Posts Tagged ‘The Bohemian Girl (opera)’

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Anna Hiles

May 25, 2013

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)

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January 10, 2013

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)

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January 10, 2013

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)