Opera Scotland

Tannhäuser 1914Carl Rosa Opera Company

Read more about the opera Tannhäuser

Only the briefest account of this Tannhauser perfomance in Edinburgh is given.  There is an interesting indication, right at the end, that the cuts perpetrated on the work as a matter of course could in fact be varied - perhaps to shorten the evening or to accommodate singers or musicians.

 

An Edinburgh Review

Edinburgh Evening News:  Thursday, 26 February 1914  (p4)

Carl Rosa Company in Tannhäuser

'There was again a good attendance last night at the Lyceum.  The theatre, indeed, this second week, has been better filled than last, the uniformly excellent performances and the attractive nature of the operas performed having succeeded in drawing out the public in spite of counter attractions of many kinds.  The repertoire of the company is indeed remarkable, as is also the staying power of the chief singers.

'Madame Ina Hill has appeared almost nightly in heavy roles. and always with distinction.  She is an invaluable member of such a touring company.  A fine singer, gifted with a voice that is reliable, a personality that it attractive,  and a power apparently of quick study,  she adapts herself to the diverse roles she essays and fails in none.  Last night she ably sustained that of Elizabeth in Wagner's Tannhäuser, with her wonted beauty of vocalisation, and was ably seconded by William Wegeder in the title role.  He carried the audience with him all through, and was especially successful in the fine closing scene, that of Tannhäuser's return from his penitential pilgrimage to Rome.

'Hebden Foster sang the music of Wolfram with the requisite suavity and dignity of the poet idealist.  Another part ably filled was that of the Landgrave by Arthur Winckworth.  There were some deviations from the conventional presentation of the opera, alike as to the music selected and the stage setting. 

'To-night The Magic Flute is to be given.'

 

Carl Rosa in Scotland - 1914

The 1914 season was unusual in that it was restricted to five weeks in total, and all those in the central belt.   One week at Greenock (King's), and two in Edinburgh (Lyceum), were followed by two in Glasgow (Theatre Royal).

The somewhat reduced repertoire consited of twelve operas in all.  These were by Mozart (Marriage of Figaro,  Magic Flute);  Wallace (Maritana);  Wagner (Tannhäuser,  Lohengrin);  Verdi (Trovatore,  Aïda);  Thomas (Mignon);  Gounod (Faust)  Offenbach  (Tales of Hoffmann);  Bizet (Carmen);  Wolf-Ferrari (Jewels of the Madonna).

The five-week tour schedule was as follows:

Greenock:  w/c 9 February:   Mon 9  Magic Flute;  Tue 10  Carmen;  Wed 11  Tales of Hoffmann;  Thu 12  Trovatore;  Fri 13  Jewels of the Madonna;  Sat 14 m  Tannhäuser;   Sat 14 e  Maritana.

Edinburgh:  w/c 16 February:  Mon 16 Tales of Hoffmann;  Tue 17 Carmen;  Wed 18 Lohengrin;  Thu 19 Mignon;  Fri  20 Jewels of the Madonna;  Sat 21 m Tales of Hoffmann;  Sat 21 e Faust.

Edinburgh: w/c 23 February:  Mon 23 Tales of Hoffmann;  Tue 24 Marriage of Figaro;  Wed 25 Tannhäuser;  Thu 26 Magic Flute;  Fri 27 Tales of Hoffmann;  Sat 28 m Jewels of the Madonna;  Sat 28 e Trovatore.

Glasgow:  w/c 2 March;  Mon 2 Tales of Hoffmann;  Tue 3 Mignon;  Wed 4 Tannhäuser;  Thu 5 Jewels of the Madonna;  Fri 6 Magic Flute; Sat 7 m Tales of Hoffmann;  Sat 7 e  Trovatore.

Glasgow:  w/c 9 March:  Mon 9 Carmen;  Tue 10 Marriage of Figaro;  Wed 11 Tales of Hoffmann;  Thu 12 Maritana;  Fri  13 Aïda;  Sat 14 m Faust;  Sat 14 e Tales of Hoffmann.