Opera Scotland

Norma 1859Edmund Glover's Italian Opera Company

Read more about the opera Norma

This  two week long visit by an Italian Opera Company from Drury Lane, under the management of Edmund Glover, introduced the great dramatic soprano Therese Tietjens (whose surname was generally spelt as Titiens) to Scotland. It is perhaps no surprise that the visit was restricted to the central belt. However the opening night was not in Edinburgh nor in Glasgow, but in Greenock - a thriving seaport a few miles closer to the mouth of the Clyde, where a new Theatre Royal had just opened.

The single performance in Greenock was followed by five in Glasgow and three in Edinburgh. The final day in Glasgow also featured a matinee concert.

The schedule of operas was:-

Greenock Theatre Royal - Mon 24 Oct Il trovatore.

Glasgow Theatre Royal - Tue 25 Oct Il trovatore; Wed 26 Oct Martha; Fri 28 Oct Lucrezia Borgia; Sat 29 Oct Norma; Mon 31 Oct Les Huguenots.

Edinburgh Queen's Theatre - Tue 1 Nov Lucrezia Borgia; Thu 3 Nov Martha; Fri 4 Nov Les Huguenots.

There was only a solitary performance of Norma, on the middle Saturday of the Scottish visit, with a concert having been given earlier in the day. Not surprisingly, although Mdlle Titiens was advertised to appear at the recital, she in fact rested, to remain fresh for the extreme demands of the evening performance. Monday's Glasgow Herald reviewed both events.

Of the opera - 'Mdlle Titiens appeared to greater advantage than in any of her representations here......the performance, considered both dramatically and musically, was all that the most fastidious critic could desire. The flowing music of this ever-fresh impersonation was rendered with alternate nicety, power and pathos..........It is fortunate that Mdlle Titiens combines with her superior vocalisation tragic powers of no common order.'

'In the celebrated scenas with Adalgisa, Mdlle Titiens sang brilliantly. She was ably supported in these, and throughout the opera, by Mdlle Vaneri. Some occasional inappropriateness of acting is our only objection to the Adalgisa of the evenning, but there is really much to praise in all Mdlle Vaneri's performances and but little to censure.'

'The Oroveso of Signor Vialetti was distinguished not less by its melodiousness than by good acting. Signor Corsi as Pollio sang with taste, but with a sad want of animation. When Signor Corsi shall have acquired more confidence in himself we may reasonably look for a very much improved personation from him both in regard to acting and singing.'