Opera Scotland

Aïda 1916Carl Rosa Opera Company

Read more about the opera Aïda

The cast has been taken from the review in the Scotsman (23 February).

The context

"Verdi's Aïda, which was given by the Carl Rosa Company last night, is to be reckoned among the number of spectacular operas, in that it offers great opportunities for gorgeous stage pictures.  It is, however, much more than merely spectacular, as The Huguenots is spectacular.  In Aïda, Verdi approaches his greatest.  There is the true spirit of drama in the story of the young soldier, Radamès, loving the slave girl, Aïda, and himself loved by the daughter of the Pharoah, and text and music reserve a fine relationship.  The Italian sense of theatrical effect is displayed in the various great climaxes, but this is not allowed to interfere with the spirit of the situation.  In Aïda, Verdi has written a music drama, whereas before he wrote operas."

The performance

"Last night's performance had many excellent points. Mr Hughes Macklin was scarcely well suited as Radamès, and he was rather disappointing after the other good appearances which he has made here, but Miss Beatrice Miranda was an excellent Aïda.  There was a greater warmth and colour in her singing than has been the case on previous appearances in Edinburgh, and her acting was also good. 

Miss Christine Oliver, as Amneris, joined to a stately stage presence, sound dramatic art, and her interpretation of the part was admirable in its dignity and fervour.  Mr Frank Clarke as Amonasro, Mr Arthur Winckworth as the High Priest, and Mr Frederick Clendon as the King, made praiseworthy representatives of the remaining principal characters. Written for that spend-thrift potentate, the Khedive Ismail Pasha, Aïda invited splendour of treatment at all points, and last night its Oriental magnificence was very happily suggested.

Mr Henriquez de la Fuente conducted, taking the place, at a couple of hours' notice, of Mr Goossens, who is ill."

The 1916 Scottish tour

The Scottish circuit that year consisted of two weeks at Edinburgh’s Royal Lyceum, followed by three at Glasgow’s Theatre Royal. Advertisements state the orchestra included fifty performers.

Edinburgh w/c 21 Feb: Mon Tales of Hoffmann; Tue Aïda; Wed Tales of Hoffmann; Wed Mignon; Thu Magic Flute; Fri Faust*; Sat m Tales of Hoffmann; Sat e Maritana.

Glasgow w/c 6 Mar: Mon Tales of Hoffmann; Tue Carmen; Wed Faust; Thu Trovatore; Fri Cav & Pag; Sat m Aïda; Sat e Maritana.

Glasgow w/c 13 Mar: Mon Tannhäuser; Tue Tales of Hoffmann; Wed Aïda; Thu Magic Flute; Fri Faust; Sat m Tales of Hoffmann; Sat e Bohemian Girl.

Glasgow w/c 20 Mar: Mon Carmen; Tue Mignon; Wed Cav & Pag; Thu Attack on the Mill; Fri Tales of Hoffmann; Sat m Faust; Sat e Trovatore.

The whole visit consisted of seven performances of Tales of Hoffmann; five of Faust; three of Aïda, Cav & Pag, Carmen, and Trovatore; two of Tannhäuser, Bohemian Girl, Mignon, Maritana, and Magic Flute; with just one of Bruneau's Attack on the Mill.

• The advertised performance in Edinburgh of Attack on the Mill on 3 March was replaced by one of Faust. The latter performance was seemingly not reviewed.