Press Clippings for the week ending
Saturday, 20 September 2003

A random selection of cuttings
from newspapers and magazines

William Edward Love in 'Love's Entertainments,' London, 1851

William Edward Love (1805?-1867), English polyphonist,
as Miss Meddler in the 'Ventriloquial Entertainment' at the Royal Gallery, London.

Love was the grandfather of the actress and dancer, Mabel Love (1874-1953)

(photo: unknown, probably London, circa 1855)

'Mr. Love's Ventriloquism. – The unsophisticated visitors to the metropolis might imagine that the huge placards, with the attractive words, "Love's Entertainments," had reference to some feast of sentiment and flow of soul; it is not, however, the tricks of the mischievous little blind god that make the sport but deceptions equally bewildering, that while away the reason, said to come from a region a little lower than the heart. However conjured up, by what torturings of voice or illusions of ear, they are truly entertaining, amusing, and harmless, - which is often more than can be said of other Love's entertainments.' (The Literary Gazette, and Journal of Belles Lettres, Science and Art, London, Saturday, 1 March, 1851, p.166b/c) * * * * * * * * Rose Hersee and Marie Tempest in Hervé's comic opera, Frivoli, Drury Lane Theatre, 29 June 1886

Rose Hersee (1845-1924), English soprano

(photo: The London Stereoscopic & Photographic Co Ltd, London, circa 1878)

'Frivoli, a new comic written and composed by M. Hervé, was produced last night [29 June 1886]. The author-composer has long been known by many bright pieces, chiefly in the opera-bouffe style, in which there is abundance of lively, piquant melody. In Frivoli M. Hervé has taken a higher standpoint, and has aimed at producing a work worthy to be considered as belonging to the class of the "opera-comique" in which French composers of the past, notably Boieldieu and Auber (the latter more especially), have excelled all others. In recent times the composers of France have endeavoured to emulate the serious tone of the most modern German music, thereby almost extinguishing that distinctive nationality and vivacious charm which render French comic opera, in its best development, quite unique. On the other hand, the prevalence of the Parisian opera-bouffe style has tended largely towards flippancy and vulgarity, this latter quality having never, until recent years, been found in French music. It is gratifying therefore to have to recognise in Frivoli an endeavour at something better than the weak style by which the modern opera-bouffe is too frequently distinguished. 'The book of M. Hervé's new opera deals with the adventures of a wandering Neapolitan minstrel, names Frivoli, who gets into a series of scrapes, through his resemblance to the Marquis de Piombino, a gambler and a libertine, whose handsome wife mistakes the young minstrel for her husband. Frivoli seeks safety in flight, arrives at Florence, is taken into the service of the Chevalier de Ligny (the lover of Rosella, daughter of Count di Serda), and goes through many vicissitudes – too numerous for detail here – becoming the means of the seizure of an Austrian regiment by Italian peasantry, and ultimately turning out to be the long lost son of the Duke of Begonia, and marrying a marchioness. The mystifications and involvements surrounding Frivoli and other dramatis personæ are cleared up. The chevalier obtains the hand of Rosella, and all ends happily. The French libretto has been translated and adapted by Mr. W. Beatty Kingston, who, from his combined musical and literary accomplishments, is well fitted for such a task. That Mr. Kingston has done his work well in this instance may be assumed from his rendering of some of the lyrics, the only portion of the book printed. 'The opera is in three acts, the first of which is preceded by an overture which without any pretentious formalism combines some pleasing themes – melodious and brilliant – set forth with varied orchestral effects; each of the other acts being preceded by an instrumental prelude. Among the prominent pieces in the first act are the bright introduction, a characteristic air for Frivoli in which the sentimental and the brilliant styles are combined, a humorous duet for the Duke and Duchess, a pleasing love-duet for Rosella and the Chevalier de Ligny, the melodious music of Rosella's address to the Count di Serda, and an animated finale. 'In the second act we may specify Frivoli's song when arriving penniless and exhausted before the hostelry at Udine; the Marchioness's florid air; a lively quartet for Rosella, Harriet (her cousin), Nina (Pietro's daughter), and Count di Serda – a well-marked chorus of Austrian soldiers with prominent use of side drums, followed, by ballet of peasant and drummers, with chorus, altogether forming a brilliant and animated combination of musical and spectacular effects – and a spirited finale. In act three there are a smoothly written air, of the English ballad type, for the Count di Serda, a sprightly duet for Frivoli and the Chevalier, a comic song for the Austrian Major Krummbain, a humorous song for the Duchess, another love duet for Rosella and the Chevalier, and some splendid ballet action. If M. Hervé's music does not rise to the level of the genuine opéra comique of former days, it is generally above the ordinary low standard of opera bouffe of recent times; it is throughout bright and melodious, never vulgar; and the frequent use of dance rhythm is in accordance with the French musical style. Madame Rose Hersee, as Frivoli, sang and acted with alternate vivacity and sentiment; Miss M[arie] Tempest's agreeable soprano voice gave due effect to the music of Rosella; Misses Martin, Munroe, E. Vane, and [Emily] Soldene having respectively been efficient representatives of the characters of Harriet, the Marchioness di Piombino, Nina, and the Duchess di Begonia. Mr. Pierpoint, as the Chevalier di Ligny, and Mr. Thorndike as Count di Serda (Rosella's father), were far more successful as vocalists than as actors, their performances in the latter respect having lacked both energy and dignity. Mr. Harry Nicholls threw much quiet humour into the character of the Duke of Begonia, as did Mr. Pateman into that of Major Krummbein; the small part of Pietro, the Inkeeper, having been made prominent by the comic talent of Mr. V[ictor] Stevens. Subordinate characters were sufficiently well filled. 'The opera is splendidly placed on the stage. Three beautiful scenes – a street in Florence; the Inn at Udine; and the Palace at Naples, with view of the Bay and Mount Vesuvius – have been painted by Mr. H. Emden – the costumes are rich in picturesque variety; and the incidental ballet action (arranged by Madame Katti Lanner) is highly effective. The piece has been produced under the direction of the composer, and Mr. Augustus Harris, the skilful stage management of the latter being a valuable feature in the general effect. An excellent orchestra of about fifty performers and a competent chorus of more than three times that number are engaged under the competent conductorship of Mr. Oscar Barrett. The work was favourably received throughout by a large audience, several pieces having been encored. Some condensation, especially in the last act, might be advantageously made. The composer, Mr. Augustus Harris, and Madame Katti Lanner were called forward.' (The Daily News, London, Wednesday, 30 June 1886, p.5g) * * * * * * * * Walton & Lester's burlesque trick, 'The Amputated Head,' 1890 'Presentation. – Messrs Walton and Lester, the Black Burlesque Conjurors, were on Wednesday last [2 April 1890] presented with a massive steel carving-knife by Mr Walter Westwood in appreciation of their popular burlesque trick "The Amputated Head".' (The Era, London, Saturday, 5 April 1890, p.7c) * * * * * * * * Ada Lundberg at the Metropolitan music hall, London, 1893 Metropolitan music hall, London 'Miss Ada Lundberg's songs are really comic, and not "make-believe." Miss Lundberg is one of the lady vocalists who can be entertaining without the help of sensational costumes.' (The Entr'acte, London, Saturday, 25 February 1893, p.10a) * * * * * * * * The Sisters Leamy at the Empire, Leicester Square, London, 1899, with their 'Electric Revolving Cycle Trapeze' act 'Undoubtedly, however, the most sensational and attractive performance at present being given at the Empire is that of the Sister Leamy. They begin by some very smart and lively evolutions on the rings and double trapeze, done with remarkable dash and rapidity. These lead up to the crowning triumph of the sisters. A handsome and complicated mechanical arrangement is fixed above the proscenium. At the top is a bicycle, below is a revolving framework from which two trapezes are hung. One of the sisters seats herself on the "bike," while the two others mount the trapezes. Round go the wheels of the bicycle and the framework also revolves; electric lights of various colours blaze out from the machinery, and, while the frame continues its motion, the sisters on the trapezes work most vigorously, performing many well-known feats of athleticism. The effect of all this revolution, illumination, and energetic action is dazzling and exciting, and raises the audience to a high pitch of enthusiasm. The Sister[s] Leamy with their "electric revolving cycle trapeze" act have evidently made an immense hit at the Empire.' (The Era, London, Saturday, 7 October 1899, p.18a) * * * * * * * *

Return to home page

© John Culme, 2003