Posts Tagged ‘Kate Santley’

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Lottie Montal in London, 1874

September 10, 2013

Lottie Montal (née Louise Felicie Augustine Jean, 1851-1933), Parisian-born singer, at the time of her appearances at the Alhambra, Leicester Square, London, in 1874.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1874. Please note that this photograph has suffered water damage.)

In 1874 Miss Montal was married in London as his third wife to the French-born touring violinist, Horace Remy Poussard (1829-1898). In 1887 Miss Montal was married in New Zealand to Wynne Aubrey MacLean (1857-1890). After his death she lived for a while in London, where she taught singing. She died in London on 13 October 1933.

The Alhambra, Leicester Square, London, week beginning 3 August 1874
‘The Alhambra was crowded to repletion on Monday. The herione in The Pretty Perfumeress, recently played by Miss Kate Santley, is now personated by Miss Lottie Montal, an arch, bright-eyed, clever little lady from Australia, who sings nicely and acts charmingly.’
(Reynold’s Newspaper, London, Sunday, 9 August 1874, p. 5d)

The Alhambra, Leicester Square, London, week beginning 10 August 1874
‘Notwithstanding the repeated statement that everybody is out of town, we found a large assemblage at the Alhambra on Monday evening, so that it is evident the programme must have especial attractions for those who have not yet gone to the seaside, hillside, moorside, or lakeside… . Filling the place of Miss Kate Santley as Rose Michou, the heroine of Offenbach’s opera bouffe La Jolie Parfumeuse, we have an Australian prima donna, new to the London boards, by name Miss Lottie Montal. It was singular to notice, in one scene especially, the remarkable similarity in Miss Lottie Montal’s conception of the character to that of Miss Kate Santley. We are not aware whether this was intentional or accidental, but the result was the same, and the likeness went far to secure the favour of the audience, apart from Miss Montal’s own claims, which, personal and otherwise, are considerable. With a graceful figure and remarkably easy action Miss Montal combines pleasing features, eminently calculated to add to charm to such a character as that she is now depicting. Her voice is not powerful, neither has it the finest quality of tone, but one great merit belongs to it, which is not likely to pass unappreciated in opera bouffe, it is very flexible, enabling the fair owner to execute any florid passages with great ease. This was noticeable in the drinking song of the second act, one of the prettiest melodies of La Jolie Parfumeuse, in which Miss Montal revealed her best qualities as a singer. The song was rendered with much sparkle, dash, and vivacity, and was deservedly encored. In many other instances Miss Montal was entitled to very sincere congratulations, and the more she becomes accustomed to the large area of the Alhambra the more successful we believe she will be. The somewhat ”risky” scene of the second act, considerably toned down since the first night, leaves nothing at present to offend the fastidious, which (thanks to the droller of Mr [Harry] Paulton, who aids Miss Montal admirably here) it is full of fun. The lady, greatly to her credit, resists the temptation to make the incident too suggestive, and we feel grateful. It might easily be played so as to ”make the unskilful laugh,” but it would certainly tend ”to make the judicious grieve,” and Miss Montal’s judgment in leaving well – or ill – alone must be highly commended… .’
(The Era, London, Sunday, 16 August 1874, p. 11a)

Following her engagement at the Alhambra, Miss Montal was due to appear at the Criterion Theatre, London, but illness intervened.

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Lottie Montal at the Alhambra, Leicester Square, London, 1874

September 10, 2013

Lottie Montal (née Louise Felicie Augustine Jean, 1851-1933), Parisian-born singer, at the time of her appearances at the Alhambra, Leicester Square, London, in 1874.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1874. Please note that this photograph has suffered water damage.)

In 1874 Miss Montal was married in London as his third wife to the French-born touring violinist, Horace Remy Poussard (1829-1898). In 1887 Miss Montal was married in New Zealand to Wynne Aubrey MacLean (1857-1890). After his death she lived for a while in London, where she taught singing. She died in London on 13 October 1933.

The Alhambra, Leicester Square, London, week beginning 3 August 1874
‘The Alhambra was crowded to repletion on Monday. The herione in The Pretty Perfumeress, recently played by Miss Kate Santley, is now personated by Miss Lottie Montal, an arch, bright-eyed, clever little lady from Australia, who sings nicely and acts charmingly.’
(Reynold’s Newspaper, London, Sunday, 9 August 1874, p. 5d)

The Alhambra, Leicester Square, London, week beginning 10 August 1874
‘Notwithstanding the repeated statement that everybody is out of town, we found a large assemblage at the Alhambra on Monday evening, so that it is evident the programme must have especial attractions for those who have not yet gone to the seaside, hillside, moorside, or lakeside… . Filling the place of Miss Kate Santley as Rose Michou, the heroine of Offenbach’s opera bouffe La Jolie Parfumeuse, we have an Australian prima donna, new to the London boards, by name Miss Lottie Montal. It was singular to notice, in one scene especially, the remarkable similarity in Miss Lottie Montal’s conception of the character to that of Miss Kate Santley. We are not aware whether this was intentional or accidental, but the result was the same, and the likeness went far to secure the favour of the audience, apart from Miss Montal’s own claims, which, personal and otherwise, are considerable. With a graceful figure and remarkably easy action Miss Montal combines pleasing features, eminently calculated to add to charm to such a character as that she is now depicting. Her voice is not powerful, neither has it the finest quality of tone, but one great merit belongs to it, which is not likely to pass unappreciated in opera bouffe, it is very flexible, enabling the fair owner to execute any florid passages with great ease. This was noticeable in the drinking song of the second act, one of the prettiest melodies of La Jolie Parfumeuse, in which Miss Montal revealed her best qualities as a singer. The song was rendered with much sparkle, dash, and vivacity, and was deservedly encored. In many other instances Miss Montal was entitled to very sincere congratulations, and the more she becomes accustomed to the large area of the Alhambra the more successful we believe she will be. The somewhat ”risky” scene of the second act, considerably toned down since the first night, leaves nothing at present to offend the fastidious, which (thanks to the droller of Mr [Harry] Paulton, who aids Miss Montal admirably here) it is full of fun. The lady, greatly to her credit, resists the temptation to make the incident too suggestive, and we feel grateful. It might easily be played so as to ”make the unskilful laugh,” but it would certainly tend ”to make the judicious grieve,” and Miss Montal’s judgment in leaving well – or ill – alone must be highly commended… .’
(The Era, London, Sunday, 16 August 1874, p. 11a)

Following her engagement at the Alhambra, Miss Montal was due to appear at the Criterion Theatre, London, but illness intervened.

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September 10, 2013

Lottie Montal (née Louise Felicie Augustine Jean, 1851-1933), Parisian-born singer, at the time of her appearances at the Alhambra, Leicester Square, London, in 1874.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1874. Please note that this photograph has suffered water damage.)

In 1874 Miss Montal was married in London as his third wife to the French-born touring violinist, Horace Remy Poussard (1829-1898). In 1887 Miss Montal was married in New Zealand to Wynne Aubrey MacLean (1857-1890). After his death she lived for a while in London, where she taught singing. She died in London on 13 October 1933.

The Alhambra, Leicester Square, London, week beginning 3 August 1874
‘The Alhambra was crowded to repletion on Monday. The herione in The Pretty Perfumeress, recently played by Miss Kate Santley, is now personated by Miss Lottie Montal, an arch, bright-eyed, clever little lady from Australia, who sings nicely and acts charmingly.’
(Reynold’s Newspaper, London, Sunday, 9 August 1874, p. 5d)

The Alhambra, Leicester Square, London, week beginning 10 August 1874
‘Notwithstanding the repeated statement that everybody is out of town, we found a large assemblage at the Alhambra on Monday evening, so that it is evident the programme must have especial attractions for those who have not yet gone to the seaside, hillside, moorside, or lakeside… . Filling the place of Miss Kate Santley as Rose Michou, the heroine of Offenbach’s opera bouffe La Jolie Parfumeuse, we have an Australian prima donna, new to the London boards, by name Miss Lottie Montal. It was singular to notice, in one scene especially, the remarkable similarity in Miss Lottie Montal’s conception of the character to that of Miss Kate Santley. We are not aware whether this was intentional or accidental, but the result was the same, and the likeness went far to secure the favour of the audience, apart from Miss Montal’s own claims, which, personal and otherwise, are considerable. With a graceful figure and remarkably easy action Miss Montal combines pleasing features, eminently calculated to add to charm to such a character as that she is now depicting. Her voice is not powerful, neither has it the finest quality of tone, but one great merit belongs to it, which is not likely to pass unappreciated in opera bouffe, it is very flexible, enabling the fair owner to execute any florid passages with great ease. This was noticeable in the drinking song of the second act, one of the prettiest melodies of La Jolie Parfumeuse, in which Miss Montal revealed her best qualities as a singer. The song was rendered with much sparkle, dash, and vivacity, and was deservedly encored. In many other instances Miss Montal was entitled to very sincere congratulations, and the more she becomes accustomed to the large area of the Alhambra the more successful we believe she will be. The somewhat “risky” scene of the second act, considerably toned down since the first night, leaves nothing at present to offend the fastidious, which (thanks to the droller of Mr [Harry] Paulton, who aids Miss Montal admirably here) it is full of fun. The lady, greatly to her credit, resists the temptation to make the incident too suggestive, and we feel grateful. It might easily be played so as to “make the unskilful laugh,” but it would certainly tend “to make the judicious grieve,” and Miss Montal’s judgment in leaving well – or ill – alone must be highly commended… .’
(The Era, London, Sunday, 16 August 1874, p. 11a)

Following her engagement at the Alhambra, Miss Montal was due to appear at the Criterion Theatre, London, but illness intervened.

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Alice Hamilton

May 31, 2013

Alice Hamilton (fl. 1870s-1890s), mezzo-soprano and actress, probably as she appeared as Pricess Guinevere in E.L. Blanchard’s pantomime, Tom Thumb the Great; or, Harlequin King Arthur and the Knights of the Round Table, at Drury Lane Theatre, Christmas, 1871. Other members of the cast were the Vokes Family and Miss Amalia.
(carte de visite photo: The London Stereoscopic & Photographic Co Ltd, London, circa 1871/72; hand tinted)

Alice Hamilton appeared again at Drury Lane the following Christmas in the pantomime The Children of the Wood; or, Harlequin, Queen Mab, and the World of Dreams. She is next mentioned in connection with an English version of Lecocq’s comic opera Giroflé-Girofla, produced at the Criterion Theatre, London, on 1 May 1875. According to The Morning Post (Monday, 3 May 1875, p. ), ‘Miss Hamilton made a tame, but still interesting, Paquita’; the cast also included Pauline Rita, Emily Thorne and Rose Keene.

In July 1875 Alice Hamilton joined Kate Santley’s Company for a provincial tour, after which she appeared in many comic operas and plays, including Charles Calvert’s 1877 production of Henry VIII at the Theatre Royal, Manchester, in which she played Anne Boleyn, looking ‘very pretty and graceful’ (The Era, London, Sunday, 2 September 1877, p. 13a/b). On 8 September 1881 she created the part of Mrs Augustus Green in George R. Sims’s farcical comedy The Gay City, when it was first produced at the Theatre Royal, Nottingham; the case was lead by Lionel Rignold.

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Elisa Savelli

March 7, 2013

a carte de visite photograph of Elisa Savelli (sometimes Eliza Savelli, real name Miss Sewell, fl. 1870s/1880s), English soprano, who created the role of Bi-bi in the English version of Offenbach’s Vert-Vert, produced at the St. James’s Theatre, London, 2 May 1874
(photo: The London Stereoscopic & Photographic Co Ltd, London, mid 1870s)

see details of Opera Rara’s newly released 2 CD recording of Vert-Vert
‘A great success has been achieved at Milan by a young English prima donna now singing there under the name of Mdlle. Savelli. She has been received with great favour in many different rôles, especially in ”La Traviata” and ”Martha.” Mdlle. Savelli, who, in addition to her musical acquirements, is very beautiful, will probably appear in London next season.’
(The Illustrated Police News, &c, London, Saturday, 20 August 1870)

‘SIGNORA ELISA SAVELLI, Prima Donna Assoluto Soprano,
‘Has returned to London, after a brilliant and successful career of four years in Italy, singing to Milan and other Principal Cities. Will shortly appear at one of our large Theatres, being especially Engaged from Milan, to represent the Principal Par in the Opera ”Le Roi Carote.” Disengaged up till the 3d June. Apply, Mr. Carte, 20, Charing-cross.’ (The Era, London, Sunday, 12 May 1872, advertisement)

‘ALHAMBRA THEATRE ROYAL. ‘The Manager, Mr. John Baum, begs to inform the nobility and gentry that, on the 3d of June, will be produced, on a scale of magnificence hitherto unapproached in London, the Grand Opera Bouffe Feerie, LE ROI CAROTTE, in which upwards of 1,000 dresses will appear upon the stage. Music by Mons. J. Offenbach. Words translated and adapted to the English stage by Henry S. Leigh, Esq.
‘The artistes engaged include Mdlle. Elise Savelli, [Anetta] Scasi, and Cornelia D’Anka; Messrs, Selle, Connell, Warboys, and [Harry] Paulton.
‘Two Premier Danseuses, Mdlle. Nini and Bertha Linda, who will make their first appearance in London. A powerful chorus has been carefully selected, and with the magnificent Orchestra will be under the immediate direction of Mons. [Georges] Jacobi.’
(Reynolds’s Newspaper, London, Sunday, 26 May 1872, advertisement)

‘ALHAMBRA THEATRE ROYAL. – FIRST NIGHT of LE ROI CAROTTE.
‘ALHAMBRA THEATRE ROYAL. -FIRST APPEARANCE of the celebrated Prima Donna Mdlle. ELISA SAVELLI, from Milan, Naples, &c. …’
(The Daily News, London, Monday, 3 June 1872, advertisement)
The Alhambra, extract from a review of Le Roi Carotte
‘… Mdlle. Cornelia D’Anka, who was Cunégonde, as usual, captivated all hearts by her handsome face and figure. Her vocal ability, too, enabled her to render good service, and it was manifestly impossible for the audience to be anything but pleased with so fascinating an artiste, even when she kept them waiting, which, we are compelled to say, she did more than once. The loving Rosee had a capital representative in Mdlle. Elisa Savelli, who was literally overwhelmed with bouquets for her rendering of a charming and plaintive air in which she envies the flowers and the birds, and sighs for release from captivity. Miss [Violet] Cameron was Coloquinte, the sorceress, and she only calls for remark by reason of the scantiness of her dress… .’
(The Era, London, Sunday, 9 June 1872)

The Alhambra, extract from a further review of Le Roi Carotte
‘… Mdlle. Elisa Savelli is also brilliantly successful as Rosee du Soir, and sings the air in the third act so well as to gain an encore, and the duet with Mdlle. Anetta Scasi, ”Guide me! guide me!” is equally successful and qually meritorious on the part of both ladies… .’
(The Era, London, Sunday, 4 August 1872)

‘ALHAMBRA THEATRE ROYAL. –
‘Seventy-ninth Night, and during the week, LE ROI CAROTTE. Principal Characters:- Miss Kate Santley (her First Appearance), Annetta Scasi, and Elisa Savelli; Messrs F.H. Celli, E. Connell, Worboys, Robins, and Harry Paulton. 250 Coryphees. The Opera commences at 8.15; terminated at 11.40.
‘The coolest and best ventilated Theatre in London.’
(The Era, London, Sunday, 1 September 1872, advertisement)

‘SIGNORA SAVELLI. – This talented vocalist, who has become quite a favourite at the Alhambra, on Monday evening, at two hours’ notice, undertook the role of Robin Wildfire in Le Roi Carotte, and created what we may truthfully term a furore. She is we understand specially engaged for the part of the Princess in The Black Crook [1st performance, Christmas Eve, 1872], now in active preparation.’
(The Era, London, Sunday, 1 December 1872)

The Alhambra, The Black Crook
‘… On the acting in the piece high praise may be bestowed, Mdlle. Savelli, who carried off the principal honours of the evening, sustains the part of Desirée with grace and skill, and is none the less impressive because she always avoids exaggeration… .’
(The Times, London, Friday, 27 December 1872

‘ITALIAN OPERA CONCERT. – A concert will be given this (Saturday) evening at the Victoria Rooms by several artistes of the Royal Italian Opera. The Brighton Gazette speaks highly of the vocal powers of Madame Savelli and Signor Brennelli, two of the artistes who will take part in the concert.’
(The Bristol Mercury and Daily Post, Bristol, Saturday, 19 September 1885)

‘MADAME ELISA SAVELLI,
‘Prima Donna, Soprano Dramatica, for Italian and English Opera.
‘Madame Savelli’s beautiful and artistic rendering of ”Convien Parti” (Donnizetti) was much admired, as was also her rendering of the ”Stella Confidenta,” which was enthusiastically encored. She is possessed of a magnificent soprano voice of rich and powerful quality such as is rarely heard. – Bristol Times and Mirror.
‘Address all communications to Mr Gilbert Tail, 6, York-street, Covent-garden, W.C.’
(The Era, London, Saturday, 3 October 1885, advertisement)

‘On Saturday next Her Majesty’s Theatre is announced to open at popular prices, with a company selected in Italy and France. Well-known operas will be given, commencing with Il Trovatore, Faust, Rigoletto, Lucia, Il Barbiere, La Traviata, Ernani, Fra Diavolo, LaGioconda, and, later on (never performed in England), La Ione. Mesdames Savelli, Dalti, Appia, Potentini, Signori Debiliers, Mascheroni, Genoesi, Fernando, Gualterio Bolton, Tamberlik, and Brennelli, are among the engagements.’
(The Era, London, Saturday, 20 February 1886)

Her Majesty’s Theatre, Haymarket…
‘Those present last night when the ”house of amber curtains” reopened its door with a performance of Verdi’s ”Il Trovatore” would scarcely have felt inclined to declare that Italian opera was a thing of the past unless some bright, particular star condescended to brighten it with her presence, for a large and friendly audience had gathered together to hear this old and hackneyed work, who certainly were not attracted by any particular bright star, seeing there was nothing of the sort upon the premises… . The heroine was, vocally speaking, well rendered by a Madame Elisa Savelli, who, if we are not mistaken, some fifteen years or so since was known as a Miss Sewell. Time has, however, not improved her personal appearance, as she is now considerably too broad for her length, and, in the bridal dress of which satin, bore a curious resemblance to Miss Minnie Warren, the wife of General Tom Thumb. Being accommodated with a tall, stern lady as a made of honour (Mdlle. Corona) made this lack of symmetry all the more apparent… .
(Reynolds’s Newspaper, London, Sunday, 28 February 1886

Her Majesty’s Theatre
‘… In Saturday’s representation Madame Savelli was cast for Leonora, and Signor Fernando for her ill-fated troubadour lover; … In her performance as Leonora Madame Savelli displayed considerable vocal and dramatic power in the declamatory portions of her music, with an occasional tendency to exaggerated effort and a strained use of her upper notes. She was favourably received throughout, especially in the great scenes with Manrico and the Count… .’
(The Daily News, London, Monday, 1 March 1886

London, Sunday Night
‘Her Majesty’s Theatre was re-opened last night for a season of Italian opera at cheap prices… . The Leonora was, curiously enough, taken from the Alhambra, where she sang some years ago as Mdlle. Savelli, the foreign equivalent of her own English name of Miss Sewell. Although still in fairly good voice the lady has now attained well night the physical proportions of a Titiens and Parepa combined, and her appearance in bridal costume was irresistibly comical… .’
(The Glasgow Herald, Glasgow, Monday, 1 Marcy 1886)

‘On Saturday night, during the performance of Il Trovatore at Her Majesty’s, a mishap occurred which, but for the presence of mind of certain individuals, might have resulted in serious consequences to Madame Savelli, the Leonora of the evening. Madame Savelli’s figure is not exactly like Madame Sarah Bernhardt’s, and in moving backwards to execute a fall at the end of the opera she tumbled ”all of a heap” beneath the ponderous roller of the descending curtain, and had not the stage-manager and an attendant run forward and dragged her out of her dangerous position, she might have been seriously injured. The audience expressed their sympathy with Madame Savelli’s narrow escape by calling her enthusiastically before the curtain.’
(The Era, London, Saturday, 6 March 1886)

Il Trovatore, Her Majesty’s, Saturday, 27 February 1886
‘… Without ranking ourselves with those unimaginative individuals who cannot overlook certain personal disqualifications for a role when its rendering is illuminated by genius, we must say that we had to ”make believe very much” indeed to accept a portly, matronly lady of Madame Savelli’s physique as an ideal Leonora. There is something cruet, to our thinking, in calling upon a person of Madame Savelli’s liberal proportions and limited dramatic and vocal acquirements, to face a London audience in such a part. No one felt more keenly than ourselves the failure of the singer to reach the higher notes of her role, and to embody the emotional characteristics of the heroine; and no one sympathised more with the lady in her difficulty in assuming kneeling and falling attitudes. The fault, we felt, was not so much hers as that of those who permitted her to appear in a wrong position – literally and metaphorically… .’
(The Era, London, Saturday, 6 March 1886)