben arranged, and large audiences will doubtless be the rule throughout the week. On Monday the old favourite, “Maritana,” one of the most successful of grand operas, is billed for presentation, and on Tuesday “Andre Chenier,” a piece which is new to a Portsmouth audience, fills the bill. Two of the Carl Rosa’s greatest successes, in the shape of “Faust” and “Carmen” – are to be produced on Wednesday and Thursday respectively; a second new piece, “Cinq Mars” is arranged for Friday, and on the concluding day “Tannhauser” and “The Bohemian Girl” will be rendered, the former at the matinee.” [Portsmouth Evening News, Volume: 28 Issue: 8060, Saturday May 9, 1903] | |
| Mon 11th May 1903 | Maritana – Miss Lilian Coomber, Miss Nora Roy, Mr. Haigh Jackson, Mr. Robert Cunningham, Mr. Alfred Chapman; c. Walther van Norden |
| “The Carl Rosa Opera Company commenced a week’s engagement at the Portsmouth Theatre Royal on Monday evening, so that lovers of opera have another opportunity of listening to the familiar but beautiful music of “Maritana,” “Faust,” “Carmen,” “Tanuhanser,” “The Bohemian Girl.” and others, as rendered by artistes holding front rank in their profession. Mr. T. H. Friend has charge of the Company, which as usual has a powerful orchestra. On Monday. Wallace’s opera, “Maritana,” was performed, Mr. Walter van Noorden conducting the orchestra, and with Miss Lilian Coomber filling the title role. The young lady made a charming and sprightly Maritana, the gipsy singing girl so ambitious of entering the courts o£ kings. Her acting was good. She possesses a fresh soprano voice, of wide compass, and was repeatedly encored, a pretty basket of flowers being on one occasion handed up from someone in the stalls. Her rendering of the beautiful “Tis the Harp in the Air,” and the duet with Don Jose. “Of Fairy Wand,” were much appreciated, and the angelus chorus that followed deserved the encore accorded it. The well-known song. “Scenes that are Brightest” was also a particularly successful effort on Miss Coomber’s part, for which she was encored. Miss Nora Roy’s Lazarillo was a satisfactory performance. Her contralto voice was heard to advantage in the trio, “Turn on, old tune,” with Don Caesar and Don Jose, and it was encored. Mr. Haigh Jackson is to be congratulated on his splendid baritone voice, and on his rendering of the several particularly pretty numbers that fell to his share, such as, “In Happy Moments,” which was decidedly his best. Mr. Robert Cunningham, as the good-hearted, brave, swaggering, Don Caesar de Bazan. was all that could be wished for. His tenor is particularly pure and such old favourites as “Let me like a soldier fall,” “There is a flower that bloometh,” and the impassioned love song with Maritana at the close of the opera. could be appreciated all the more, being so finely rendered. The bass was Mr. Alfred Chapman, as the King of Spain, whose “Hear me, gentle Maritana ” had to be repeated. This evening another treat is in store. “Andre Chenier,” which is new to Portsmouth, is to be produced, and local music-lovers will lave an opportunity of renewing acquaintance with that fine singer. Herr Walther.” [Portsmouth Evening News, Volume: 28, Issue: 8062, Tuesday, May 12, 1903] | |
| Tue 12th May 1903 | Andre Chenier – Herr Julius Walther, Miss Lizzie Burgess, Mr. Arthur Deane |
| “NEW OPERA AT THE THEATRE. Portsmouth lovers of opera should be deeply indebted to the Carl Rosa Opera Company for the inclusion in their repertoire this of the new opera “Andre Chenier,” which was produced for the first time in Portsmouth last evening at the Theatre Royal. Although it has had great, and lasting success in Italy, it was only last month that the Carl Rosa company introduced it to the English stage at the Queen’s Theatre, Manchester. Already it has established for itself as a place well in the forefront of Italian opera. Its composer, Umberto Giordano, is a young Italian still in his thirties and the effect is a fine example of the modern Italian school. The play, written by Luigi Illica, is a romance of the First Revolution. Andre Chenier, a young poet, is tried and condemned to death by a revolutionary tribunal. He is loved by Madeline, Countess de Coigny’s daughter, who enters the condemned cell where the prisoners are awaiting the guillotine, and having bribed the gaoler, changes places with one of the condemned women and goes to the guillotine to die with her lover. Apart from the charming orchestration, the dramatic situations are intensely interesting, and a hearty outburst of applause called he artists before the curtain at the close of each act. As Andre Chenier, no one could help admiring Herr Julius Walther whose magnificent tenor gained for him a most hearty reception. Miss Lizzie Burgess made a passionate Madeleine, her superb soprano seeming almost untiring. Mr. Arthur Deane gave a fine rendering of the part of Charles Gerard, Andre’s rival. This evening Gounod’s “Faust” will be played.” [Portsmouth Evening News, Volume: 28, Issue: 8063, Wednesday, May 13, 1903] | |
| Wed 13th May 1903 | Faust |
| Thu 14th May 1903 | Carmen – Mdlle. Alexia Bassian, Miss Nora Roy, Miss Anne Walker, Mr. E. C. Hedmondt, Mr. Arthur Deane, Mr. Gilbert Davies |
| “A crowded audience listened to a splendid performance of “Carmen” by the Carl Rosa Opera Company, at the Portsmouth Theatre Royal on Thursday evening. The fine music in Bizet’s popular opera was finely rendered, particularly the choruses, which went remarkably well, while the solo parts were taken with conspicuous success. Mdlle. Alexia Bassian, as Carmen, was in fine voice and charmed the audience with her singing, and was repeatedly accorded enthusiastic applause. Miss Nora Roy, as Mercedes, and Miss Anne Walker, as Frasquita, also scored distinct successes, while Mr. E. C. Hedmondt, in the role of Don Jose, was heard to great advantage. Mr. Arthur Deane made a fine Escamillo, and Mr. Gilbert Davies sang with pleasing effect. The scenery and effects were of the best, and were in keeping with the general excellence of the performance. To-night the piece will be “Cinq Mars.” [Portsmouth Evening News, Volume: 28, Issue: 8065, Friday, May 15, 1903] | |
| Fri 15th May 1903 | Cinq Mars – Miss Lilian Coomber, Mr. Robert Cunningham, Mr. A. Deane, Mr. A. Bevan |
| “There was another large audience at the Theatre Royal on Friday evening, when the Carl Rosa Company produced the charming opera “Cinq Mars, or the Conspiracy.” The piece was splendidly staged, and the difficult characters were ably sustained. The music is bright and tuneful, and the singing was particularly effective, several of the numbers being enthusiastically redemanded. Miss Lilian Coomber, who appeared as Princess Marie (the principal soprano part), is a local lady, and both her acting and singing received the heartiest commendation. Miss Coomber also appeared in “Tannhauser” this afternoon with conspicuous succcss. Mr. Robert Cunningham’s fine voice had ample scope in the part of the Marquis, and Mr. A. Deane, Mr. A. Bevan, and other prominent members of the fine caste were also in good voice. The piece was greatly enjoyed.” [Portsmouth Evening News, Saturday, Volume: 28, Issue: 8066, May 16, 1903] | |
| Sat 16th May 1903 (m) | Tannhauser – Julius Walther |
| “The Carl Rosa Opera Company is always a great attraction to Portsmouth theatre-goers, for only on the occasion of its visits to the Theatre Royal is there an opportunity of seeing grand opera presented by some of the most accomplished vocalists on the English stage. On Monday “Maritana” was preformed, Miss Lilian Coomber, Mr. Hugh Jackson and Mr. Robert Cunningham delighting a well-filled house by their exquisite rendering of the familiar but always popular songs, for which the pace is so famous. On Tuesday Mr. Percy Pinkerton’s English version of “Andre Chenier,” a romance of the Revolution, was played for the first time in Portsmouth. “Faust,” “Carmen,” and “Cinq Mars” have followed. Herr Julius Walther, whose splendid tenor voice and interpretation of the title role of “Tannhauser” have placed him in the front rank of his profession, appeared in “Andre Chenier” and received a warm welcome. “Tannhauser,” with Herr Julius Walther in the leading part, is to be given at the matinee this afternoon, and the company will conclude their visit this evening with “The Bohemian Girl.” [Portsmouth Evening News, Saturday, Volume: 28, Issue: 8066, May 16, 1903] | |
| Sat 16th May 1903 (e) | The Bohemian Girl |
| 18th – 23rd May [1 week?] Islington, Grand Theatre | |
| Repertoire includes “Andre Chenier”; other repertoire unclear |
18th May – 29th Aug ???