126:. The latter was known at first as "The Bat", but soon it became "A Viennese Masquerade" and then it was dropped, Hoffmann being given exclusively. Some cities experienced one or both operas for the first time. Six evening and one or two matinee performances were given weekly in thirteen cities during the autumn segment (Blackpool, Belfast, Dublin, London, Manchester, Glasgow, Edinburgh, Liverpool, Newcastle upon Tyne, Leeds, Nottingham, Birmingham and Brighton) with fourteen more after Christmas (Swansea, Fulham, Bournemouth, Dublin, Southampton, Leicester, Wolverhampton, Hull, Manchester, Sheffield, Bristol, Cardiff, Plymouth, and Portsmouth).
19:
307:, from the Boston Opera, and set models for the Puccini operas were first passed by the composer; while Humperdinck, Debussy, Cosima Wagner, Ricordi and other authorities lent their assistance with others. Quinlan claimed the largest scenic studio in England and said that a great deal of research had been done on the historical accuracy of stage accessories. The cost of moving the company and all the baggage – 365 tons of scenery, props and costumes – around the world was £100,000.
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on the
Saturday afternoon, with Hoffmann again that night. This quick start and rate of bringing forward new productions was only possible because this was a complete company, with its own chorus and orchestra – the only one to visit Australia – and had already performed all its repertoire in England
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The company rehearsed in London for five months before touring the provinces, (opening in
Liverpool, where the results exceeded Quinlan's expectations), making a visit to Ireland with performances at the Theatre Royal Dublin from 26 December 1911 to 9 January 1912, and then setting off for Australia
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Quinlan then decided to set up his own company, feeling that the provinces and "the dominions beyond the seas", as he told J.D. Fitzgerald in an interview in The Lone Hand in Sydney, had never had the chance of hearing grand opera on the same scale as Covent Garden. In 1911 the
Quinlan Opera Company
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Quinlan's enterprise came unstuck and he managed no more grand opera seasons. Despite the crash in Canada some artists had definitely been re-engaged and contracts signed. But the outbreak of World War I put paid finally to the possibility of
Quinlan's plan to bring another company to Australia in
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cycles; while in Sydney, where the original season of seven weeks was extended to nine because a strike in New
Zealand made it impossible to move on there as planned, another three operas were added. In all, nine of the major Wagner operas were staged – all except Parsifal – four of them for the
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It was not simply a visit to
Australia, but part of a tour round the world, what Quinlan himself in an interview on arrival in Sydney, called an "All-Red Tour" (a phrase which meant something rather different in the days before the sun set on the British Empire). The intention was to return to
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cycles around the world in the space of six months, a feat he had been confident would "be mentioned with bated breath in
European art circles", and the enterprise proved ruinous. Quinlan estimated that it "cost ÂŁ150,000 a year to run grand opera round the world", and with disruptions to the
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from
Glasgow, an authority on historical pageant and theatrical costumes, who travelled with the company. Quinlan pointed out that she concentrated on a harmoniously blended colour scheme, eschewing extraneous spangles and similar gewgaws. The sets for all the operas were designed by
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Except for Lalla
Miranda, who had concert engagements in Brisbane, the company sailed for England on the day after the last performance, visiting Melbourne on the way for a Town Hall concert. Quinlan promised to return the following year, and to bring back not only the complete
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England via New
Zealand and Canada, "never", said Quinlan, "leaving the red portions of the geographical map except to hop over the border from Canada to visit some of our American cousins.... We sing in English to English-speaking peoples all the time."
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The Australian tour was limited to just ten weeks (five in Melbourne and five in Sydney). The presentation of fifteen operas, four of them new, in just under five weeks, in itself provided plenty of variety. The remaining operas were
155:, put up a record still unbroken and likely to remain so: four Australian premieres in eight days. The company opened on Saturday, 8 June (having only arrived in the country the previous Wednesday), with a gala premiere of
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Staging and presentation were of a high standard, under the direction of Louis P. Verande (assisted by George King), from Covent Garden where he had been responsible for the staging of Thomas Beecham's controversial 1910
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The era came to an end in March 1914. After a week in Vancouver in January, the company went on to a three-week visit of the Quinlan English Opera Co at His Majesty's Theatre, Montreal; Wagner's complete
543:
The 1920–1921 season of Quinlan Subscription Concerts included a series of five concerts at the Usher Hall, Edinburgh . The second in series was performed by the Sir Thomas Beecham Orchestra conducted by
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Beecham extended his dream into the provinces with The Beecham Opera Comique Company. As his manager, he chose Quinlan. The company would present two "tuneful lightweights" as he called them,
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After their return to England in 1912, the company undertook a provincial tour (including a performance in Newcastle in March 1913), followed by visits to Ireland (with a performance at the
366:. Apart from these, it was the sheer number of operas performed which was so impressive. In just under eight weeks in Melbourne, the company performed 25 operas, including two
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was formed in Liverpool. Quinlan personally supervised everything, casting the operas himself, and seeing every act of every opera before it was presented to the public.
497:. But attendance was poor, and the company decided to cut its losses and terminate its visit to Canada, even though performances had already been announced for Toronto.
447:. Not surprisingly, some had only one performance in each city, though most had two or three – sometimes by popular demand. Exceeding that number were only
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1915. The Quinlan Company became the Harrison Frewin Company, which was acquired by the impresario H B Phillips in 1916 for ÂŁ1,750. In October 1918 the
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with various soloists. There was also a series of 12 concerts at Kingsway Hall featuring various orchestras, including the Quinlan Orchestra and the
572:, which turned out to be a financial failure. In 1926 his wife, Dora, divorced him on the ground of desertion. He died in London in November 1951.
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In 1910 London heard – or had the opportunity of hearing – more opera than ever before in its history. Between mid-February and New Year's Eve,
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The 1919–1920 season of Quinlan Subscription Concerts included performances in the Usher Hall, Edinburgh by the Halle Orchestra conducted by
83:
On 4 July 1907 he married Dora Collins (daughter of James Collins, a tea merchant) at St Peter and St Edward Church, 43 Palace Street,
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for the 1912 season. In February 1912 the company performed in South Africa (Cape Town and Johannesburg) on their way to Australia.
264:), including the permanent orchestra of 55 and a chorus of 60, and there were three conductors: Ernst Knoch for the Wagner operas,
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Thomas Quinlan was the son of Dennis Quinlan, a railway clerk, and Ellen Quinlan, née Carroll. He was the eldest of five children.
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on 14 May 1913) and South Africa (June to July 1913) on the way back to Australia, staging the first complete
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The first week of the 1912 season presented in conjunction with the Australian impresario
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was sung in Canada for the first time (and by 1990 still the only time), along with
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Problems in New Zealand and Canada interfered with his plan of performing nine
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41:) was a musical impresario, best known for founding the Quinlan Opera Company.
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Quinlan studied as an accountant, and in 1901 he was company secretary of the
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either conducted or was responsible as impresario for 190 performances at
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and took over other operas later in the run. He was also chorus-master.
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The artists were mostly British, with two returning Australian singers,
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Brick company. He also trained as a baritone; he was first coached by
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Arts & Humanities Research Council database of concert programmes
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In 1919 Quinlan was reported to be in London in concert management.
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Quinlan Opera Company performance in Glasgow on 15 December 1911
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schedule, the incomings were not enough to balance this figure.
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first time; all the major Puccini operas written at the time:
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with various soloists . There was also a performance at the
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and Julia Caroli. The company also included the British
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Opera for the Antipodes (Opera in Australia 1881–1939)
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acquired the Phillips and Harrison Frewin companies.
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735:. Sydney: Currency Press and Pellinor Pty Ltd.
185:on the Friday, and the Australian premiere of
179:on the Thursday, the Australian premiere of
200:and South Africa on its way to Australia.
780:The Beecham Opera Comique Tour 1910–1911
767:Thomas Beecham: An Independent Biography
459:(five in Sydney) and, way out in front,
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171:on the Tuesday, another performance of
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695:Arts & Humanities Research Council
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719:(Melbourne), 7 September 1926
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80:tour of Ireland in 1908.
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546:Albert Coates (musician)
534:Albert Coates (musician)
753:H.B.Phillips Impresario
751:McCann, Wesley (2001).
644:Gyger, pages 184 to 201
478:Der Ring des Nibelungen
455:(four each in Sydney),
439:and the old favourites
407:; other Italian works:
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844:British opera managers
765:Reid, Charles (1961).
731:Gyger, Alison (1990).
421:The Marriage of Figaro
300:Dorothy Carleton Smyth
252:and Britain's leading
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747:A voice without equal
538:Theatre Royal, Dublin
433:The Tales of Hoffmann
417:The Barber of Seville
389:La fanciulla del West
337:Theatre Royal, Dublin
168:La fanciulla del West
157:The Tales of Hoffmann
117:The Tales of Hoffmann
109:His Majesty's Theatre
45:Early life and career
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570:Sistine Chapel Choir
409:Cavalleria rusticana
305:Oliver Percy Bernard
37:– 20 November 1951,
22:Thomas Quinlan in a
839:British impresarios
491:The Flying Dutchman
278:Royal Swedish Opera
635:Gyger, pp. 170–183
495:Tristan und Isolde
465:Samson and Delilah
457:Samson and Delilah
437:Samson and Delilah
182:Tristan und Isolde
175:on the Wednesday,
101:Sir Thomas Beecham
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317:, but also
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250:John Coates
236:La traviata
207:Die WalkĂĽre
833:Categories
726:References
617:Reid, p.96
483:Tannhäuser
341:Ring Cycle
314:Ring Cycle
162:Tannhäuser
26:photograph
24:monochrome
811:Biography
717:The Argus
684:The Times
672:The Times
560:1922–1951
517:1919–1921
487:Lohengrin
453:Butterfly
413:Pagliacci
393:Rigoletto
377:La bohème
331:1913–1914
262:Butterfly
224:Lohengrin
216:La Bohème
177:Rigoletto
91:in 1907.
461:Hoffmann
266:Hoffmann
173:Hoffmann
54:Withnell
797:Portals
528:, with
191:Debussy
85:Pimlico
39:Holborn
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493:, and
449:Bohème
441:Carmen
425:Louise
358:Louise
324:Louise
295:Salome
274:Carmen
220:Carmen
823:Opera
626:Hooey
576:Notes
445:Faust
431:, to
381:Tosca
286:Faust
247:tenor
232:Faust
151:, at
757:ISBN
737:ISBN
502:Ring
451:and
443:and
427:and
415:and
405:Aida
403:and
368:Ring
360:and
348:Ring
321:and
272:and
234:and
212:Aida
143:1912
130:1911
120:and
107:and
95:1910
35:Bury
189:by
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