Charles Manners (bass)
[11] For another touring company he played in the comic opera, Falka: "as Boleslas there is opportunity for display of a powerful physique and a good voice that Mr. Charles Manners is not slow to make use of.[13] In June 1887, Manners signed a two-year contract with the Carl Rosa Opera Company as a principal bass,[14] making his début as King Henry in Lohengrin.[15] His early roles for the company included Peter the Great in Meyerbeer's L'étoile du nord,[16] the King of Spain in Maritana, Pietro in Auber's Masaniello, and Bertram in Robert the Devil.[32] With limited capital at their disposal (Manners later stated that they founded the company on £1,700 borrowed from friends, and repaid it all within a year),[33] they began with a provincial tour, starting in Manchester in September 1898.The Manchester Guardian commented, "There can be no greater proof of the energy of Mr Manners as a director than the fact of his having produced during the second week of his career as a manager no fewer than seven different operas, two of which were absolute novelties in the provinces."Of Manners himself, the paper wrote, "a highly gifted artist … whose voice seems to have lost none of the beauty which was so much admired in the far-away days when he was the Lifeguardsman in Iolanthe.The larger of the two had 175 members and gave London seasons in 1902 and 1903 at Covent Garden, in 1904 at Drury Lane, and in 1907 and 1908 at the Lyric Theatre when the repertoire included The Merry Wives of Windsor, The Marriage of Figaro, Tannhäuser, Lohengrin, Tristan and Isolde, Faust, Cavalleria rusticana and Pagliacci, Madame Butterfly, Aïda and Il trovatore."[3] Manners encouraged British composers to write for his company, offering prizes for the best operas:[30] one of the prize-winners was Colin McAlpin's The Cross and the Crescent (1903).[30] In its final season, playing to capacity audiences, the Moody-Manners company offered Il trovatore, The Bohemian Girl, Martha, Faust, The Lily of Killarney, The Daughter of the Regiment, Carmen, and Eugene Onegin, with Moody as Tatiana.
Alice BarnettIolantheD'Oyly Carte Opera CompanyCarl Rosa Opera CompanyCovent GardenFanny Moodynational opera companyHoddesdonDublinRoyal Academy of MusicClaude DuvalH.M.S. PinaforeThe Pirates of PenzanceQuite an AdventureSavoy TheatreEmpire TheatreOpera ComiqueMarie TempestThe Marriage of FigaroDon GiovanniCharles LecocqLohengrinMeyerbeerL'étoile du nordMaritanaRobert the DevilLa JuivesopranoSt George's, Hanover SquareSims ReevesRoberto il DiavoloOlympic TheatreWagnerEmma AlbaniEugene OneginHenry WoodAugustus HarrisThe Bohemian GirlTheatre Royal, Drury LaneManchesterThe Manchester GuardianLyric TheatreThe Merry Wives of WindsorTannhäuserTristan and IsoldeCavalleria rusticanaPagliacciMadame ButterflyIl trovatoreHarold RosenthalColin McAlpinSheffieldSheffield UniversityGlasgow Grand Opera SocietyMarthaThe Lily of KillarneyThe Daughter of the RegimentCarmenThe Musical TimesRaymond GubbayDundrum, County DublinThe TimesThe EraBirmingham Daily PostLiverpool MercuryWestern MailGlasgow HeraldBristol MercuryThe ObserverThe Guardian