Mdlle. Sylvia as Serpolette in Les Cloches de Corneville upon its reopening, Globe Theatre, London, 4 September 1880

Mdlle. Sylvia (active late 1870s/early 1880s), Swedish soprano, as she appeared as Serpolette in Les Cloches de Corneville upon its reopening, Globe Theatre, Newcastle Street, London on Saturday, 4 September 1880. The part of Serpolette had been first played in London by he American soprano, Kate Munroe.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1880)

‘Mdlle. Sylvia, a young vocalist of Swedish extraction, made her first appearance in England on Wednesday last as the heroine of Offenbach’s Madame Favart, which still retains its popularity after nearly 500 continuous repetitions. Mdlle. Sylvia is young, graceful, and prepossessing. Her voice is a soprano of good quality and ample compass, and she sang with taste and expression, although at times so nervous that her intonation became unsatisfactory. She was heartily applauded, and will probably prove a valuable addition to the excellent company at the Strand Theatre.’
(The Observer, London, Sunday, 1 August 1880, p. 7d)

Globe Theatre, London, Saturday, 4 September 1880
‘On Saturday, September 4, the Globe Theatre, which has been newly decorated, will reopen for the regular season with Les Cloches de Corneville, the reproduction of which will derive additional interest from the engagement of Mr. [Frank H. ] Celli, who will personate the Marquis; and Mesdames Sylvia and D’Algua, who will respectively sustain the parts of Serpolette and Germaine. Mdlle. Sylvia is already known to the London public as having successfully impersonated Madame Favart at the Strand Theatre, during the absence of Miss [Florence] St. John. Mdlle. D’Algua will make her first appearance on the London stage, and Messrs. [Harry] Paulton, [Charles] Ashford, and Shiel Barry will reappear as the Bailie, Gobo, and the Miser. Les Coches will only be played for a limited number of nights, pending the production of a new comic opera from the pen of Offenbach.’
(The Observer, London, Sunday, 29 August 1880, p. 3f)

‘After a short recess, during which the auditorium has undergone a complete renovation, the Globe Theatre reopened on Saturday evening with the familiar but by no means unwelcome Cloches de Corneville as the staple entertainment. M. Planquette’s charming opera has not yet outlived its popularity, and no doubt it will attract the music-loving public while Mr. Alexander Henderson is getting ready the promised Offenbach novelty. The present cast is in many respects an excellent one. Mr. Shiel Barry, of course, retains his part of the miser, Gaspard, and plays it with the same intensity as heretofore; while Mr. Harry Paulton and Mr. Charles Ashford continue to impersonate the Bailie and his factotum, Gobo, in a manner which is well known. With these three exceptions the characters have changed hands. Mdlle. D’Algua is now the Germaine, Mdlle. Sylvia the Serpolette, Mr. [Henry] Bracy the Grenicheux, and Mr. F.H. Celli the Marquis. Unfortunately both Mdlle. D’Algua and Mdlle. Sylvia have but an imperfect acquaintance with the English tongue, and their speeches are therefore not readily comprehensible. Perhaps practice, in each case, may make perfect, but at present a little judicious ”coaching” would make an improvement. Mdlle. D’Algua sings her music efficiently, and with some degree of artistic feeling; while Mdlle. Sylvia acts with plenty of vivacity throughout, and proves herself an accomplished vocalist. Mr. Bracy has a pleasant tenor voice, which he used fairly well, and Mr. F.H. Celli brings his ripe experience in opera to bear upon the part of the Marquis – a character usually assigned to a tenor, if our memory serve us right. The work is placed on the stage with all due regard for picturesqueness of effect, there is a capital chorus, and Mr. Edward Solomon has his orchestra thoroughly well in hand. So wholesome and refreshing is M. Planquette’s work that playgoers may perhaps disregard the oppressive head, which renders indoor amusements all but intolerable, and take the opportunity of renewing their acquaintance with the chiming of the Corneville bells. The opera is preceded by a farce.’
(The Standard, London, Monday, 6 September 1880, p. 3d)

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Mdlle. Sylvia, Swedish soprano, as she appeared as Serpolette in Les Cloches de Corneville, Globe Theatre, London, 1880.

Mdlle. Sylvia (active late 1870s/early 1880s), Swedish soprano, as she appeared as Serpolette in Les Cloches de Corneville upon its reopening, Globe Theatre, Newcastle Street, London on Saturday, 4 September 1880. The part of Serpolette had been first played in London by he American soprano, Kate Munroe.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1880)

‘Mdlle. Sylvia, a young vocalist of Swedish extraction, made her first appearance in England on Wednesday last as the heroine of Offenbach’s Madame Favart, which still retains its popularity after nearly 500 continuous repetitions. Mdlle. Sylvia is young, graceful, and prepossessing. Her voice is a soprano of good quality and ample compass, and she sang with taste and expression, although at times so nervous that her intonation became unsatisfactory. She was heartily applauded, and will probably prove a valuable addition to the excellent company at the Strand Theatre.’
(The Observer, London, Sunday, 1 August 1880, p. 7d)

Globe Theatre, London, Saturday, 4 September 1880
‘On Saturday, September 4, the Globe Theatre, which has been newly decorated, will reopen for the regular season with Les Cloches de Corneville, the reproduction of which will derive additional interest from the engagement of Mr. [Frank H. ] Celli, who will personate the Marquis; and Mesdames Sylvia and D’Algua, who will respectively sustain the parts of Serpolette and Germaine. Mdlle. Sylvia is already known to the London public as having successfully impersonated Madame Favart at the Strand Theatre, during the absence of Miss [Florence] St. John. Mdlle. D’Algua will make her first appearance on the London stage, and Messrs. [Harry] Paulton, [Charles] Ashford, and Shiel Barry will reappear as the Bailie, Gobo, and the Miser. Les Coches will only be played for a limited number of nights, pending the production of a new comic opera from the pen of Offenbach.’
(The Observer, London, Sunday, 29 August 1880, p. 3f)

‘After a short recess, during which the auditorium has undergone a complete renovation, the Globe Theatre reopened on Saturday evening with the familiar but by no means unwelcome Cloches de Corneville as the staple entertainment. M. Planquette’s charming opera has not yet outlived its popularity, and no doubt it will attract the music-loving public while Mr. Alexander Henderson is getting ready the promised Offenbach novelty. The present cast is in many respects an excellent one. Mr. Shiel Barry, of course, retains his part of the miser, Gaspard, and plays it with the same intensity as heretofore; while Mr. Harry Paulton and Mr. Charles Ashford continue to impersonate the Bailie and his factotum, Gobo, in a manner which is well known. With these three exceptions the characters have changed hands. Mdlle. D’Algua is now the Germaine, Mdlle. Sylvia the Serpolette, Mr. [Henry] Bracy the Grenicheux, and Mr. F.H. Celli the Marquis. Unfortunately both Mdlle. D’Algua and Mdlle. Sylvia have but an imperfect acquaintance with the English tongue, and their speeches are therefore not readily comprehensible. Perhaps practice, in each case, may make perfect, but at present a little judicious “coaching” would make an improvement. Mdlle. D’Algua sings her music efficiently, and with some degree of artistic feeling; while Mdlle. Sylvia acts with plenty of vivacity throughout, and proves herself an accomplished vocalist. Mr. Bracy has a pleasant tenor voice, which he used fairly well, and Mr. F.H. Celli brings his ripe experience in opera to bear upon the part of the Marquis – a character usually assigned to a tenor, if our memory serve us right. The work is placed on the stage with all due regard for picturesqueness of effect, there is a capital chorus, and Mr. Edward Solomon has his orchestra thoroughly well in hand. So wholesome and refreshing is M. Planquette’s work that playgoers may perhaps disregard the oppressive head, which renders indoor amusements all but intolerable, and take the opportunity of renewing their acquaintance with the chiming of the Corneville bells. The opera is preceded by a farce.’
(The Standard, London, Monday, 6 September 1880, p. 3d)

Madge Rockingham (fl. late 19^th Century), English actress manageress, singer and pantomime principal boy and principal girl(photo: unknown, UK, probably 1890s)

This real photograph cigarette card of Madge Rockingham was issued about 1900 in England in one of Ogden’s Guinea Gold series. It shows her in the title role of Robinson Crusoe, a pantomime in which she took the lead at the Theatre Royal, Halifax (Christmas, 1894) and at the New Theatre, Kilburn (Christmas, 1895)

New Theatre, Kilburn.

‘But the bright particular star and success of the production is Miss M.R. as Crusoe, one of the best principal boys on the stage. Why this lady is not heard more of in London we cannot understand. Now, Mr. George Edwardes, keep your eye on this. A lady with a fine presence, pretty face and figure, grand mezzo=soprano voice, and can use it, and, what is more, an actress. Bravo! Dick Mansell [manager of the New Theatre, Kilburn], for being the first in the field in London with such a valuable article.’ (from The Encore, London, 3 January 1896, reprinted in The Era, London, Saturday, 11 January 1896, p. 12a)

‘Miss Madge Rockingham is a native of Sheffield, where Mr Edgar Ward, the theatrical manager and musical director, heard her sing at a concert in the Albert Hall. He engaged her for Fairy Queen in the pantomime at the Theatre Royal, Plymouth, 1883, and so she made her first appearance on the stage. Subsequently, Miss Rockingham played Germaine throughout five tours of Les Cloches de Corneville, the last with Mr Shiel Barry. She appeared on tour in La Fille du Tambour Major, Les Manteaux Noirs, and The Princess of Trebizonde. Miss Rockingham played principal girl in Randolph the Reckless (with Mr Victor Stevens, Miss Alice Brookes, and Miss Alice Cooke); in Miss Esmeralda, with Maggie Duggan and Little Tich; and in Cartouche and Company, with Miss Vesta Tilley. Miss Rockingham also toured as Thames Darrell, in Little Jack Sheppard, with Miss Fanny Robina and Mr J.J. Dallas. For three years she was in management on her own account, the ”Madge Rockingham company” appearing in the Gaiety version of Miss Esmeralda, also in a musical comedy, specially written by Mr Arthur Shirley and Mr Benjamin Landeck, entitled A Fight for Freedom. Miss Rockingham’s pantomime engagements include the following: – Principal girl – Alexandra Theatre, Liverpool; Theatre Royal, Sheffield; Theatre Royal, Bath; Avenue Theatre, Sunderland; and two Easter pantomimes at York; principal boy – Opera Comique, London; Theatre Royal, Brighton; Alexandra Theatre, Liverpool; Theatre Royal, Reading; and Theatre Royal, Kilburn. Next Christmas Miss Rockingham plays Aladdin at the West London Theatre. Meanwhile she is appearing as Madame Montesquieu with Miss Cissy Grahame’s All Abroad company.’ (The Era, London, Saturday, 17 October 1896, p. 13d)