In addition to her contributions as a chorister (in both the Dublin Operatic Society and the Dublin Grand Opera Society) and performer of small roles – dating from the very earliest founding years of the DGOS, Carmel McAsey also carried out historical research into the history of Opera in Dublin from earliest times which she read to the Old Dublin Society in March 1968 and is reproduced below:
Dubliners and Opera by Miss Carmel C. McAsey
(Read to the Old Dublin Society, March 1968)
Towards the end of the 17th century the instrument makers of Mantua perfected their skill and produced violins and violoncellos with very beautiful tone. The ‘bel canto’ method of singing, combined with the full tone of instruments in the orchestras, assured the supremacy of Italian Opera. At the same time in Dublin the most popular form of musical entertainment was the singing of glees. Clubs met in taverns where food, wine and company were of high repute. The Hibernian Catch Club, founded in 1679 by the vicars choral of St. Patrick’s and Christ Church Cathedrals, was the oldest of these clubs. Opera was a pleasure not yet familiar to aristocrat or artisan.
The Gay-Rich production of ‘The Beggars Opera’ in London in 1728 created a vogue in Dublin for ballad opera. Madame Violante trained a troupe of Juveniles, whom she called Lilliputians, and decided to produce ‘The Beggars Opera’ at her booth in Fownes Court. The success of this venture was indisputable. Charles Coffey, who previously had two ballad operas produced at the Haymarket Theatre, London, now assisted with the training of the juveniles. They produced his two ballad operas, ‘The Beggar’s Wedding’ and ‘The Devil to Pay’, at a booth in George’s Lane. The young people were so popular that the players at Smock Alley complained of loss of attendance at their theatre. The Lilliputians were brought to The Haymarket Theatre in 1732, but as they appeared in mid-Summer their shows were not attended. Peg Woffington was the star of this troupe, and the only one who rose to fame.
A decade later interest in music in Dublin was intense. The Crow Street Hall had been built in 1731 for the practice of Italian music. The Dublin Charitable and Musical Society, formed about 1723, had built a hall in Fishamble Street, designed by Richard Cassells, himself a lover of music. After the famous performance of Handel’s Messiah, Dr. Thomas Arne, the English composer, gave a series of concerts in the hall of the Philharmonic Soclety, also in Fishamble Street. Recitals by Dr. Arne, his wife and Mrs. Cibber were usually of serious music, but several burlesque operas were performed.
Dr. Arne’s ‘Masque Comus’ and his opera ‘Rosamunde’ were produced at Smock Alley. The Dublin composer, Thomas Rosengrave, wrote an opera called ‘Phaedra and Hippolitus’ which was performed in the Music Hall, Fishamble Street. This was in the middle of the 18th century. A feature of operatic productions at this time was Rosengrave’s playing of Domenico Scarlatti’s works at the intervals. Publicity for his friend’s work was Thomas Rosengrave’s great desire, but we do not know how attentively the Dublin audience reieived it.
A Neapolitan family came to London in 1753 and made a tremendous impact on society there, by the performance of their native Burlettas at Covent Garden. This was the Giordani family, accompanied by their father, who was a composer and buffo singer. The daughter, Nicholina, attracted so much attention in a part called La Spiletta that she was henceforth known by no other name. Horace Walpole, who in his home at Strawberry Hill assumed the role of dictator on culture, voiced his approval of her. Dublin society, essentially colonial, looked to London as its Mecca, so Mossop, the Manager of Smock Alley, brought some members of the Giordani family to Dublin.
It is not quite clear what part Tommaso Giordani took in the performances of the burlesque, but it is assumed that he played the harpsichord in the orchestra in Smock Alley. This was the first time an Orchestra in Ireland was augmented by a clarionet. In a few years Tommaso Giordani’s Composition ‘Don Fulminone’ or ‘The Lover with Two Mistresses’, was produced in the same theatre. This was followed shortly by another composition. ‘The Enchanter’, in which the singing of a lady named Nan Catley was warmly applauded.
When Barry built his new theatre in Crow Street, the decoration was lavish and the furnishing elegant. Thus began the rivalry between Dublin’s two main theatres, to the great advantage of play-goers. Two months after the production of ‘The Maid of the Mill’ in London, with words by Bickerstaff, Barry wished to show it in Dublin. His first plan. failed as Arnold’s music was still in manuscript and could not be procured. Still undaunted, Barry set the words to poqular airs. The next day Smock Alley had a blll for a play of the same name with music by Tommaso Giordani and Nan Catley as Patty. Critics considered his music superior to that of Arnold. At that time the book of words was published immediately after the performance. In 1767 Barry induced La Spiletta and her brother Francesco to go to Crow Street. Tommaso next wrote the music for ‘Love in Disguise’, a play by an unnamed Trinity student. On the first night Trinity undergraduates all turired up in their gowns. The reception must have been lively. Giordani composed one more comic opera and a serious work called ‘The Orphan in China’ based on a theme used by Voltaire. Giordani then agreed to work for Barry. Once again, Dublin was to have an adaptation of a London success. This was ‘The Capricious Lover,’ which had scored a triumph at Drury Lane. Barry called it ‘Phyllis at Court’. The vital personality of La Spiletta, added to her singing and graceful dancing, made her the star of the production’ the rivaly between Barry and Mossop induced absurd expenditure by both on production and enteitainment. Fearing that the curtain woutd soon fall for the last time in both theatres, Giordani went to work in London. In 1783 he returned to Dublin to give a series of concerts at the Rotunda with a Jewish tenor named Leoni. He renewed all his musical activities in the city. One of his last compositions was the setting of songs for Leonard McNally’s play ‘The Cottage Festival’, which was produced at Smock Alley in 1796. Tommaso Giordani died at his home, 201 Great Britain Street (Parnell St.) in 1802. John O’Keeffe in his memoirs describes him as tall and elegant. His brother Guiseppe, who remained in London when the family came to Dublin, was also a composer.
About the same time as John O’Keeffe started writing the libretto for musical plays for the Haymarket Theatre, London, he encountered a musician named John Stephenson. This young man was of Scottish-Irish ancestry. Stephenson had previously won the Catch Club prize for his glee ‘At Night While the Village Slept’. As O’Keeffe was left in doubt for some time about the production of a play at the Haymarket, he decided on an Irish production. For this he engaged John Stephenson to compose the music. The play was ‘ The Dead Alive’, and it was produced at Smock Alley in 1781. A young singer in this show named Dorothea Francis afterwards headed the London bills as Mrs. Jordan. Of course she, also, gained notoriety as the mistress of William IV. Stephenson, also, wrote the music for ‘The Son in Law’ and ‘The Agreeable Surprise’, the libretto of both being by O’Keeffe. ‘The Agreeable Surprise’ was given as a benefit for Daly, the Manager of Smock Alley. The music for this production is considered to have been far superior to that of Arnold, who wrote the music for the Haymarket Theatre, London. These ballad operas retained their attraction for Dublin audiences for over thirty years. When the new theatre was opened in Capel Street in the seventeen eighties, both Giordani and Stephenson wrote music for performances there.
As a child, Stephenson had been befriended by an instrument maker named Gibson of Grafton Street. This man secured the admission of the boy to the choir school of Christ Church Cathedral, where an excellent training was given him for a musical career. Stephenson eventually acquired a lay vicarage, and was able to turn to more serious music. In 1799 he conducted a series of Oratorios at Crow Street. He was made a doctor of music by Trinity College and was knighted in 1803.
With the dawn of a new century, interest in music and respect for musicians had waned sadly. Political disturbances had disrupted the society which provided the patrons of the arts. A new society was emerging from the merchants who had attained wealth. There were still in the city teachers and performers of first-class ability. Doctor Gogan, the teacher of Field, was still living. A less well-known musician, a violinst and teacher was the father of Michael William Balfe. The image of Balfe to-day is faded, but in the ever-revolving trend of taste I trust it will revive again.
As there is a very interesting account of the life of Balfe in The Dublin Historical Record, Vol. XVI, No. 2, I merely intend to give a sketch of his career with some additional points: Michael William Balfe was born in No. 10 Pitt Street, now Balfe Street, in 1808. A plaque was placed on this house in 1943. As a child of nine he was sufficiently accomplished to give a violin recital in Dublin. This was so successful that presents were showered upon him. Family circumstances compelled him to go to London when he was sixteen. Here he easily obtained a post in the orchestra at Drury Lane Theatre, sometimes leading the orchestra, and sometimes conducting. In a few years Count Mazzara became his patron and brought him to Italy. A good appearance and a grand baritone voice secured him a place in an opera company. He sang at La Scala, Milan. Whilst in Italy he applied himself diligently to the study of music.
Balfe returned to Paris, where he had spent some time en route for Rome. This time he met Rossini, who quickly became his admirer and a loyal friend. Rossini secured him an engagement with the Italian Opera Company, and in 1827 he made his debut in Paris as Figaro in ‘The Barber of Seville’ by Rossini. When on an engagement in Palermo he composed his first opera, ‘I Rivalli di se Stessi’. On the same tour he met and married a beautiful Hungarian singer.
After some years Balfe returned to England and in 1835 he produced his first English opera, ‘The Siege of Rochelle’, shortly followed by the ‘Maid of Artois’. This opera included the song ‘The Light of Other Days’, now sometimes introduced into ‘The Bohemian Girl’. A period as Manager of the Lyceum Theatre nearly ruined Balfe. He introduced two new operas in Paris and returned to London. On 27th November 1843 the ‘Bohemian Girl’ was produced for the first time. The present form of the opera in five acts is an expansion of the original work. Balfe composed thirty-one operas and nearly 500 songs, duets and other short pieces of music. He was fortunate to amass enough money to retire to his country home, Rowney Abbey, Hertfordshire. He died there in 1870.
In 1856 Balfe introduced his daughter Victoria to London. She was singing with the Royal Italian Opera Company. She played Arline in ‘The Bohemian Girl’ for her father’s benefit. When he brought her to Dublin she sang with the famous bass Polinini and was accompanied by her father. She was received with enthusiasm in the capitals of Europe. Her career ended in St. Petersburg with her first marriage to Sir John Crampton, the British Ambassador. Her second husband was the Duc de Frias of Spain.
Changing public taste does not entirely account for the removal of the Ballad Operas of Balfe and Wallace from the repertoire of Opera companies. The plots are absurdly complex and create tremendous labour in production. Most singers to-day dislike dialogue in opera. Perhaps if some producer reverted to the original shorter version of ‘ The Bohemian Girl ‘ it might be revived. Rossini’s admiration of Balfe is proof of his ability as a composer of beautiful melody. Balfe’s last song, ‘Come Into The Garden Maud’, has, alas, been doomed by its popularity amongst timid tenors in Victorian drawingrooms. This song was made world famous by Simms Reeves when it was composed.
The impact of Italian opera; singers on Dublin was evident in the first quarter of the 19th century. In 1819 there were singes in the Theatre Royal; Crow Street, who played ‘Don Giovani’ to most appreciative audiences. The building and reconstruction of Catholic Churches had commenced in Dublin, and it was customary to give fund-raising concerts in these churches. The artistes were usually local. Father Burke of SS. Michael and John engaged the Italian artistes for a concert of sacred music. They were supported by choir and orchestra. The principal singers were Signors Ambrogetti Bergez and Romero. Signor Ambrogetti had played the name part in ‘Don Giovani’. For this concert he received a fee of thirteen guineas, the highest fee paid. The concert was varied with instrumental items.
The foundation stone of the Theatre Royal, Hawkins St., was laid in 1820. The change in the distribution of the population of Dublin made this street a good centre for a theatre. When Crow Street Theatre closed, Henry Harris of Covent Garden acquired the site formerly occupied by the (Royal) Dublin Society at a rent of £610 per annum. The new theatre was opened on Thursday, 18th January, 1821. The show on that night was Shakespeare’s ‘comedy of Errors’. ‘The Beggars Opera’ was again produced in July of this year. For the next few years the musical programmes of the theatre consisted mainly of recitals by leading European musicians. Occasional performances of opera in English took place.
The dawn of a new era for opera lovers came in 1829. The first organised season of Italian opera opened on the 14th October in that year. The company was under the management of Signor de Begnis, world famous as Figaro. Five of Rossini’s works were performed, none of them included in opera seasons to-day. They were ‘Il Turco in Italia’, ‘Tancredi’, ‘Italiana in Algiers’, ‘Othello’ and ‘La Gazza Ladra’. For nearly fifty years Dublin had an Italian Opera season every year with just an odd exception. During the season of 1829 the Manager, De Begnis, stayed in D’Olier Street, but he always insisted on having a car to drive him to the stage door. Sometimes a company paid a second visit in the same year. In 1857 one company came four times. This company brought with them two very famous artistes, Grisi and Catherine Hayes. Whilst in Dublin, Catherine Hayes sang at a concert in The Antient Concert Rooms, and her programme included two Irish songs, a practice hitherto unknown in Dublin. During these festivals of opera Dubliners heard all the superb singers in Europe. The sopranos Jenny Lind, Adelina Patti, Grisi, Titiens and Albani were all here. The enthusiasm of Irish audiences greatly pleased the Italian love of adulation.
Frequently the horses were withdrawn from the carriage of the Prima Donna and she was borne to her hotel in a carriage drawn by men from the audience. A large procession followed her. At the hotel she would go on to a balcony or to a window and sing for the crowd. Distinguished English artistes were sometimes in the casts. The two most popular who came to Dublin for several years were Simms Reeves (Tenor) and Charles Santley (Bass-Baritone). When Gounod’s ‘Faust’ and Weber’s ‘Oberon’ were first presented in Dublin in 1863 both these gentlemen sang. Till the eve of the burning of the Theatre Royal the Italian companies continued to come regularly. Every season had its highlights. Between 1875 and 1878 the artistic standard reached its highest peak.
Ambroise Thomas, Gounod, Verdi and Wagner were still living, and Dublin heard their works while they were very new. The Italians were intent on rivalling the English companies. In 1875 there was a most exciting season. This time, the company came here direct from Covent Garden and had with them a cast of European singers which could not be equalled. The sopranos included Albani, Estelle, Zara and Thalberg, the tenors Maudin, the baritones Maurel, and basses Bolli and Pronti. The Manager of this company was Sir Julius Benedict, composer of ‘The Lily of Killarney’, the conductor Signor Varesi, and the leader Mr. R. M. Levy. ‘Don Giovani’ was the opera advertised for Monday, 4th October. Once inside the theatre the audience grew tense as people read a notice of change of cast. Signor Pavini was ill and in his place Mr. Richard Sydney would play Don Octavio. Of Mr. Sydney’s performance the Freeman’s Journal says “he succeeded very well, and in the circumstances he must have surpassed expectation”.
Richard Sydney was a Dublin man (named MacNevin). At this time it was considered that a Civil Servant would lose prestige by singing in public, so Mr. MacNevin used the name Richard Sydney, his christian names. He was a member of an amateur society and had sung the part of Don Octavio with this society. One of the founders of the amateur society was the mother of Bernard Shaw. When Gunn, the Manager of the Theatre Royal, learned that the Italian tenor was ill he approached Sir Julius Benedict and suggested that he should go to Gardiner Street Church to hear Richard Sydney. This Sir Julius did, and was satisfied that Sydney could fill the part. After the season Sir Julius Benedict wrote a charming letter of thanks to Mr. MacNevin and gave him a gold ring, which the recipient wore until his death. This story proves that the standard of musical proficiency amongst Dublin amateurs had reached a high level. Mr. MacNevin’s son and grandson carried on the musical tradition of the family. His grandson is Dr. Richard MacNevin, P.P., of Sandymount.
During this season in the Theatre Royal thirteen operas were presented in eighteen nights. The list is worth recording. The operas were: Don Giovani, Il Trovatore, Fra Diavolo, La Sonnambula, La Figlia, Lucia, Dinorah, Rigoletto, Un Ballo in Manschera, Faust, I Puritini, La Favorita and Lohengrin. The last named was the first production of a Wagnerian opera m Dublin. In November of the same year another Italian Opera Company played for six nights in the same theatre. The repertoire was Faust, Lucia, Martha, ll Trovatore, R1goletto and La Sonnambula. An exciting feature of this season was the first appearance in Dublin of Madame Christine Nilsson; the performance of Il Trovatore was her benefit. Other famous sopranos included Trebelli-Bettini and Marie Roze. This was undoubtedly a festive year for Dublin.
On Monday, 2nd September, 1878, the last season of opera in the old Royal opened. The company on this occasion was Mr. Mapleson’s Italian Opera Company. During the twelve nights of the season Bizet’s ‘Carmen’ was heard in Dublin for the first time, and was received with delight. The first production of this opera was an uproarious failure and the composer never lived to see it become an established favourite, as it is still. When it was played for the first time in the Theatre Royal, Mdlle. Minnie Hawk was in the name part.
In 1874 the brothers John and Michael Gunn became the owners of the Theatre Royal. John Gunn died in 1877. He was spared the tragedy of seeing the Royal completely destroyed by fire on 9th February, 1879. The theatre was not rebuilt for seventeen years.
A prominent person in Dublin musical circles who regularly attended first nights at the opera was Mr. Hercules McDonnell. He was the founder of the Trinity College Choral Society, and actively interested in the Antient Concert Society. With the assistance of Sir Francis W. Brady he produced amateur operas in The Antient Concert Rooms in 1856. These operas were produced to raise funds for the Academy of Music. The performances were repeated a few years later for the same purpose. When the first Wagnerian Festival was held in Bayreuth in 1876, Hercules McDonnell organised a delegation to represent Ireland. Charles Villiers Stanford was one of our representatives. Stanford composed the music for a romantic comic opera called ‘Shamus O’Brien’ based on the poem by Joseph Sheridan Le Fanu. This work contains some very pretty tunes.
Our Gaiety Theatre was opened on 27th November, 1871. It was the property of the Gunn brothers. On the opening night there was a Gala Performance of ‘she Stoops to Conquer’ given by the John Woods Company. The prologue was written by John Francis Waller and delivered by Mrs. Scott Siddons. The Lord Mayor and Lady Mayoress, Mr. and Mrs. Bulfin, were guests of honour.
Opera had found a new home. The English companies transferred their allegiance to the Gaiety. Italian singers had tended to take unwarranted liberties with the music of composers to demonstrate their vocal powers, thus lowering the standard of artistry. By the end of the century they had come into world disrepute. It was the genius and forceful. personality of Toscanini which restored Italian singers to their position of supremacy.
The birth had taken place of an entirely new type of light opera destined to rouse tremendous interest amongst the English-speaking public. This was the Gilbert and Sull1van opera. The D’Oyly Carte Company was formed in ’76 and in its annual season at the Gaiety each new opera was performed.
For three months of every year the Carl Rosa Company occupied the Gaiety. The names of Ella Russell, Georgina Burns, Marie Roze, Zelie de Lussan (famous as Carmen), Barton McGuckin, Abramoff, Brozel and Leslie Crotty were as familiar as household words in Dublin. We are all very familiar to-day with the names of Leon and Eugene Goussens, and it is therefore of interest that their father, Eugene Goussens; conducted the first Dublin production of Tristan and Isolde in 1902. The growing demand for opera in English brought new companies to life. There was Sir Thomas Beecham’s Company and that of Joseph O’Mara.
Before the Theatre Royal was re-opened in 1897, light opera had become known as musical comedy and was gaining popularity. The theatre presented ‘The Geisha’ on the opening night. From this time on, the largest opera company coming to Dublin was the Moody-Manners Company, which came to the Royal with the exception of one season. Madam Fanny Moody charmed her audiences with voice and stage personality. The Quinlan Company, also, came to the Royal. In 1912 they gave a month’s season which possibly did not suit everybody’s taste. They performed two complete cycles of Wagner’s ‘The Ring of Niebelungen’, also ‘Tristan and Isolde’, Carpentier’s ‘Louise’ and ‘The Girl of the Golden West’ by Puccini.
Though the peace of the world was shattered in August 1914, Dublin folk still thought of opera. They were not disappointed. The Moody-Manners Company came to the Gaiety in Autumn and presented an attractive season. They played ‘Fra Diavolo’ by Auber, ‘Satanella’ and ‘The Puritan’s Daughter’, both by Balfe, Saint Saen’s ‘Samson and Delilah’ and ‘The Star of the North’ by Meyerbeer. The Company was soon disbanded. Joseph O’Mara’s company came in 1915 before it was dispersed, and a new company called the Harrison-Frewen. War created impossible conditions for touring companies. Opera lovers in Dublin had to find their own source of supply, which they did not fail to do.
A headline was set by the committee of the Oireachtas in 1910 which we would do well to consider. This was the production of Professor Robert O’Dwyer’s opera ‘Eithne,’ in the Gaiety Theatre. The theme of the opera was an old Irish folk story, ‘Einin na gCrann’, or to give it the English title, ‘The Bird of the Sweet Music’. The tale had been made popular in Dublin by a storyteller named Micheal MacRuary. The libretto in Irish for the opera was written by Rev. Professor Tomas O’Ceallaigh of Galway. It was a tale of ambition, jealousy and strife. The story ends with the singing of a magic bird and finally the love of the hero Ceart for Eithne, who has come from Tir na n-Og. Professor O’Dwyer introduced some old Irish tunes and music critics claim that he has succeeded in a well-nigh impossible task in the orchestration of these tunes written in the old Gaelic modes. This orchestration is said to have shown the influence of Wagner. The principal singers were Joseph O’Mara,’ Frank Dever, Evelyn Duffy and Lillian Matthews. A less ambitious work by Nora Chesson was performed in the Theatre Royal in 1903. This was called ‘Muirgheis’. The Irish libretto was by Professor Tadhg O’Donoghue (Torna).
About a year before the commencement of World War I an amateur society was formed in Dublin called The Corinthian Society. They staged operas of Balfe and Wallace for a week in the Empire Theatre. Two ladies made their debut with them who delighted Dublin audiences for many years. These were Lena Munro and Joan Burke. Irvine Lynch was heard for the first time in opera. The resonance of his voice and his polished acting completely held the attention of the audience. Wallace’s Lurline was conducted by Hubert Rooney, then a young dedicated musician. He was an excellent singing teacher who trained many of our most successful singers in their early years, including Laelia Finneberg, Nora Hill and Veronica Dunne. Hubert Rooney, who resided at Dalkey, was a relation of the violinist R. M. Levy, who lived at Violet Hill, Dalkey, for many years.
Despite the Rebellion of 1916 the musical life of the city continued. The Feis Ceoil was held that year in the Model Schools, Marlboro’ Street. Vincent O’Brien and Joe Sandes started a new opera company with the intention of performing twice-nightly shows. These shows were known locally as “Potted Opera.” Walter McNally, who was a pupil of Vincent O’Brien, took over the company, and in 1918 held two short seasons of opera in the Empire. Many delightful singers appeared on the stage. Amongst them were Kathleen McCully, Teresa Owens, Mildred Telford, Joan Burke. The male singers included Harry O’Dempsey, Joseph O’Neill, Arthur Lucas, A. J. O’Farrell and W. J. Lemass. The company at first aimed at the operas of Balfe and Wallace and, of course, ‘The Lily of Killarney’, but later extended their repertoire to include Faust, II Trovatore and Pagliacci. They sometimes brought guest artistes from England, the most notable being a tenor named Clarke, who played ‘Faust’ with superb artistry. Between seasons in Dublin the company toured the country giving scenes from operas. Vincent O’Brien conducted many of the Dublin seasons.
The organisers of the Tailtean Games in 1924 arranged a very interesting musical programme, and one that was representative of Irish culture. The Tailteann choir opened the Games, with the singing in Croke Park of the Tailteann Ode, words by Oliver Gogarty, and music by Louis O’Brien. There was the John McCormack prize for the most promising singer, and three operas in the Theatre Royal. These operas were under the direction of Joseph O’Mara and produced by Walter McNally. They were ‘Shaun The Post’, ‘Shamus O’Brien’ and ‘Sruth na Maoile’. Shaun The Post was based on the old melodrama Arrah na Pogue and the music was composed by Dermot MacMurrough or Harold White, which was, of course, his real name. The conductor was Vincent O’Bnen. The principals were Winifred Brady (guest artiste), Teresa Owens, Joseph O’Mara, Joseph O’Neill, Irvine Lynch and Richard MacNevin. This opera was revived in 1935 with Teresa Owens as Arrah.
She had played Fanny Power in the first presentation. The second opera was, as I mentioned earlier in this paper, the story of Shamus O’Brien, as written by Joseph Sheridan Le Fanu. The best ballads in this opera are sung by the ladies and the two parts were taken by Mary Maguire and Joan Burke. The third opera, Sruth na Maoile, had an Irish libretto by Rev. Professor Tomas O’Ceallaigh, taken from The Children of Lir. Joseph O’Neill and Joan Burke played two of the main parts and Eileen Gunning was Fionnula. Mr. G. Molyneau Palmer composed the music for the opera. He was a talented amateur, who was a partial invalid. He wrote songs for singers he admired, amongst them Joan Burke and Joseph O’Neill. He also wrote some choral pieces which he gave to his friend Hubert Rooney. People who remember the opera say that the music was delightful and admirably suited the sweet voice of Eileen Gunning.
The management of the Theatre Royal decided on a very charming idea for Christmas entertainment for children. In 1924 they produced Humperdinck’s Hansel and Gretel, having only matinee performances for several weeks. The parts of Hansel and Gretel were played by two guest artistes, but the rest of the cast was local. Joan Burke played the Witch, Monica Warner the Mother, which part she afterwards played in Covent Garden. The Dawn Fairy was played by Renee Flynn and the Sandman by Nora Hill, who in later years was understudy for Lily Pons in New York, in the opera ‘Lackme’.
The Carl Rosa Company started coming back to the Gaiety in 1924, but this was the beginning of an era of diversity of interests for theatre lovers. The gay, lively musicals of the ‘twenties and post-war dramas attracted people. The advent of the talking pictures drew audiences to the cinema. Radio amused them in their homes. After some years the Carl Rosa Company ceased to come here.
In spite of these counter attractions, a group of opera lovers formed a new society, the Dublin Operatic Society. The Musical Director was Maestro Viani. Their earliest performances were in the Olympia, but they soon moved to the Gaiety. The Society was founded in 1928 and at first had only local artistes, but in the mid-‘thirties the committee decided on bringing over English guest artistes. Prior to World War II, Dublin had some unforgettable performances from Elena Danieli and Heddle Nash at the height of their careers. Florence Austral played in Lohengrin and Der Freitchutz, Ben Williams and Leslie Jones, well-known to Dublin in the Carl Rosa Company, paid return visits. This society kept opera alive in Dublin at a very critical period. Joan Hammond made her first appearance in opera in Dublin with the Dublin Operatic Society in ‘The Magic Flute’.
The Dublin Grand Opera Society was founded by members of the Dublin Operatic Society. All are familiar with the latter-day work of this society, but ,their work in the early days to maintain the tradition of opera in Dublin may be forgotten. The first Musical Director of the society was Commdt. J. M. Doyle; the President was Dr. Larchet. In the early years of World War II it was difficult to engage guest artistes and our local artistes, who were the pillars of every season, included Renee Flynn, May Devitt, Patricia Black, James Johnston, J. G. Browner and John Lynskey. With the co-operation of the Culwick and other choral societies, this society performed the Bi-Centenary presentation of Handel’s Messiah in 1942 in the Gaiety Theatre. In November 1943 there was a centenary performance of ‘The Bohemian Girl’. It differed from the original production in Drury Lane in length and in the introduction of the ballad ‘The Light of Other Days’. Col. O’Kelly has been Chairman since the inception of the Society in 1941.
There will never again be the exciting nights at the opera when our parents heard our foremost local artistes sing from the gallery during intervals. Our hopes of an Opera House grow dimmer each year as public interests are so diverse we could not support one.
Despite these thoughts it is safe to predict that there will always be a large section of opera enthusiasts in our city. If the traditional style of production of old favourites, such as Carmen, received an injection of new ideas, the appeal to the younger age groups might be remarkable. The Hamburg Opera Company produced ‘The Barber of Seville’ in Dublin some years ago, with new settings, and the performance was received with enthusiasm.
[Originally published in The Dublin Historical Review, Vol XXIII (2/3) December 1969]
APPEARANCES WITH THE DGOS BY MISS CARMEL McASEY:
| Spring 1941 | La Traviata | Annina |
| Winter 1941 | Carmen | Mercedes |
| Spring 1943 | Carmen | Mercedes |
| Winter 1943 | Hansel und Gretel | Dew Fairy |
| Spring 1944 | Hansel und Gretel | Dew Fairy |
| Winter 1947 | La Traviata | Annina |
Opera in Ireland 