| 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, |
| “The Carl Rosa Opera Company have opened a short season of Grand Opera, and during the week will present several favourite works. Tanhuauser attracted a large audience on Monday, and the performance was received with marked approval. The band is, as usual, painstaking and excellent, under Mr Eugene Goosens. On Monday it played the overture in remarkably fine style and all through the opera the same careful study was maintained. Herr Julius Walther was the Tahnhauser but, owing to a cold, he was not in his usual good voice; however, the part seems to suit him very well, and any little shortcomings in the vocal line were blotted out by his artistic acting. Miss Lydia Nervil, a newcomer to the city, was Elizabeth. She possesses a very sweet voice, and all through she sang with excellent judgement and artistic skill. Mlle. Alexia Bassian gave a remarkable reading of the part of Venus; a better performance could not be desired. The chorus, as usual, is well trained, and sings with steadiness all through.” [The Stage, Thursday 17 September 1903, Page 2] | |
| Tue 15th Sep 1903 | Rustic Chivalry – Edward Davies, Alexia Bassian/ I Pagliacci – Julius Walther, Lilian Coomber |
| “Last evening was an interesting one in the Gaiety Theatre in connection with the all too short season of the Carl Rosa Opera Company. There was a double bill, and a large and appreciative house. First of all came Mascagni’s popular work, “Cavalleria Rusticana” which is always certain of proving a great attraction in Dublin, and undoubtedly it will not pall in its attractiveness by the satisfactory rendering it received last evening. Mr. Edward Davies undertook the role of the ill-fated Turridu and throughout his vocalism was much admired, while M. Andre Kaya was very successful in his interpretation of the part of Alfio. Mdlle. Alexia Bassian is a highly accomplished artiste, and as Santuzza she acquitted herself to the satisfaction of all, and the roles of Lucia and Lola were capably undertaken by Miss Douglas Wilson and Miss Nancy Rossiter. Particular mention must be made of the augmented orchestra, which under the baton of Mr. Eugene Goossens, did excellent work. Their rendering of the beautiful intermezzo was extremely pretty, and the subdued organ effects added much to the performance, “Rustic Chivalry” was followed by Leoncavallo’s “I Pagliacci,” in which Herr Julius Walther was heard to great advantage as Canio. Miss Liliam Coomber, as Nedda, fulfilled all the conditions of the part, her singing being loudly applauded. The Tonio of Mr. Arthur Deane was also very good; he has an excellent voice and knows how to use it. As Beppe, Mr. Arthur Davies was again admirable and M. Andre Kaya made a capital Silvio” [Dublin Daily Express, Wednesday 16 September 1903,Page 4]. “The production of “Cavalleria Rusticana” and “I Pagliacci” by the Carl Rosa Opera Company in the Gaiety Theatre last night was witnessed by a very large audience, testifying at once to the continued popularity in Dublin of the two works produced, and of the company producing them. The performance of “Cavalleria Rusticana” was a remarkably effective one, and was well, even enthusiastically, received by the audience. The choral parts, especially the “Easter Hymn,” were excellently rendered. The duets between Turridu and Santuzza and between Santuzza and Alfio were faultlessly song. In M. Andre Kaye — who made his first appearance with the company last night, in the role of Alfio – the company have found a remarkably fine exponent of the part, and at the conclusion of the scene in which, after hearing of his betrayal from the lips of Santuzza, Alfio threatens vengeance, both he and Miss Alexia Bassian, who played the pert of the woman scorned, were recalled and heartily applauded. The other roles were also well filled, and the entire performance was up to a high standard of merit. The performance of “I Pagliacci” was also a very good display of operatic work. The parts were taken as follows:— Canio, Herr Julius Walther; Tonio, Mr. Arthur Deane; Beppe, Mr. K Davies; Silvio, M. Andre Kaya; Nedda, Miss Lilian Coomber.” [Irish Independent, Wednesday 16 September 1903, Page 5], “The programme last night at the Gaiety Theatre had the merit of variety, and the further merit of affording two very satisfactory performances. The works were “Cavalleria Rusticana ” and Leoncavallo’s “I Pagliacci” — two operas which are well known in Dublin and which never fail to draw good houses. Last night was no exception to the rule. The theatre was crowded in nearly every part, and both the artists and the works were heartily applauded. Mr. Eugene Goosens conducted and the band under his able direction did ample justice to the instrumental score of each opera. Praise is due also to the chorus for their excellent singing A feature in connection with the performance of “Cavalleria Rusticana” was the introduction of the Carl Rosa Company’s new pipe organ. This instrument possesses a rich, full tone, and is a great improvement on the harmonium or American organ which usually does duty in such operatic scenes as require organ music, It was used last night in the accompaniment of the Easter Hymn and in conjunction with the orchestra in the playing of the Intermezzo and in each case the effect was very fine, The performance of the principals was more than satisfactory. They appeared to have recovered from the fatigue of travelling, and one and all sang in a manner that elicited and merited the most cordial applause. In “Cavalleria” we had the pleasure of hearing as Santuzza Mdlle. Alexia Bassian who sang well as Venus in “Tannhauser” on Monday evening. Vocally, her performance was remarkable. Her voice is rich and full, of the most pleasant quality and capable of almost infinite degrees of colour, and she uses it invariably like a real artist. One hardly could desire a more enjoyable interpretation of the music. As an actress, too, she gives great promise. She undoubtedly possesses a dramatic gift. At present she is inclined, perhaps through nervousness, to overload her work with gesture, but a little practical experience will cure this and then her rendering of Santuzza will be as fine dramatically as it is at present vocally. Mr. Edward Davies, the Turridu, is a decided gain to the company. His tenor is robust and tuneful, and the real timbre of a tenor voice. He sings with a due sense of the meaning of his words and music, and altogether his performance in this respect deserves high praise. He, too, however, is just now a little stagey in his style of acting, but this fault can easily be remedied. M. Andre Kaya as Alfio sang very well, and imported a good deal of realism into his acting. Miss Nancy Rossiter was a very pleasing Lola and Miss Douglas Wilson a capable Lucia. As Canio, Herr Julius Walther was at his best. He sang with striking vigour and the perfection of expression, and his acting of the part was powerful. Miss Lilian Coomber, who appeared as Nedda, is a young artist of considerable promise. She is a clever actress; she possesses a full, telling voice, and she sings with capital expression. Miss Coomber is one of the best Neddas we have seen in English opera. A word of praise is due to Mr. Arthur Deane, who, as Tonio, sang the prologue and the remainder of his music admirably. Mr. Edward Davies was Beppe, and M. Andre Kaya, as Silvio, sang with appropriate feeling. It remains to be added that both operas were capitally staged and dressed.” [Evening Irish Times, Wednesday 16 September 1903, Page 6] | |
| Wed 16th Sep 1903 | Maritana – E. C. Hedmondt (Don Cesar de Bazan), M. Andre Kaya (Don Jose de Santerem), Mr. Frank Arthur (King Charles of Spain), Miss Anna Hope (Lazarillo), Miss Cecile Telma (Maritana); c. Walther van Noorden |
| “Maritana” was produced last night by the Carl Rosa Opera Company. and the old favourite was accorded a very hearty welcome from one of the largest audiences which has been seen in the Gaiety for some time back. Before the doors of the theatre were opened an immense crowd had gathered outside, and the early entrance doors were besieged by parties anxious to avail of that mode of getting Inside. Ultimately many people had to be turned away for want of room The performance was a highly meritorious one, and the tuneful, pleasing numbers of the opera were done full justice to by the members of the cast. Mr. E. C. Hedmondt took the role of Don Caesar, and M. Andre Kaya that of Don Jose. Mr. Frank Arthur filled the role of the King. Mdlle. Cecile Talma made a vary good Maritana, and Miss Anna Hope was also very good in the role of Lazarillo.” [Irish Independent, Thursday 17 September 1903, Page 5], “One is glad to find that in Dublin, at any rate, the craze for modern opera of the more or less recherche sort, has not extinguished for such good musical fare as that which proof “Maritana” affords. That Wallace’s tuneful musical drama is still capable of ministering to the pleasure of the crowd was once more amply demonstrated by the large audience which gave the Carl Rosa Company’s performance a flattering reception last evening. It was in most respects a satisfying performance. Mr. Hedmondt portrayed the insouciant, rollicking, dashing, drinking Don Caesar with all the traditional verve of that gallant knight. He was heard to best advantage in the song, “yes, let me like a soldier fall.” The gipsy maiden to Maritana found a competent and most delightful exponent in Mademoiselle Cecile Talma by the Her splendid voice was heard with pleasure in the several songs which fell to her lot, notably “Scenes that are brightest,” and “The harp in the air.” M. Andre Kaya gave a vigorous and generally acceptable reading of and sang his numbers in excellent style. The part of the King of Spain was taken by Mr. Frank Arthur, who did it full justice. From both the dramatical musical point of view he scored a decided success. Miss Anna Hope was the Lazarillo. She was was warmly applauded for her rendering of “The mansions of the blest” [Dublin Daily Express, Thursday 17 September 1903, Page 4] | |
| Thu 17th Sep 1903 | Lohengrin – E. C,. Hedmondt, Lilian Coomber, Winifred Ludlam, Lewys James, Alex Bevan; c. Eugene Goossens |
| “A very large and most attentive house welcomed the production of Lohengrin by the Carl Rosa Company last night – indeed the success that has attended the two Wagner operas this week might well encourage the management to embark upon a more ambitious operatic programme. On both Monday and Thursday evenings there has been scarcely a vacant seat in the house from the gallery to the pit, and such a reception might surely tempt the production of some of the less well known, though none the less beautiful, of Wagner’s operas. The performance last night was most successful both in music and plot; it is a smaller work than Tannhauser it is less exacting, both upon the orchestra and upon the soloists, and from the point of view of the audience, its plot is easier to grasp. Elsa, accused before the king of fratricide by her guardian Telramund, is rescued by an unknown champion, upon promising not to seek to know either his name or country. They fall in love, but their happiness is marred by the schemes of the defeated Telramund and his wife, Ortrud, who instigate Elsa to make her champion reveal his name. He does so, but it costs him his bride, for he may not stay once his name is known. Such a plot does not give the scope which so vast a conception as that of Tannhauser offers, yet the spirit of romance in which the whole is environed, the beautiful trust and faith of Elsa, with its contrast in the worldly scheming of Telramund and his wife, and the completeness of the story, afford a subject of an undoubted power. Its interpretation last night is certainly a matter for congratulation. As Elsa Miss Lillian Coomber was charming. Her acting was characterised by simplicity; she looked the part, and her beautiful voice was used to the best advantage. A larger theatre she might have difficulty in filling, but last night there was no cause for complaint on such a score. The Lohengrin of Mr. Hedmondt was also an admirable performance, his acting being especially fine. As Ortrud Miss Winifred Ludlam was distinctly good. It is not a pleasant part, and is one which might easily be either colourless or overdone; but both in singing and acting she gave a most intelligent rendering. The same might be said of Telramund, Mr Lewys James entered thoroughly into the part, and his acting was characterised by considerable power, though once or twice we noticed a slight tendency to be overdramatic. Mr Alexander Bevan made a most excellent king. A special word must be kept for the orchestra, which, under Mr Eugene Goosens, added very considerably to the success of the evening. The overture and the wedding march in the 3rd act were admirably played While the audience were given ample opportunity to enjoy the lesser beauties of the orchestration, such as the beautiful oboe solo in act 2. The scenery and staging were most effective.” [Dublin Daily Express, Friday, 18 September 1903], “The Gaiety was densely crowded last might, when the Carl Rosa Opera Company produced “Lohengrin,” Wagner’s romantic work has multitudes of strong admirers, and its announcement by this company always draws to the theatre a large gathering of musical people. Last night’s experience afforded a further proof of this fact, and the house, in addition to being well-filled, became highly enthusiastic over the performance. The Lohengrin of Mr. Hedmondt, though inclined at the opening to be somewhat disappointing, was on the whole a very capable effort. His singing at times was worthy of high praise, and in acting and general stage demeanour he associated himself successfully with the part, and frequently received warm applause. Miss Lilian Coomber made an attractive Elsa. Her vocal work was characterised by many pleasing features which rendered her portion of the performance very acceptable As Ortrud, Miss Winifred Ludlam also acquitted herself with good effect, and received much favourable notice from house. Mr. Lewys James treated the part of Telramund in fine robust style and was forcible and telling in his rendering of the music. Mr. Alexander Bevan, who appeared as Henry the Fowler, sang very well and in other respects gave a successful interpretation of the character. Mr. Frank Arthur was, generally speaking, efficient as the Herald. The work of the chorus reached a high standard of excellence, and the orchestra, conducted by Mr. Goosens, is deserving of very great praise.” [Evening Herald (Dublin), Friday 18 September 1903, Page 4] | |
| Fri 18th Sep 1903 | The Marriage of Figaro – Alex Bevan, Lydia Nervil, Alexia Bassin, Frank Arthur Deane, Arthur, Cecile Talma |
| “The production of Mozart’s “Figaro” of the Carl Rosa Opera Company at the Gaiety last night was singularly interesting. The opera is of light construction. Based upon a series of suspected intrigues, which in the end prove unfounded, it gives scope for various situations of delightfully humorous difficulty. Throughout there is a pleasant atmosphere of gallantry, which, without becoming either tragic or vulgar, affords sufficient motive for rapid action. The music is characterised by all the sweetness and fanciful melody of Mozart at his best, and blends most happily with the air of butterfly romance which pervades the whole opera. The role of Figaro was entrusted to Mr. Arthur Deane, whose singing and acting were admirably suited to the part. He threw just that air of lightness into both which was wanted to realise the part. In this he was well seconded by Mdlle. Talma as Susanna, whose fine voice was heard to great advantage, while the vivacity of her acting had a charm of its own. Mdlle. Alexia Bassian was the Cherubino, and her reading was delightful. There is a wide gulf between the Venus Music of Tannhauser and that of Cherubino, and yet both parts were rendered by her with excellent taste. Mr. Alexander Bevan was the Count Almaviva. From his interpretation of the Landgrave in “Tannhauser” we were prepared for a somewhat stiff performance, but were agreeably surprised; he sang well throughout and infused considerable life into his acting. Miss Lydia Nervil, as the Countess Almaviva, was not at her best, there was a melancholy note about her acting, a want of movement which forcibly suggested Wagner’s Elizabeth. Her singing, however, was characterised by great refinement and purity of tone, and her rendering of the beautiful song in the third act was, perhaps, the finest throughout the whole opera. All the lesser parts were capably filled. The house was again crowded with an audience who appeared thoroughly to enjoy the humour and delicacy of the work, as well as appreciating the excellence of the singing and acting.” [Dublin Daily Express, Saturday 19 September 1903, Page 4], “Last night the Carl Rosa Opera Company produced “The Marriage of Figaro” before a Gaiety audience of very large dimensions, and an excellent performance in every respect was witnessed: The fact that this work of Mozart’s was so well patronised would seem to argue that his operas still hold high place in popular estimation, and might be taken as a protest against a present-day neglect, which can only be excused by the belief that Mozart has become unfashionable, and that his music has lost its hold on account of the preference shown for more modern composers. The hard logic of the booking office is, of course, what operatic managers most look to, but it seems hard to believe that in any community where an. educated musical taste prevails the inexpressible charm of Mozart’s music should ever cease to command admiration. The work under notice, written more then a century and a quarter ago, illustrates its author’s genius unmistakably, and possesses a well-nigh inexhaustible wealth of the purest melody and artistic perfection. Mozart in these respects was never surpassed as a composer, and it will certainly bespeak the decay of refined taste in matters musical if it ever should come to pass that his works are to be treated with the indifference with which he himself was at the close of a chequered life, in which he tasted the bitterness of disappointment as well as the sweets of triumph. The opera was staged last night with a very strong cast, and the performance was one of the moat striking successes of the week: Mdlle. Lydia Nervil, who made such an excellent impression on Monday night as Elizabeth in Tannhauser, appeared as Countess Almaviva, a part in which she was seen to much better advantage. end gave her much better opportunity for displaying the fine quality of her voice, the charms of which were not lost an last night’s audience. Mdlle. Cecile Talma, as Susanna, was equally successful, her sprightly manner fitting well into the character, the music of which she rendered in excellent fashion. As Cherubino, Mdlle. Alexia Bassian also added considerably to the reputation which she has won since the season opened. She uses her voice with much expression, but some of her acting last night in the part of the butterfly courtier would have been better if it had tended less towards exaggeration. Mr. Arthur Deane, as Figaro, sang his music with admirable taste and finish, and otherwise he presented the part in the traditional light-hearted manner. As the Count, Mr. Alexander Bevan was seen in a part which suits his voice capitally. The Dr. Bartolo of Mr. Frank Arthur and the Basilio of Mr. Albert Felton were also in keeping with the general excellence of the performance. Mr. Walter Van Noorden conducted.” [Irish Independent, Saturday, 19 September 1903] | |
| Sat 19th Sep 1903 (m) | Carmen – Julius Walther, Alexia Bassian, Arthur Deane, Bertha Cooke, Anna Hope, Cecile Talma; c. Walter van Noorden |
| “The Carl Rosa company have made an excellent start to their present tour. Commencing at Leeds on the 31st ult., they played to crowded houses throughout the week, and Belfast and Dublin have repeated these experiences. The personell of the company includes the following: Madame Lucile Hill, Madame Cecile Talma, Miss Anna Hope, Miss Alexia Bassian, Miss Antoinetta Sohus, Miss Winifred Ludlam (specially engaged), Miss Lydia Nervil (specially engaged), Herr Julius Walther, and Messrs E. C. Hedmondt, Edward Davies, Andre Kaya, Arthur Deane, Frank Arthur, and Alexander Bevan, etc.” [Hull and East Yorkshire Times, Saturday 19 September 1903, Page 10] | |
| Sat 19th Sep 1903 (e) | Faust – Edward Davies, Lydia Nervil, Alex Bevan, Andrew Kaya, Anna Hope, Miss Douglas Wilson; c.Eugene Goossens |
| “The all too short season of grand opera at the Gaiety Theatre was brought to a successful conclusion on Saturday, when the Carl Rosa Company presented two works. At the matinee “Carmen” was produced, and sufficient evidence of the enduring popularity of Bizet’s beautiful composition was furnished in the house that was crowded in every part. The production was in every way worthy of the Carl Rosa combination, the artistes acquitting themselves highly creditably, while the staging was admirable. In the title role Mdlle. Alexia Bassian gave a very graceful and talented rendering of the part, her vocalism being much appreciated; indeed, she more than justified the high opinions formed of her her during the week. The Jose of Herr Julius Walther was excellent, and Mr. Deane’s impersonation in Escamillo was all that one. would expect from such an accomplished vocalist. Miss Anna Hope was very good as Mercedes, and Miss Bertha Cooke and Mdlle. Cecile Telma well sustained the roles of Frasquita and Michaela. The other characters were carefully portrayed by Mr. Frank Arthur, Mr. Lewys James, Mr. Albert Fenton, Mr. Henry Butcher, and Mr. G. Newman. Mr. Walter Van Noorden conducted. At night, before a very large house, “Faust” was produced. In the title role Mr. Edward Davies gave a very satisfactory rendering of the part, the Marguerite of Mdlle. Lydia Nervil was very finished, her vocalism being greatly admired. Mr. Alexander Bevan’s conception of Mephistopheles was also very good,and the Valentine of M. Andre Kaya was greatly appreciated. Miss Douglas Wilson was an excellent Martha, and Miss Anna Hope, as Siebel, sang most artistically, while Mr. Frank Arthur made a good Andrew. The fine pipe organ carried by the company was again heard with charming effect. Mr. Eugene Goossens ably conducted.” [Dublin Daily Express, Monday 21 September 1903, Page 7], “On Saturday the Carl Rosa Opera Opera Company concluded a very successful engagement at the Gaiety Theatre with a matinee performance of Bizet’s “Carmen,” and an evening performance of Gounod’s “Faust.” The attendance both at the matinee and in the evening was large and the works were heartily applauded. The conductor at the matinee was Mr. Walter Van Noorden, and it is almost unnecessary to say that under his direction the band and chorus acquitted themselves well. Alexia Bassian was the Carmen, and it may be said without exaggeration that vocally and dramatically, no less than in general appearance, she gave an ideal portrait of the gipsy. Her singing was refined and pleasing – even brilliant – throughout, and while her acting was sufficiently realistic to satisfy the requirements of the part, she exercised a judicious restraint which prevented the freedom of the gipsy’s manner from degenerating even for a moment into coarseness. Unhappily Julius Walther, who appeared as Jose, was suffering from a very severe cold which made the effort to struggle through his part a trying and painful one. At the close of the first act, Mr. Van Noorden appealed for the indulgence of the audience in the circumstances and it is unnecessary to say that the house not only followed the performance with sympathetic interest, but appreciated Herr Walther’s generosity in struggling through an ordeal which must have been painful to him. If the cold had almost deprived him of his voice, however he yet showed that he posesssed great art, and had a very real understanding of the character, and the warm applause which greeted him at the conclusion of reach act was fully merited. Mr. Arthur Deane was a first rate Escamillo and Mdlle. Cecile Talma a charming Micaela. The remaining parts were ably filled. Mr. Edward Davies was the “Faust,” Mr. Davies is a tenor of great promise. His voice is sufficiently robust and telling and of a most bright and pleasing quality. A little experience in acting will make a first-rete artist of him, for he sings his music nearly perfectly. Mdlle. Lydia Nervil must be congratulated on her Marguerite. She looks the part, and seldom has a Marguerite brought to the aid of finished staging a more pleasing presence. In the matter of acting, she may have erred slightly on the side of restraint, but seldom has the music been sung with greater taste or more appropriate expression. M. Andre Kaya was a capital Valentine, Mr. Bevan a satisfactory Mephistopheles and Miss Anna Hope as Siebel sang excellently. Miss Douglas Wilson was a first-rate Marthe, and Mr. Frank Arthur as Wagner sang in a manner that deserves great praise. Mr. Goossens conducted and the band and chorus were all that could be desired. The performance, it may be added, was heartily applauded.” [Evening Irish Times, Monday 21 September 1903, Page 7] |
| 21 – 26th Sep [1 week] Liverpool, Prince of Wales Theatre | |
| “The Royal Carl Rosa Opera Company is to revisit Liverpool next week, giving six evening performances and a Saturday matinee at the Prince of Wales Theatre, where it has not appeared since 1879. The company carries with it a permanent orchestra of twenty-two, besides a large pipe organ, so that the church scenes may be rendered with full effect. The company includes Mdlle. Alexia Bassian, the Armenian soprano, who has made a great success on the continent, and who has been described by Madame Marchesi, the renowned operatic teacher of Paris, as being in temperament, appearance, and voice, an ideal Carmen. Mdlle. Talma is another newcomer who is credited with a fine soprano voice and an attractive stage appearance. Then there is Miss Lydia Nervil, who is, according to all accounts, the coming Prima Donna. She has been appearing at the Paris Opera Comique, where she had first a three, and subsequently a five years’ contract. The directors of that establishment have released her for a short season to enable her to sing in grand opera before her own country people. Besides, there is the new contralto, Miss Anna Hope, Messrs. Alexander Bevan, Arthur Deane, Frank Arthur, Edward Davies, Andre Kaya, E. C. Hedmondt, and Herr Julius Walther are amongst the male artistes of the company. The operas to be presented are “Tannhauser,” “Cavalleria Rusticana,” and “I Pagliacci,” “Maritana,” “Lohengrin,” “Faust,” and “Carmen.” [Liverpool Weekly Courier, Saturday, 19 September 1903] | |
| Mon 21st Sep 1903 | Tannhauser – Julius Walther, Lydia Nervil |
| Tue 22nd Sep 1903 | Cavalleria Rusticana – Edward Davies, Alexia Bassian / I Pagliacci – Julius Walther, Lilian Coomber |
| Wed 23rd Sep 1903 | Maritana – E. C. Hedmondt, Cecile Talma |
| Thu 24th Sep 1903 | Marriage of Figaro – Arthur Deane, Lydia Nervil |
| Fri 25th Sep 1903 | Lohengrin – E. C. Hedmondt, Lilian Coomber |
| Sat 26th Sep 1903 (m) | Carmen – Julius Walther, Alexia Bassian |
| Sat 26th Sep 1903 (e) | Faust – Edward Davies, Lydia Nervil |
28th 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 |
to 21 sep; NOV 28; and IRL to be added