| 1903 – 1904 Season |
“The Royal Carl Rosa Opera Company commences its thirty-fourth tour in August. The company includes Messrs. Hedmondt, Walther, Davies, Butcher, Bevan, etc.. Miss Lucille Hill, Miss Talma, and Mlle. Alexia Bassain.” [Lichfield Mercury, Issue: 1274, Friday, Aug. 21, 1903]
| 31st Aug – 5th Sep [1 week] Leeds, Grand Theatre | |
| Mon 31st Aug 1903 | Faust – Mr. E. C. Hedmondt, Miss Lilian Coomber, Mr. Alexander Bevan, Miss Anna Hope, Mr. Andre Kaya; c. Mr. Eugene Goossens |
| “Interest in the present visit of the Carl Rosa Company to the Leeds Grand Theatre centres chiefly in the appearance — in one or more instances for the first time on the English stage — of the latest recruits to the ranks of the company. The programme itself is devoid of novelty, being confined mainly to time-honoured favourites. An opening was made last night, when an excellent representation of “Faust” was given before a fairly well-filled house. Mr. E. C. Hedmondt undertook the leading part, and he acted with distinction, and without the slightest suspicion of exaggeration. He sang the familiar cavatina in the garden scene with true artistic feeling. His vocal powers wear remarkably well, and he is a genuine actor. Miss Lilian Coomber presented us with a new Marguerite, and, if nothing else, she looks the part. But she also has a pleasant voice, and her enunciation is clear and distinct. The jewel song afforded her an opportunity for vocal display, and her efforts were warmly applauded. Mr. Alexander Bevan is an ideal Mephistopheles, and his voice remains as good as of yore. In Miss Anna Hope the company have an artist of real promise: she created a favourable impression in the part of Siebel. Another new-comer is Mr. Andre Kaya (Valentine), and he, too, has a voice of good calibre, and sings artistically. Under Mr. Eugene Goossens the band did their work smartly and well, while the introduction of a real pipe organ in the cathedral scene is a distinct improvement. To-night, “Carmen” with Miss Alexia Bassian in the title role.” [Yorkshire Evening Post, Issue: 4056, Tuesday, Sept. 1, 1903] | |
| Tue 1st Sep 1903 | Carmen – Miss Alexia Bassian, Miss Talma, Mr. Julius Walther, Mr. Arthur Deane, Mr, Edward Davies, Mr. H. Butcher, Miss Anna Hope, Miss Bertha Cooke. |
| “A NEW CARMEN – MISS ALEXIA BASSIAN’S FIRST APPEARANCE IN LEEDS – Following on the performance of “Faust” on Monday evening, the Carl Rosa Company last night presented “Carmen” at the Leeds Grand Theatre. The feature of interest in the performance was the Carmen of Miss Alexia Bassian, who was making her initial appearance in the ranks of the company. Miss Bassian is of Armenian extraction, and both from voice and appearance she makes a charming Carmen. Her piquant and vivacious manner are admirably suited to the character of the impetuous gipsy girl, and her representation of the role was both refined and convincing. Her voice, though not really strong, is of a very rich quality, and she sings naturally and without any effort. With increasing confidence the nervousness which Miss Bassian displayed last night will disappear. Of the performance generally it need only be said that it was full of merit. Miss Talma, who was also making her first appearance, sang very artistically. Mr. Julius Walther appeared as Don Jose, and other parts were capably filled by Mr. Arthur Deane (who was warmly encored for his spirited singing of the “Toreador” song), Mr, Edward Davies, Mr. H. Butcher, Miss Anna Hope, and Miss Bertha Cooke.” [Yorkshire Evening Post, Issue: 4057, Wednesday, Sept. 2, 1903] | |
| Wed 2nd Sep 1903 | Martiana |
| Thu 3rd Sep 1903 | The Marriage of Figaro – Miss Winifred Ludlam, Miss Talma, Miss Bassian, Mr. Arthur Deane, Mr. Alexander Bevan; c.Mr. Van Noorden |
| “Mozart’s music is of so fascinating a character that it is not surprising that “The Marriage of Figaro” should still retain a considerable hold on public taste. An admirable representation of this famous opera was given by the Carl Rosa Company at the Leeds Grand Theatre last night. As the Countess, Miss Winifred Ludlam. whose voice was in good trim, sang very artistically. her acting being marked by and dignity. Miss Talma made a very lively and vivacious Susanna, while Miss Bassian’s assumption of the role of Cherubino enhanced the good impression created by her Carmen earlier in the week. Miss Bassian appeared more at ease, and though acting and singing well within her resources, gave life and vitality to her part Mr. Arthur Deane’s Figaro was excellent, as, also was the Count of Mr. Alexander Bevan, who is one of the most valuable and versatile members of the company. The band, under Mr. Van Noorden, are to be complimented on their all-round splendid work. To-night’s bill consists of “Cavalleria” and “Pagliacci.” [Yorkshire Evening Post, Issue: 4059, Friday, Sept. 4, 1903] | |
| Fri 4th Sep 1903 | Rustic Chivalry / I Pagliacci |
| Sat 5th Sep 1903 (m) | Tannhauser |
| Sat 5th Sep 1903 (e) | The Bohemian Girl |
| “The singing of Miss Alexia Bassian has been one of the features of the visit of he Carl Rosa Opera Company to the Leeds Grand Theatre this week. Miss Bassian, who is one of the latest recruits to the company – in fact, she made her debut in “Carmen” on Tuesday evening – is of Armenian extraction. Her mother who was an American missionary, met her husband whilst working in Turkey. The mother is a relative of the poet Longfellow. Miss Bassian herself as born on the high seas, and is registered as a British subject. She is a mezzo-soprano, and her voice is of exquisite quality. She has been trained for the operatic stage by Madame Marchesi, who recently expressed the opinion that as regards voice, deportment and appearance, her pupil was an ideal Carmen. Although making her first appearance in the role in England on Tuesday, Miss Bassian has previously undertaken the character at the Irocadero Theatre in Paris, when, of course, she sang in French. She appeared to be affected with nerves on Tuesday, and with increasing confidence will be able to do herself more justice in the future. On Thursday she assumed the part of Cherubino in “The Marriage of Figaro” — also for the first time — and she sang and acted with less restraint. By the way, Miss Bassian’s career has not been confined to grand opera. She has made incursions into light opera, and has played Juliette in “The Geisha.” It was white playing in this piece at San Francisco that she met her husband, Mr. Charles Dauby, who accompanies her on the present tour with Carl Rosa. Mr. Danby was playing the part of Wun-hi. Her first appearance in London was at the London Pavilion in a musical sketch, “No. 1, Pell Street,” written for her by her husband, with music by Dr. Osmond Carr. Miss Bassian prefers grand opera, of which she is passionately fond. The Leeds people, Miss Bassian thinks, have been extremely kind to her this week. “They are so appreciative, and have applauded my efforts so generously,” she remarked last night. “I am looking forward to my next visit to Leeds.”From Leeds the Carl Rosa company cross to Ireland. Friends of Lucile Hill will regret to hear of her serious illness. She was engaged to appear with the Carl Rosa Company in Leeds this week, but her health has prevented her from doing so. She has been ill now for about three months, and has undergone one or two surgical operations.” [Yorkshire Evening Post, Issue: 4060, Saturday, Sept. 5, 1903] |
| 14th – 19th Sep [1 week] Dublin, Gaiety Theatre | |
| Mon 14th Sep 1903 | Tannhauser – Julius Walther, Lydia Nervil, |
| Tue 15th Sep 1903 | Rustic Chivalry – Edward Davies, Alexia Bassian/ I Pagliacci – Julius Walther, Lilian Coomber |
| Wed 16th Sep 1903 | Maritana – E. C. Hedmondt, Cecile Talma, Andre Kaya, Frank Arthur, Anna Hope; c. Walther van Noorden |
| Thu 17th Sep 1903 | Lohengrin – E. C,. Hedmondt, Lilian Coomber, Winifred Ludlam, Lewys James, Alex Bevan; c. Eugene Goossens |
| Fri 18th Sep 1903 | The Marriage of Figaro – Alex Bevan, Lydia Nervil |
| Sat 19th Sep 1903 (m) | Carmen – Julius Walther, Alexia Bassian, Arthur Deane, Bertha Cooke, Anna Hope, Cecile Talma; c. Walter van Noorden |
| Sat 19th Sep 1903 (e) | Faust – Edward Davies, Lydia Nervil, Alex Bevan, Andrew Kaya, Anna Hope, Miss Douglas Wilson; c.Eugene Goossens |
21st Sep – 24th Oct ???
“Mr. F. W. Purcell’s new theatre, The Marlborough, is to be opened by the Carl Rosa Opera Company next week. It is an exceedingly handsome building, and provides accommodation for three thousand persons. A well-known critic who has carefully inspected it declares it to be the finest of the suburban theatres. The Marlborough is situated in the Holloway road, and “absorbs?” the old house known as The Parkhurst.” [Derby Daily Telegraph, Volume: 49 , Issue: 7436, Tuesday, Sept. 29, 1903]
| 26th-31st Oct [1 week] Bristol, Princes Theatre | |
| Mon 26th Oct 1903 | Tannhauser – Mr E. C. Hedmondt, Mr. Arthur Deane, Mr Alexander Bevan, Miss Lucile Hill, Madlle. Alexia Bassian; c.Mr E. Gooseens |
| The short season of opera in Bristol which Mr J. M. Chute, the manager at the Prince’s Theatre, contrives to arrange annually, it so prized by lovers of the lyric stage that the performances are certain to be well patronised. Accordingly, when the Carl Rosa Company were announced to appear for a week at the Park Row House, it was at once perceived the audiences would be large. Last night the engagement commenced with “Tannhauser,” a work which, though now tolerably familiar to those who take delight in operas in English, could not some years ago have been found in the repertoire of a travelling company. When the late Mr J. H. Chute was once talking with an admirer of opera at the commencement of a Carl Rosa week, he said that the list of works was produced crescendo, commencing with perhaps “Martiana,” or the “Bohemian Girl,” and reaching something more exalted as the engagement progressed. Now, however, a start was effected with certainly the moat popular of Wagner’s stage creations. It was during his stay at Paris the master became acquainted with the old story of Tannhauser. the knightly singer who tarried in the Mountain of Venus. This story in connection with an imaginary prize singing at Wartburg, the residence of the Dukes of Thuringia, struck him at once as eminently adapted for dramatic purposes, and so we obtained this splendid work. With Mr E. Gooseens as conductor, it was most effectively presented at the Prince’s Theatre. Though there are multitudinous merits in the score of a high type, no feature is more impressive than the overture, one of the most magnificent tone pictures ever imagined. Again a Bristol assembly was enabled to listen to the clever instrumentation which foreshadows the keynote of the drama itself — the victory of good over evil, the former represented by the solemn strains of the Pilgrims’ Chorus, the latter by the sensuous melodies which accompany the joys of the Venusburg. There was. it need scarcely be said, prolonged applause at the termination of the prelude. As the chief among knights who had gained as reward the hand of the Landgrave of Thuringia’s niece, Elisabeth, Mr E. C. Hedmondt once more impersonated a character which is intimately associated with him. He sang with power and earnestness, and throughout the different scenes carried the audience with him by his artistic manner and excellent vocalisation. Indeed, so thorough was he in every detail, that it was plain to see he had bestowed the most careful study upon his task. Tannhauser’s narration in the final scene exerted its customary potent spell. Mr. Arthur Deane was a competent Wolfram, and the Address to the Evening Star, perhaps the most popular piece in the opera, was nicely given. The Landgrave Hermann found a capital exponent in Mr Alexander Bevan. Miss Lucile Hill always achieves a triumph as Elisabeth, and upon the present occasion she satisfied every requirement. All the points in the conception of the character were brought out with an ease which bespoke the great artiste. The musical feeling exhibited, and the effect of a naturally sympathetic voice, made her representation of the character all that could be desired. In the second act, where the heroine greets the Hall of song, Miss Hill’s brilliant vocalisation was warmly recognised. Madlle. Alexia Bassian was commendable as Venus, and altogether the manner in which the opera was presented speaks well for the efficiency in the arrangements to be expected during the week.” [Western Daily Press, Volume: 91, Issue: 14169, Tuesday, Oct. 27, 1903] | |
| Tue 27th Oct 1903 | Faust – Mr. Edward Davies, Mr Alexander Bevan, Miss Lilian Coomber, Miss Anna Hope, M. Andre Kaya, Mr. Frank Arthur; c.Mr. Eugene Goossens |
| “The performance of Gounod’s ever popular opera “Faust,” given last night at the Prince’s Theatre by the Carl Rosa Opera Company, must rank as one of the most finished performances that the company has gives in the course of its many welcome visits to Bristol. There was an exceptionally good house, and the efforts of the principal artistes met with cordial recognition, applause being frequent. Several changes in the caste were apparent, Mr. Edward Davies, in the title role, was all that could bs desired, and his serenade in the garden scene was particularly fine. Mr Alexander Bevan, as Mephistopheles, infused into the character much of the by-play with which to enhance his singing, and in “Clear The way for the Calf of gold” he scored a triumph. Miss Lilian Coomber played Marguerite to perfection, and gained a well deserved encore for her finished rendering of the famous jewel song while Miss Anna Hope was equally socceseful as Siebel. M. Andre Kaya was a capital Valentine, and the character of Wagner was in good hands with Mr. Frank Arthur. The chorus was particularly effective, and the Soldier’s Chorus had to be repeated in response to vociferous cheers. Praise must also be given to the orchestra, which, under the baton of Mr. Eugene Goossens, quite maintained Carl Rosa traditions. To-night “Carmen” will bs given.” [Western Daily Press, Volume: 91, Issue: 14170, Wednesday, Oct. 28, 1903] | |
| Wed 28th Oct 1903 | Carmen – Mdlle. Alexa Bassian’s, Herr Julius Walther, Mdlle. Cecile Talma, Mr Andre Kaya |
| “Carmen,” always one of the favourite operas of the Carl Rosa Company’s repertoire, was welcomed last night at the Prince’s Theatre by an exceedingly numerous and enthusiastic audience. Of its many fascinating features Bristolians never appear to tire, and the development of the romantic story was followed with just as much interest last night as when, many years ago, Bizet’s work first claimed an audience in this city. That the excellent traditions of the Carl Rosa Company were maintained in the performance last night goes without saying, the principals of the company generally achieving a marked success with their conception of the work. With so many clever representations of Carmen in mind, those who take pleasure in comparisons were naturally keenly interested in Mdlle. Alexa Bassian’s rendering, and it is not too much to say that on but a very few occasions has a more popular Carmen been seen in this city. Mdlle. Bassian’s charming presence and carefully studied acting imparted a vivid impression of the bold and impetuous gipsy girl, and her artistic singing added to the delight which her efforts afforded. Needless to say, Mdlle. Bassian was heartily recalled on several occasions, and her appreciation of the generous applause was apparent. With almost equal success Herr Julius Walther portrayed Don Jose, his conception of the young soldier being a well studied and artistic one. His best effort was, perhaps, given in the tavern scene, where he succumbs to the love of Carmen and realises its import. The outburst of applause which followed this very fine effort was emphatic proof of the success achieved. Mdlle. Cecile Talma, as the peasant girl Michaela, and Mr Andre Kaya as the dashing Escamillo, too, contributed very Largely to the excellence of the performance, the latter’s rendering of the Toreador song being enthusiastically encored. The opera was staged with characteristic completeness, and the production generally was thoroughly in keeping with the Carl Rosa Company’s high standard.” [Western Daily Press, Volume: 91 , Issue: 14171, Thursday, Oct. 29, 1903] | |
| Thu 29th Oct 1903 (m) | Tannhauser – Herr Julius Walther , Mr. Arthur Deane, Mr Alexander Bevan, Miss Lucile Hill, Madlle. Miss Douglas Wilson |
| Thu 29th Oct 1903 (e) | Maritana – Mr E. C. Hedmondt, Mdlle. Cecile Talma, M. Andrea Kaya’, Miss Anna Hope, Mr Frank Arthur; c. Mr Walter Van Noorden |
| “For the matinee performance of “Tannhauser,” yesterday, there was an appreciative audience, an excellent performance being again forthcoming. The cast was somewhat different from that of Monday. Herr Julius Walther filled the title role with conspicuous success, and the music allotted to Venus was rendered pleasingly by Miss Douglas Wilson. The many years which Vincent Wallace’s “Maritana” had been before the public notwithstanding, the opera was accorded as hearty a reception at the Prince’s Theatre last night as if the work had been almost a novelty. There are few, perhaps, who, even if they have not seen the opera, are unfamiliar with the principal numbers, but this probably tends to quicken interest in the romantic story of Don Caesar, and to enhance appreciation of the delightful music At any rate, the retention of the opera in the repertoire of the Carl Rosa Company is evidence that however fleeting may be the attractions exercised by later productions, “Maritana” is a pretty sure managerial card to play. There was a large audience at the Prince’s last night, notwithstanding the counter-attraction of Miss Marie Hall, all parts of the house being well filled. Mr E. C. Hedmondt, who played Don Caesar de Bazan. was in excellent voice, and gave a rollicking impersonation of the gay, reckless soldier. His singing of the plaintive air, “Turn on, Old Time,” delighted the audience, and his robust rendering of “Let Me like a Soldier Fall” was so keenly appreciated that the artiste was compelled to repeat the second verse. His finished vocalisation in “There is a Flower that Bloometh” also won unqualified approval. The Maritana of Mdlle. Cecile Talma was altogether a pleasing performance, and in “The Harp in the Air” and “Scenes that are Brightest,” as well as the other numbers, she sang equally effectively. M. Andrea Kaya’s baritone voice was heard to advantage in the part of Don Jose, and if his acting did not always contrast favourably with other exponents of the character, he won encores for his rendering of “In Happy Moments” and “So My Courage now Regained.” Miss Anna Hope was the boy Lazarillo, and to her was credited the first encore of the evening with “Alas! those Chimes.” The part of the King does not afford much opportunity histrionically, but Mr Frank Arthur did his best with it, and his fine bass tones did justice to the music assigned to him. In the concerted music the chorus did excellent service, and the orchestra, under Mr Walter Van Noorden, ware heartily applauded for their performance of the tuneful overture. There should be a full attendance at the Prince’s this evening, when the Carl Rosa Company will appear, for the first time in Bristol, in the new opera, “Andre Chenier,” by Umberto Giordano, a young Italian composer…” [Western Daily Press, Volume: 91 , Issue: 14172, Friday, Oct. 30, 1903] | |
| Fri 30th Oct 1903 | Andre Chenier (“First time in Bristol”) – Herr Julius Walther, Mr. Arthur Deane, M. Andre Kaya, Mr. Lewys James, Mr. Frank Arthur, Mr. C. Brierley, Mr. Alexander Bevan, Mr. E. Davies, Mr. Newman, Mr. Frank Halpin, Mdlle. Alexia Bassian, Miss Anna Hope, Miss Lilian Coomber; c. Mr. E Goossens |
| “A large and highly-appreciative audience assembled at the Prince’s Theatre last evening to witness the performance by the members of the Carl Rosa Opera Company, for the first time in Bristol, of the new and romantic opera, “Andre Chenier,” by Umberto Giordano, from the Italian of Luigi Illica, the English version being supplied by Percy Pinkerton. The opera was originally played at La Scala, Milan, on March 23th, 1896, where it is said to hare met with great appreciation. Afterwards it was taken to the leading opera houses of France, Germany, Russia, and America with marked success, coming to England in April last, when it was performed at Manchester, and to London in the following month. The story which the librettist has provided deals with an interesting episode of the French Revolution, told in simple, straightforward language, but without losing sight of dramatic effect. Umberto Giordano, the composer, is a young Italian, still in his thirties, who has already become known as the composer of “Mala Vita” and “Fedora,” operas which have commanded considerable success in his native country. In the present work musicians will find much to admire and commend, although it will, perhaps, be generally admitted that the chief strength of the composer’s art is found in the orchestration. To the trained ear this is a source of continued pleasure, and the audience last evening were not slow to recognise the judgment apparent in the skilful arrangement of striking passages. The beautiful prelude, admirably descriptive of the dramatic events disclosed in the opera, awakened pleasureable anticipations, which were fully realised later, for, while the composer has supplied some charming numbers in lighter vein, he has not failed to select the more tragic incidents for bold and decisive treatment. Of the prelude, an interesting feature of last night’s performance is that it was played for the first time in England. The composer was applied to to write an overture, and he endeavoured, in the prelude he supplied, to reflect the story of the opera. That he was successful in that effort was apparent in the impression formed by the audience. As a slight indication of the reason for the title it may be explained that Andre Chenier was a young poet who lived in the disturbed though dramatic period known in French history as “The Terror,” or, in other words, the First Revolution. He and his cousin, Joseph Chenier, are mentioned in Carlyle’s “French Revolution,” and references to many of the characters in the opera are also found in that wonderful piece of word painting. The opera opens in the country house of the Comtesse de Coigny, an aristocrat, pleasure seeking and frivolous. A reception is in progress, amongst the guests are Fleville, the novelist, who brings with him Florinelli, the pianist, and Chenier, the poet. A little pastoral episode of shepherds and shepherdesses takes place. The Countess appeals to Chenier to recite, he excuses himself. Madeleine, her daughter, rallies him on, his moody behaviour, and, starting up, he hurls forth an impassioned protest against the follies and vices of the rich aristocrats. “Gerard,” in humble livery, listens with rapt attention. The outburst having spent itself, the gavotte commences, but from outside are heard the groans and supplications of the poverty-stricken peasants on the estate. The lamentations grow louder and more importunate, and Gerard, flinging away the servility of the footman, flings open the folding window and announces “His Highness Prince Poverty.” The wretched unfortunates crowd into the room, Gerard their self-appointed leader. An old man, his father, begs for forgiveness from the Countess; she indignantly turns from him, and as the rabble are forced out by the servants the gavotte is resumed. In the next scene Gerard, the one-time menial, has become an important public man and a member of the “Committee of Public Safety.” Chenier, in the meantime, has attracted considerable notice by his poems, notably “La Jeune Captive,” and from an unknown correspondent has received letters exhorting him to pursue the highest ideals. Madeleine, who has written the letters, comes to seek him, and they avow their mutual love, but are overheard by a spy of Gerard’s. In a fight which ensues Chenier wounds Gerard. Chenier is arrested and brought before the Revolutionary Tribunal. Madeleine comes to intercede with Gerard, who promises to help her, and, to the astonishment of the court, when the accusation is read, denounces it as false. “But you wrote it,” cry the judges. “It is false nevertheless,” he protests, but too late, and the votes are cast for death. The last tragic episode which takes place in the prison of St. Lazare reminds one somewhat of Sydney Carton in Dickens’s “Tale of Two Cities,” for Madeleine gains access to the prison, and, changing places with a young woman named Legray, who is among those condemned to die, goes with her lover to the guillotine and shares his fate. The hero of the opera, according to the story, should really be Chenier, but the chief honours certainly fall to Gerard, who finds a most capable representative in Mr Arthur Deane. Mr Deane, in addition to possessing a grand baritone voice, is a finished actor, and the dramatic possibilities of the character were not allowed to be lost at his hands. He sang the music allotted to the part with the finish of a true artist, earning the appreciative applause of the audience in the first act by his rendering of the denunciatory number. “Gilded house, I abhor thee!” The impassioned fervour with which he gave “Time was when I rejoiced” aroused intense enthusiasm, and his appeal to Madeleine was equally appreciated. As Andre Chenier, Herr Julius Walther sang with his usual ease and finish, and well realised the character of the ill-starred poet. Miss Lilian Coomber was a charming Madeleine, and sang and acted with equal success in an exacting part. M. Andre Kaya did what there was to do as Roucher exceedingly well. Mdlle. Alexia Bassian sings effectively as Bersi, and Mr Alexander Bevan invests the character of Matthieu with the touch of humour intended by the author. The concerted music is admirably rendered by the chorus, and among the lighter numbers the Nymphs chorus is a dainty melody, which proves very pleasing. All the principals were re-called at the close of each act, and after the fall of the curtain on the trial scene, the conductor, Mr E. Goossens, was called on to receive the appreciative applause of the audience. The opera is splendidly mounted, and the dresses worn in the first act, and all the principal costumes in the other acts, have been made by the chiel costumier of the Carl Rosa Company, Miss Harwood. There was no mistake last night as to the success of “Andre Chenier,” and the opera will no doubt find a place in the repertoire on future occasions.” [Western Daily Press, Volume: 91, Issue: 14173, Friday, Oct. 31, 1903] | |
| Sat 31st Oct 1903 | The Marriage of Figaro – Miss Cecile Talma, Mdlle. Alexia Bassian, Madame Lucile Hill, Mr. Alexander Bevan, Mr. Arthur Deane |
| “TERMINATION OF THE VISIT OF THE CARL ROSA COMPANY – After a week’s most enjoyable performances, the visit of the Royal Carl Rosa Opera Company concluded on Saturday night at the Prince’s Theatre, Park Row. A different opera was given on each evening; affording local audiences opportunities of listening to the more popular features in the extensive repertoire of the company. One opera, “Andre Chenier,” was produced for the first time in Bristol and it gave so much pleasure to music-lovers that one may confidently look for its inclusion in the company’s programme when it next visits the city, which, it may be hoped, will not be very long hence. It may be mentioned as extremely probable that the popular opera, “Tristan and Isolde,” will also find a place in the programme on that occasion; there is reason to think that the management have it in contemplation. Saturday’s attraction was Mozart’s “The Marriage of Figaro,” which contains some most charming music and a pleasing, and occasionally humorous, story. Needless to say, the thoroughly efficient performance given of this opera was much appreciated by a very large audience. Musically and histrionically, the rendering was perfect. Madame Lucille Hill, who had been heard during the week in other operas, sang in excellent style as Countess Almaviva; Miss Cecile Talma’s singing as the vivacious Susanna was excellent in every respect, her acting, too, being noticeable for appropriate verve; and the charming voice of Mdlle. Alexia Bassian was heard to much advantage in the music incidental to the part of the page Cherubino. Miss Douglas Wilson did good service as Marcellina. Mr Arthur Deane was was Figaro: he sang exceedingly well, and his acting was sprightly and effective. Mr Alexander Bevan’s Count Almaviva was a meritorious performance, vocally and otherwise. Other parts were filled by Mr Frank Arthur (Dr. Bartolo), Mr Henry Butcher (Antonio) and Mr Albert Felton (Basilio). With such a cast, indeed, a successful rendering was assured, and the appreciation of audience was manifest in the occasional demands for encores and the frequent outbursts of applause. The instrumentation, too, was brilliant and for this special praise should be given to the orchestra, which was under the conductorship of Mr Walter van Noorden.” [Western Daily Press, Monday, Volume: 91, Issue: 14174, Nov. 2, 1903] |
| 2nd-7th Nov [1 week] York, Theatre Royal | |
| Mon 2nd Nov 1903 | Tannhauser |
| Tue 3rd Nov 1903 | Faust |
| Wed 4th Nov 1903 | The Marriage of Figaro |
| Thu 5th Nov 1903 | Maritana |
| Fri 6th Nov 1903 | Lohgengrin – Miss Alicia Desmond |
| “A Rodley young lady, Miss Alice Smith, whose stage name is “Miss Alicia Desmond,” has just appeared for the first time in a leading role with the Carl Rosa Opera Company. At York last week the took the part of Ortud, and according to the local musical critics made an excellent impression.” [Yorkshire Evening Post, Issue: 4120, Saturday, Nov. 14, 1903] | |
| Sat 7th Nov 1903 (m) | Carmen |
| Sat 7th Nov 1903 (e) | The Bohemian Girl |
| “The following significant communication from York is commended to those who are urging managers to provide high-class fare: — ‘The visit of the Carl Rosa Opera Company to York, and the reception accorded to it, raises the reflection whether something is not radically wrong with the music-loving citizens of the Minster city. One so frequently hears complaints of the sensational dramas which seem the vogue at one house, and the more or less inane musical comedies which prove the staple fare at the other, and the plea is urged with persistent iteration. that if only something on a higher level were provided it would be heartily supported. Yet this week we have had a visit from the Carl Rosa Company, with an excellent repertoire, which included Wagner, Gounod, Mozart, and ballad opera, yet the more remunerative form of support, as represented by the stalls and circles of the Theatre Royal, has been most meagre. The financial results have been by no means on the same basis as the excellence of the performance. A highly creditable and instructive feature of the week’s visit has been the fact that the popular parts of the house have been crowded each night, while empty seats have been the rule in the fashionable parts of the house. A somewhat similar state of affairs prevailed during the recent visit of the D’Oyly Carte Company, and it is very disheartening to managers. who are enterprising enough to engage first-rate companies. After such an experience as last week they had, perhaps, better leave the city which prides itself on its culture and taste in matters artistic to the musical farces and comedies which the London managers supply, as being more suited to the intelligence «f cultured and fashionable York. Next week the Carl Rosa Company will be at the Grand Theatre. Hull, after which they have a fortnight in London, a week each at the Alexandra and Fulham Theatres, and then return to Manchester. Leeds will not be visited during the present tour, which terminates in the second week in May.” [Yorkshire Evening Post, Issue: 4114, Saturday, Nov. 7, 1903] |
Hull 1 week (Grand Theatre)
London 2 weeks (Alexandra and Fulham Theatres)
| 30th Nov – 5th Dec (1 week) Manchester, Queen’s Theatre | |
| Mon 30th Nov 1903 | Tannhauser – E. C. Hedmondt, Lucille Hill |
| Tue 1st Dec 1903 | Carmen – Herr Julius Walther, Miss Alexia Bassian |
| Wed 2nd Dec 1903 | Maritana – E. C. Hedmondt, Mdlle. Cecile Talma |
| Thu 3rd Dec 1903 | Marriage of Figaro – Mr Arthur Deane, Mdlle. Cecile Talma |
| Fri 4th Dec 1903 | Andre Chenier – Herr Julius Walther, Miss Lilian Coomber |
| Sat 5th Dec 1903(m) | I Pagliacci – Herr Julius Walther, Mdlle. Cecile Talma / followed by Cavalleria Rusticana – E. C. Hedmondt, Mdlle. Alexia Bassian |
| Sat 5th Dec 1903(e) | Faust – Mr. Edward Davies, Miss Lucille Hill |
NOV 28; and IRL to be added