excerpt from 'Thirty Years of Musical Life in London, 1870-1900' pp. 47-49 (251 words)

excerpt from 'Thirty Years of Musical Life in London, 1870-1900' pp. 47-49 (251 words)

part of

Thirty Years of Musical Life in London

original language

urn:iso:std:iso:639:ed-3:eng

in pages

47-49

type

text excerpt

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When Carl Rosa first brought his troupe to the Princess's Theatre, London, in September, 1875, English opera was in a bad way. I am not prepared to assert that it is in a much better way at the present moment. Beyond doubt, however, its fortunes, through the instrumentality of this lamented impresario, underwent a revival that was of the utmost importance...["This] London public is now ripe for English opera of a better sort than Pyne and Harrison provided. It longs for something more than ballad-operas and a 'star' or two. It wants good works and, above all, a good ensemble. See how it appreciates the 'Figaro' ensemble! Well, next season I shall produce more unfamiliar operas and a still stronger company. Then gradually I shall introduce Wagner in English, beginning with 'The Flying Dutchman,' and perhaps even test whether London can stand a brand-new opera by a native composer." He was as good as his word. In the following year, at the Lyceum, Carl Eosa brought out four novelties, including Frederic H. Cowen's "Pauline" (a version of "The Lady of Lyons") and Wagner's "Flying Dutchman." The latter, with Santley in the title-role, made a tremendous hit. Coming on top of the success of "Lohengrin" and "Tannhauser" (the latter had been produced in Italian at Covent Garden just four months previous), it helped to complete the foundation for the love and understanding of Wagner's music which now extend throughout the United Kingdom, embracing the entire range of the master 's works.

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excerpt from 'Thirty Years of Musical Life in London, 1870-1900' pp. 47-49 (251 words)

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