Posts Tagged ‘Robin Hood (comic opera)’

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Estelle Wentworth

February 9, 2013

Estelle Wentworth (fl. late 19th/early 20th Century),
American actress and singer
(photo: unknown, USA, circa 1906)

Estelle Wentworth in The Serenade at the National Theatre, Washington, D.C., Monday, 3 June 1907
‘The opening of the second week of summer light opera by the Aborn Opera Company at the National Theater last evening brought out an audience almost as large as that which greeted Robin Hood last week.
‘The vocal honors of the evening went to Miss Estelle Wentworth who had the part of Yvonne. Her one coloratura song in which she sang sixths and thirds to the flute was the most difficult and finely executed vocal part of the evening. Her notes were pure and limpid, and sung with an artistry which nearly equaled that of Maconda and Melba in similar passages. Miss Wentworth was obliged to sing her song three times.
‘Equal honors were accorded to Albert Parr, who took the part of Lopez, after the romance which he sings in the third act, and excellent work was done by Huntington May as Romeo, Karl Stall in the part of Alverado, Edith Bradford as Dolores, and Charles P. Swickard, who was the Duke of Santa Cruz. The humorous characterizations were intrusted to George Frothingham in the part of the tailor, Gomez, and Paul Branson the grand opera tenor, whose notes ”have all gone to protest,” each of whom kept the house in constant merriment.’
(The Washington Post, Washington, D.C., Tuesday, 4 June 1907, p. 2g)

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February 9, 2013

Estelle Wentworth (fl. late 19th/early 20th Century),
American actress and singer
(photo: unknown, USA, circa 1906)

Estelle Wentworth in The Serenade at the National Theatre, Washington, D.C., Monday, 3 June 1907
‘The opening of the second week of summer light opera by the Aborn Opera Company at the National Theater last evening brought out an audience almost as large as that which greeted Robin Hood last week.
‘The vocal honors of the evening went to Miss Estelle Wentworth who had the part of Yvonne. Her one coloratura song in which she sang sixths and thirds to the flute was the most difficult and finely executed vocal part of the evening. Her notes were pure and limpid, and sung with an artistry which nearly equaled that of Maconda and Melba in similar passages. Miss Wentworth was obliged to sing her song three times.
‘Equal honors were accorded to Albert Parr, who took the part of Lopez, after the romance which he sings in the third act, and excellent work was done by Huntington May as Romeo, Karl Stall in the part of Alverado, Edith Bradford as Dolores, and Charles P. Swickard, who was the Duke of Santa Cruz. The humorous characterizations were intrusted to George Frothingham in the part of the tailor, Gomez, and Paul Branson the grand opera tenor, whose notes “have all gone to protest,” each of whom kept the house in constant merriment.’
(The Washington Post, Washington, D.C., Tuesday, 4 June 1907, p. 2g)

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January 11, 2013

Andrew Higginson as Danilo and Carrie Moore as Sonia
in the Australian production of The Merry Widow,
Her Majesty’s Theatre, Melbourne, 6 May 1908
(photo: Talma, Melbourne, 1908)

Carrie Moore as Sonia in The Merry Widow, Her Majesty’s Theatre, Sydney, and her sudden marriage, May 1908
‘Sydney, N.S.W., Nov. 25 [1908].
‘The theatrical sensation of the past month has been caused by the unexpectedly sudden wedding of Carrie Moore – at present appearing in the name part in The Merry Widow at Her Majesty’s Theatre – and the subsequent happenings. Hardly had Mr. and Mrs. Percy Bigwood recovered from the host of congratulations showered on them when news of their marriage leaked out, when a lady in the person of Ivy Salvin comes post haste from Melbourne and, through her Sydney solicitor, issues a Supreme Court writ, claiming £5,000 damages for alleged breach of promise on the part of the gentleman now known in Sydney as “Carrie Moore’s husband.” This action was subsequently settled to the satisfaction of both parties, and Ivy Salvin accepted her first theatrical engagement in The Belle of Mayfair at the Criterion Theatre, which engagement she is now relinquishing to enter the married state. Such is fame!
‘“Carrie Moore’s Husband” is a young Englishman of means, not altogether unknown on the African and Australian turf, where his racing colors have met with judge’s eye on more than one occasion.
‘Carrie Moore is retiring from the cast of The Merry Widow and returning to England, where she is under engagement to appear as principal boy under the management of Bob Courtneidge in the forthcoming pantomime of Cinderella at London’s Adelphi Theatre. Her place as the dashing Widow will be filled by Betty Ohls, an actress well known on your side, where in 1904 she appeared with the Bostonians as Maid Marian in De Koven’s Robin Hood, and subsequent American appearances include those in The Queen of Laughter, at Boston; The Student King, at Chicago, and The Rose of the Alhambra, in New York. She has recently been appearing at the Empire and Tivoli, London, in gesture songs.’
(The New York Dramatic Mirror, New York, Saturday, 19 December 1908, p.5c)