The Edinburgh performance was reviewed in the Scotsman (20 March). "There was a crowded and brilliant audience last night at the King's Theatre to witness a revival of Mozart's beautiful opera of Don Giovanni, which has not been heard for a good many years in Edinburgh. The opera received a worthy rendering, and was much enjoyed. It was nicely staged, the principals had been well selected, and the many beautiful airs and concerted pieces distributed through it were all admirably rendered. Interest was given to the performance by the fact that the important role of Donna Anna was in the hands of an Edinburgh young lady, Miss Grace Nicoll, who received her early musical and other education in George Watson's Ladies' College. Though she has been only a few years on the operatic stage, she has already attained an excellent position upon it. Her voice is of good range and quality, it is well trained, and though the part does not give much scope for acting, Miss Nicholl carried her work through in a fine dramatic spirit. She maintained the part with great credit, and in the grand and difficult air of the last act, 'Not Love Thee - Ah! ne'er Believe it', the excellent training she has received enabled her to do justice to the florid Italian music."
"Miss Ina Hill made a delightful Zerlina. She looked well as the pretty peasant girl, acted brightly, and sang with a pure and cultured light sopranao voice the several lovely airs which fell to her lot. She had a splendid reception. The dramatic music of Elvira was rendered in a cultured manner by Miss Elizabeth Burgess. Among the men the honours perhaps fell to Mr Arthur Winckworth for his satisfactory performance of the role of Leporello, the buffo business of which was kept well within bounds. His full, suave bass voice was heard to much advantage in the air of the first act where he catalogues his master's amours, and it also blended well in the concerted pieces. Mr Charles Victor acted with appropriate spirit and sang acceptably the baritone music of Don Giovanni. A little more sweetness might have been imparted to the well-known serenade. Mr Edward Davies had the tenor part of Don Ottavio. His acting was a trifle stiff, but he sang with good effect the two charming love-lorn airs associated with the role. Mr John Ebberler in the small part of the Commandant sang with taste and in a clear rich tone, and in the last scene of all assisted in a very effective finale. the chorus was efficient, and must praise must be given to the orchestra, under Mr Eugene Goossens, for the delightful manner they rendered the many graceful things in the orchestration. The Minuet was especially fine."
In 1907, Carl Rosa Opera in Scotland spent two weeks at the Glasgow Grand, one at the Alexandra, Greenock and finally one at Edinburgh King’s Theatre (7.30;2pm)
w/c 25 February Mon Marriage of Figaro; Tue Trovatore; Wed Merry Wives of Windsor; Thu Fidelio Fri Cavand Pag; Sat m Tannhauser; Sat e Rigoletto.
w/c 4 Mar Mon Don Giovanni; Tue Lohengrin; Wed Faust; Thu Carmen; Fri Fidelio; Sat m Merry Wives of Windsor; Sat m Trovatore.
w/c 11 Mar Mon Lohengrin; Tue Marriage of Figaro; Wed; Thu Fidelio; Fri Merry Wives of Windsor; Sat m Tannhauser; Sat e Faust.
w/c 18 Mar Mon Tannhauser; Tue Don Giovanni; Wed Carmen; Thu Faust; Fri Merry Wives of Windsor; Sat m Fidelio; Sat e Trovatore.
4 Merry Wives of Windsor; Fidelio.
3 Trovatore; Tannhauser; Faust; Carmen
2 Marriage of Figaro; Don Giovanni; Lohengrin.
1 Rigoletto; Cav and Pag.
12 operas, 28 performances QED.
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