Lucia Nola (fl. late 19th/early 20th Century),
American soprano
(photo: Baker Art Gallery, Columbus, Ohio, circa 1905)

Lucia Nola, a soprano from Washington, D.C., has joined the Roscian Opera Company, 1905
‘Miss Lucia Nola, who was for some years prominently identified with the local singers as a soprano, is now with the Roscian Opera Company as prima donna soprano. The operas being given by the company are Sousa’s El Capitan, Gilbert and Sullivan’s Mikado, Balfe’s Bohemian Girl, [Robert Planquette’s] Chimes of Normandy [i.e. Les Cloches de Corneville], and [Victor Herbert’s] The Serenade which the Bostonians made famous. Miss Nola is heard in all the leading roles. She has hots of friends in this city, who will be interested to known of her success. Her work in Washington was characterized by a large amount of charitable work, such as the singing in the hospitals and the jail, and she did much other philanthropic work. She was a prominent and active member of the Doubleday Sunday Night Club.’
(The Washington Post, Washington, D.C., Sunday, 15 October 1905, Part Two, Editorial Section, p. 10a)

Lucia Nola (fl. late 19th/early 20th Century),
American soprano
(photo: Baker Art Gallery, Columbus, Ohio, circa 1905)

Lucia Nola, a soprano from Washington, D.C., has joined the Roscian Opera Company, 1905
‘Miss Lucia Nola, who was for some years prominently identified with the local singers as a soprano, is now with the Roscian Opera Company as prima donna soprano. The operas being given by the company are Sousa’s El Capitan, Gilbert and Sullivan’s Mikado, Balfe’s Bohemian Girl, [Robert Planquette’s] Chimes of Normandy [i.e. Les Cloches de Corneville], and [Victor Herbert’s] The Serenade which the Bostonians made famous. Miss Nola is heard in all the leading roles. She has hots of friends in this city, who will be interested to known of her success. Her work in Washington was characterized by a large amount of charitable work, such as the singing in the hospitals and the jail, and she did much other philanthropic work. She was a prominent and active member of the Doubleday Sunday Night Club.’
(The Washington Post, Washington, D.C., Sunday, 15 October 1905, Part Two, Editorial Section, p. 10a)

Belle Thorne in San Francisco, 1892

Belle Thorne
(photo: Louis Thors, San Francisco, 1892)

‘Balfe Wins Again.
‘Balfe’s Bohemian Girl is the ”bill of the fare” at the Tivoli [San Francisco] this week and started in well last night, the house being comfortably filled, which speaks volumes for the popularity of this place of amusement with so many counter attractions to contend against. The Tivolians acquitted themselves as usual, and the constant applause was proof that the house contained a sympathetic and appreciative audience. Miss Belle Thorne (Arlene) was not in such good voice as usual; the strain of singing night after night is too much for the strongest singers, and we think the management at the Tivoli could well arrange to have two prime donne soprani to take alternate evenings.  It would be better for the management and better for the artists. Miss Thorne, however, sang the song of the opera, ”I Dreamed That I Dwelt in Marble Halls,” with telling effect and scored quite a success. Grace Vernon was a very queenly Queen of the Gypsies, but the character is a little beyond her reach. George Otmi as Count Arnheim sang his part well and effectively. The other characters were well sustained by the usual Tivoli company and the chorus is good.
‘The ”great serpentine dance” introduced in the second act was much appreciated by the audience, but we doubt if the Tivoli requires any extra drawing-card, even with such an old-time opera on the boards.’
(The Morning Call, San Francisco, Tuesday, 28 June 1892, p. 2d)