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Scene from "The Rose of Castile", at Drury Lane Theatre, 1858. Creator: Smyth. Scene from "The Rose of Castile", at Drury Lane Theatre, 1858. Creator: Smyth
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Scene from "The Rose of Castile", at Drury Lane Theatre, 1858. Creator: Smyth. Scene from "The Rose of Castile", at Drury Lane Theatre, 1858. Creator: Smyth
Scene from "The Rose of Castile", at Drury Lane Theatre, 1858. London stage production. This lively and pretty opera, certainly the chef-d'oeuvre of our most popular English composer, is again running a course of success even more brilliant, if possible, than that which it enjoyed last season-a success which is due not only to its own merit, but to the admirable manner in which it is performed, and which shows how little ground there is for the cuckoo cry about the neglect of "native talent." We have always maintained that, let English managers of theatres and opera-houses only give good tilings, they will never lack encouragement and support from the English public. "The Rose of Castille" is now so well known to the public, both of the metropolis and the provinces, that the subject of the accompanying Sketch will at once be recognised as the scene in the second act, in which the Prince, seeing the supposed country girl for the first time in royal attire, is so amusingly mystified as to her identity with the young Queen. Our artist has seized the moment when the Misses Pyne and Mr. Harrison are singing the laughing trio, "I'm not the Queen, ha, ha!" and the likenesses of all the three are striking and characteristic'. From "Illustrated London News", 1858
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Contralto Costumes Crinoline Crinolines Drury Lane Theatre Hoop Skirt Hooped Hoopskirt Michael Balfe Michael William Balfe On Stage Opera Singer Opera Singers Petticoat Sibling Siblings Sister Sisters Smyth Soprano Tenor Theatre Royal Drury Lane William Harrison Playhouse Vocalist
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EDITORS COMMENTS
This image hails from the second act of the popular English opera, "The Rose of Castile," which was once again delighting audiences at the prestigious Drury Lane Theatre in London during 1858. Composer Michael William Balfe's masterpiece continued to enjoy unprecedented success, a testament to both its inherent merit and the exceptional performances it received. The opera's enduring appeal demonstrated that the English public would wholeheartedly support and encourage homegrown talent if given the opportunity to shine. The scene depicted in this evocative sketch is instantly recognizable to those familiar with the production. Here, the Prince, played by Mr. Harrison, is bewildered by the transformation of the supposed country girl, portrayed by the Misses Pyne, into the resplendent Queen. The moment captured in the sketch is during the lively and humorous trio, "I'm not the Queen, ha, ha!" where the trio's playful denial of their royal identities adds to the amusement of the scene. Smyth, the talented artist, expertly captures the essence of the moment, skillfully rendering the likenesses of all three performers in striking and characteristic detail. This image serves as a testament to the enduring appeal and success of "The Rose of Castile" on the Victorian stage.
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