Paying appropriate tribute to the performance of Helen Ogilvie as Marguerite, the P&J reviewer (13 April) the highlightd the restoration of the Walpurgisnacht scene, and the presentation of it in a classical form by the ballet and by the conductor Leslie Heward. Regarding Ronald Stear's Mephistopheles, the reviewer commented on the general tendency 'grossly to overplay this character nowadays, and it was very welcome to find Mr Stear playing Mephisto with wealth of detail but without that underlining of diabolic chuckle. His was really a verysatisfying performance.'
The Carl Rosa's Scottish tour in the spring of 1934 began with two weeks at the Glasgow Theatre Royal, followed by one each at His Majesty's, Aberdeen and the King's Edinburgh.
The performance schedule was as follows:
First week (Glasgow), commencing 26 March: Mon Fledermaus; Tue Barber of Seville; Wed Cav & Pag; Thu Carmen; Fri Fledermaus; Sat mat Butterfly, Sat eve Faust.
Second week, commencing 2 April: Mon Barber; Tue Trovatore; Wed Carmen; Thu Don Giovanni; Fri Madam Butterfly; Sat mat Fledermaus; Sat eve Maritana.
Third week (Aberdeen), commencing 9 April: Mon Fledermaus; Tue Cav & Pag; Wed Carmen; Thu Faust; Fri Barber; Sat mat Fledermaus; Sat eve Maritana.
Fourth week (Edinburgh), commencing 16 April: Mon Fledermaus; Tue Carmen; Wed Don Giovanni; Thu Fledermaus; Fri Barber; Sat mat Faust; Sat eve Maritana.
There were two performances of that venerable double bill, Cav and Pag. Eight other operas were presented during the tour.
There were two performances of that venerable double bill, Cav and Pag. Eight other operas were presented during the tour.
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