Anna Hiles

Anna Hiles (fl. 1857-1875), English soprano, as she appeared in the title role of William Vincent Wallace’s opera Maritana at Covent Garden Theatre, London, 13 December 1862
(carte de visite photo: published by T.H. Lacy, 89 Strand, London, probably 1862)

‘ROYAL ENGLISH OPERA.
‘Mr. W. Wallace’s ”Maritana,” one of the ”stock” works of the Royal English Opera, has been performed so often this season that it would scarcely seem to be a subject for criticism, especially as the same performers are constantly appearing in the same parts. The racy humour of Mr. W. Harrison, as Don Caesar de Basan; the manly vigour, softened by courtly grace, of Mr. W.H. Weiss, who so ably represents Don José; the musicianly skill and histrionic talent displayed by Miss Susan Pyne as Lazarillo; the promising talent of Mr. Patey as exemplified by his clever singing in the arduous and somewhat ”uphill” part of the King, are all perfectly well known and justly appreciated by the public. But from time to time the ”cast,” so far as regards the principal female character, is altered.
‘Miss Louisa Pyne, with her lovely voice and surpassing artistic powers, plays the famous Gitana, we need not say, to the delight of the public. The accomplished Madlle. Parepa, with her rare physical gifts and genuine dramatic feeling, assumes the same character to the complete satisfaction of her audience. But the changes are not limited to the alternate display of these celebrated singers’ conceptions of Mr. Wallace’s most popular creation. On Saturday last, for instance, Miss Anna Hilles, who has won considerable reputation by her very promising efforts as Arline, in the ”Bohemian Girl,” was put forward for the first time as Maritana, and, despite the fresh recollections of her renowned predecessors, made a very satisfactory impression. An incontestable succès d’estime was won by the young lady, and, taking into consideration the very reasonable expectations of a public accustomed to very high excellence in the portrayal of the same character, this is no small praise. As an actress Miss Hiles has yet much to learn, and her Maritana can scarcely be regarded, from a histrionic point of view, as an improvement upon her Arline; but she sang much of the music with real taste and expression, eliciting throughout hearty applause, and unanimous encores for the popular ”Scenes that are brightest,” and (aided materially by Miss Susan Pyne) for the duet ”Sainted mother.” hearty redemands were likewise elicited by the renderings of ”Turn on, old Time,” by Mr. W. Harrison, Mr. Weiss, and Miss Susan Pyne; the airs, ”Let me like a soldier fall,” ”Hear me, gentle Maritana” and ”In happy moments,” respectively by Mr. W. Harrison, Mr. W. Patey, and Mr. W.H. Weiss.
‘The band and chorus, under the masterly direction of Mr. Alfred Mellon, were, as usual, quite irreproachable.’
(The Morning Post, London, Monday, 15 December 1862, p. 6b)

‘ROYAL ENGLISH OPERA. – Miss Anna Hiles has appeared in Wallace’s ”Maritana.” Her singing in the part of the heroine of this pretty opera, differs in no respect from that which characterized her performance in ”The Bohemian Girl.” It is smooth and pleasing, but of very little volume. Miss Hiles, however, will doubtless be found useful upon what are technically called the ”off nights.”’
(The Observer, London, Sunday, 22 December 1862, p. 3d)

‘The Princess’s Rifles,’ 1859

a carte de visite photograph (a contemporary copy of a larger print) of ladies of ‘The Princess’s Rifles,’ who appeared in the pantomime Jack the Giant Killer; or, Harlequin King Arthur and Ye Knyghts of Ye Rounde Table, produced by Augustus Harris at the Princess’s Theatre, Oxford Street, London, at Christmas 1859 (photo: Camille Silvy, London, 1859/60;
retailed by Lacy, Theatrical Bookseller, 89 Strand, London, WC)

‘The distinguished corps, ”The Princess’s, Rifles,” whose evolutions have been the subject of such general admiration during the run of the Princess’s pantomime, have made a handsome volunteer offering of a silver cup to Mr. Augustus Harris, as a testimony to the courtesy and kindness he has evinced to the ladies of the ballet since the theatre has been under his management.’
(Reynolds’s Newspaper, London, Sunday, 11 March 1860, p. 5b)

Charles Kean

Charles Kean’s reappearance as Hamlet at the Princess’s Theatre, London, Wednesday, 3 January 1855 (photo: published by T.H. Lacy, London, late 1850s)

‘Mr. C. Kean appeared on Wednesday night, for the first time this season, in Hamlet – a character which he has long since made his own – and in which he stands unrivalled amongst living artists. The house, as might have been expected on such an occasion, was crowded in every quarter soon after the doors opened. There is much to occupy the public mind at present of a more grave character than mere amusement; the performance that commands such powerful attraction at such a moment proclaims its own strength, and speaks a volume of criticism on its own inherent merit. Mr. C. Kean, by time and study, has improved on his original vigour and elegance in this great part, and was applauded with as much enthusiasm in all the most striking passages as during his first successful career at Drury-lane, in 1839 [sic]. The tragedy was well played throughout, Miss [Caroline] Heath was a highly-interesting Ophelia, while Mr. [John] Ryder and Mrs. [Alfred] Phillips imported the importance so often wanted when inferior actors are placed in the characters of the King and Queen. Mr. [Walter] Lacy made a most impressive and majestic Ghost.’ (The Illustrated London News, London, Saturday, 6 January 1855, p.11a)