D’Oyly Carte’s Opera Co. In “Utopia Limited”.

D’Oyly Carte’s Opera Co. in “Utopia Limited”.

Cleaned up and retouched by Adam Cuerden.

This File: 24 September 2010.

User: Adam Cuerden

Author: The Strobridge Lith Co.

Restored by Adam Cuerden

(Wikipedia)

Adam Cuerden’s image restoration page

can be found HERE

A wonderful resource for anyone who has

an old photo/picture that requires restoration.

“Then You'll Remember Me”. The Aria From The 1843 Opera “The Bohemian Girl”.

English: 

Title Page of the original Libretto of

“The Bohemian Girl”,

by M. W. Balfe.

Italiano: 

Frontespizio del libretto originale dell’opera

“The Bohemian Girl”,

di M. W. Balfe.

Date: 1843.

Source: BOOKS GOOGLE

Author: Alfred Bunn (1796–1860), Librettist.

Published by W. S. Johnson,

“Nassau Steam Press”, Nassau Street,

Soho, London.

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia,
unless stated otherwise.

“The Bohemian Girl” is a Ballad Opera, composed by Michael William Balfe, with a Libretto by Alfred Bunn. The plot is loosely based on a Cervantes tale, “La Gitanilla”.

The best-known Aria from the Piece is “I Dreamt I Dwelt In Marble Halls”, in which the main character, Arline, describes her vague memories of her childhood. [Editor: Another well-loved Aria is “Then You’ll Remember Me”, illustrated in this Article.]

“I Dreamt I Dwelt In Marble Halls” has been recorded by many Artists, most famously by Dame Joan Sutherland, and also by the Norwegian Soprano Sissel Kyrkjebø, and Irish singer, Enya.

The Opera was first produced in London at the Drury Lane Theatre on 27 November 1843.

The Production ran for more than 100 nights and enjoyed many revivals worldwide, including: New York City (25 November 1844), Dublin (1844), and Philadelphia (1844).

“I Dreamt I Dwelt In Marble Halls”.

Sung by: Enya.

Available on YouTube

HERE

Several versions in different languages were also staged during Balfe’s lifetime. The German version, “Die Zigeunerin”, premiered in Vienna in 1846, the Italian adaptation and translation, titled “La Zingara”, was originally staged in Trieste in 1854, and finally a four-act French version, “La Bohémienne”, was mounted in Rouen in 1862, conducted by composer Jules Massenet, then aged only twenty, and with the celebrated Mezzo-Soprano, Célestine Galli-Marié, in the role of the Gypsy Queen.

Célestine Galli-Marié, creator of the Title Role in Bizet’s “Carmen”, dressed for that role. The celebrated Mezzo-Soprano, Célestine Galli-Marié, played the role of

The Gypsy Queen in Rouen, France, in 1862.

Photo: Between 1875 and 1883.

Source: Gallica

Author: Atelier Nadar,

attributed to Paul Nadar in 

File:Galli-Marie_Carmen_Photo.png.

Restored by: Adam Cuerden

(Wikimedia Commons)

If “Die Zigeunerin” enjoyed fairly widespread circulation in the Countries of German language or culture, “La Zingara” was often revived in English-speaking Cities, such as London, Dublin, New York, Boston, and San Francisco.

The very successful 1858 Run of “La Zingara”, at Her Majesty’s Theatre in London, for which Balfe was rewarded with an extra cheque for fifty Pounds, starred Marietta Piccolomini, Marietta Alboni and Antonio Giuglini.

The Opera “remained in the repertoires of British Touring Companies until the 1930s and was revived in 1932 at Sadler’s Wells”.

Since World War II, it has been staged by: The Belfast Operatic Society at the 1978 Waterford International Festival of Light Opera, in Ireland; by Castleward Opera, Strangford, in Northern Ireland in 2006; and by Opera South, Haslemere, in England, in 2008.

Mrs. Lillie Langtry.

This Painting encapsulates the angst and

longing contained within the lyrics of the Aria,

“Then You’ll Remember Me”,

from the Opera “The Bohemian Girl”.

Artist: George Frederic Watts (1817–1904).

Date: Circa 1879.

Source/Photographer: ART CONTRARIAN

(Wikimedia Commons)

“Then You’ll Remember Me”.

The Aria from “The Bohemian Girl”.

Sung by: Maura O’Connell.

Available on YouTube

HERE

“Then You’ll Remember Me”.

From Act III of the English Opera

“The Bohemian Girl”,

by Michael William Balfe.

Libretto: Alfred Bunn.

Role: Thaddeus, a Polish exile and fugitive.

Voice Part: Tenor. Fach: Lyric Tenor.

Setting: A hall in Count Arnheim’s Castle.

Synopsis: Count Arnheim’s daughter, Arline,

was kidnapped as a child and raised by gypsies.

She has recently been re-united with her father and 

is living in his Castle, but she has fond memories of the gypsy camp and Thaddeus, the man she loved. Thaddeus now comes to her window and sings this serenade.

The following Lyrics are from ARIA DATABASE

Libretto entered by Mark D. Lew (added 28 February 1999).

When other lips and other hearts,

Their tale of love shall tell,

The language whose excess imparts,

The power they feel so well:

There may, perhaps, in such a scene,

Some recollection be,

Of times that have as happy been,

And you’ll remember me !,

And You’ll remember,

You’ll remember me !

When coldness and deceit shall slight,

The beauty now the prize,

And deem it but a faded light,

That shines within your eyes:

When hollow hearts shall wear a mask,

’T’would break your own to see:

In such a moment I but ask,

That you’ll remember me !,

That You’ll remember,

You’ll remember me !

“Then You’ll Remember Me”.

The Aria from “The Bohemian Girl”.

Sung By: John McCormack.

Available On YouTube

HERE

This is a pure example of Victorian music and sensibility. McCormack’s rendering of the lovely old Aria is perfect, and captures the earnest, albeit finger-wagging, sense of morality and propriety so characteristic of the age.

Michael W. Balfe’s Opera was first performed in London in 1842, and, musically speaking, is absolutely a product of its time, even though its narrative inspiration would seem to be an old Cervantes story, “La Gitanilla”, an “exemplary novel” of the kind made popular by the great Spanish author, and which charmed the urbanites of earlier Centuries who took their pleasure in pastoral romances.

“Then You’ll Remember Me”.

The Aria from “The Bohemian Girl”.

Sung by: Jerry Hadley.

Available on YouTube

HERE

The Front Cover for the Score of “La Bohémienne”, a French version of Michael Balfe’s Opera “The Bohemian Girl”, adapted by Henri Vernoy de Saint-Georges for the Théâtre Lyrique, in Paris, as performed beginning on 30 December 1869.

Date: 1869.

Source: BRITISH AND IRISH WORLD

Author: Not known.

(Wikimedia Commons)

“Litaniæ Lauretanæ”. “Litany Of Loreto”. Litany Of The Blessed Virgin Mary. Gregorian Chant.

“Litaniæ Lauretanæ”.

“Litany of Loreto”.

Litany Of The Blessed Virgin Mary.

Gregorian Chant.

Chanted By

Available on YouTube

HERE

“Still Crazy After All These Years”. Sung By: Paul Simon.

“Still Crazy After All These Years”.

Sung By: Paul Simon.

Available on YouTube

HERE

Holy Family Church, Niagara Falls, New York.

Holy Family Church,

Niagara Falls, New York.

Illustration: SWIATEK STUDIOS

Friday Of The Third Week In Lent. The Station Is At The Basilica Of Saint Laurence-in-Lucina. Violet Vestments.

Peterborough Cathedral.

© Chel@SweetbriarDreams

www.sweetbriardreams.blogspot.co.uk

Text from The Saint Andrew Daily Missal,

unless otherwise stated.

Friday of the Third Week in Lent.

Station at Saint Laurence-in-Lucina.

Indulgence of 10 Years and 10 Quarantines.

Violet Vestments.

Basilica of Saint Laurence-in-Lucina

(San Lorenzo-in-Lucina), Rome.

Photo during a survey of monuments in 1911.

This File: November 2005.

User: Panairjdde.

(Wikimedia Commons)

This is one of the numerous Sanctuaries built in Rome in honour of the Martyred Deacon, Saint Laurence. Part of the Gridiron, on which he was tortured, is kept there. This Church, one of the twenty-five Titular, or Parish, Churches of the first Christian Capital in the 5th-Century A.D., is still today that from which the first of the Cardinal Priests derives his Title.

It was during the Forty Years passed in the desert, that Moses and Aaron asked God to bring from the Rock - a figure of Christ - “a Spring of Living Water,” so that all the people could quench their thirst (Epistle). During these Forty Days of Lent, the Church asks Christ to give us the Living Water, about which He spoke to the Woman of Samaria, near Jacob’s Well, The Water which quenches our thirst for ever (Gospel).

Basilica of Saint Laurence-in-Lucina, Rome.

Photo: July 2007.

Source: Own work.

Author: SteO153

Permission: CC-BY-SA-2.5.

(Wikimedia Commons)

This Water is our Faith in Jesus, it is Grace, it is the Blood which flows from the Wounds of The Saviour, and which, through Baptism, Penance and the other Sacraments, purifies our Souls, and gushes forth into Eternal Life, of which it assures us a share.

We should note the parallel that it pleased Christian art to establish between Saint Peter and Moses. It is the latter who touched the Rock from whence the water surged; this is a symbol of Christian Baptism, given by The Church, of which Saint Peter is the Head.

Mass: Fac mecum.
Preface: Of Lent.

The High Altar,

San Lorenzo-in-Lucina, Rome.

The Crucifix painting is by Guido Reni.

Photo: July 2007.

Source: Own work.

Author: SteO153

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia.

The Church of Saint Laurence-in-Lucina (Italian: San Lorenzo-in-Lucina, Latin: S. Laurentii in Lucina) is a Roman Catholic Parish and Titular Church and Minor Basilica in Rome.

The Church is dedicated to Saint Laurence, Roman Deacon and Martyr. The name “Lucina” comes from the 4th-Century A.D. Roman matron who gave permission for Christians to build a House of Worship here.

Pope Marcellus I hid here during the Persecutions of Maxentius, while Pope Damasus I was Elected Pope here in 366 A.D. 

A Church here was Consecrated by Pope Sixtus III in the 

year 440 AD. The Church was known as Titulus Lucinæ, and thus is mentioned in “The Acts” of the 499 A.D. Synod of Pope Symmachus. It was first reconstructed under Pope Paschal II in the first decades of the 1100s.

English: Basilica of San Lorenzo-in-Lucina, Rome.

Italiano: Roma - Chiesa di S. Lorenzo-in-Lucina.

Photo: May 2010.

Source: Own work.

Author: Geobia

(Wikimedia Commons)

In 1606, Pope Paul V placed the Church under the Franciscan Order of Clerics Regular Minor. 

The Interior was completely transformed by Cosimo 

Fanzago in the 17th-Century, converting the lateral Aisles of the Basilica structure into Chapels. The Ceiling was frescoed by the Neapolitan Mometto Greuter.

Charles Stewart, an Officer in the Papal Army, who died in 1864, is buried within the Church. He was the son of John Stewart, Prince Charles Edward Stuart’s (Charles III) “mæstro di casa”.

Charles had created John a Baronet in 1784. The current 

[as of February 2023] Cardinal Priest of the Titulus S. Laurentii-in-Lucina, established in 684 A.D., is Malcolm Ranjith, since November 2010.

English: Chapel of Saint Laurence’s Gridiron,

San Lorenzo-in-Lucina, Rome.

Italiano: San Lorenzo-in-Lucina, Roma.

La cappella che conserva la sedicente graticola

su cui sarebbe stato martirizzato San Lorenzo.

Photo: July 2007.

Source: Own work.

Author: SteO153

(Wikimedia Commons)

The High Altar, designed by Carlo Rainaldi, is decorated with a painting of the Crucifixion by Guido Reni. 

Under the Altar, there is the Gridiron on which Saint Laurence was Martyred. 

The Relics were put here by Pope Paschal II, according to an Inscription on the Throne behind the Altar. The Choir is decorated by Virgins and Saints by Placido Costanzi.

The second Chapel to the Right, designed by Carlo Rainaldi, was decorated by Jan Miel. 

Nicolas Poussin is buried in the second Chapel on the Right, with a Monument donated by Chateaubriand, with a Bust by Paul Lemoyne and a Relief by Louis Desprez.

Basilica of Saint Laurence-in-Lucina, Rome.

Photo: August 2006.

Source: Own work.

Author: Lalupa

(Wikimedia Commons)

The fourth Chapel, the Fonseca Chapel, was designed by Gian Lorenzo Bernini, and features a lively Bust of Gabriel Fonseca by the Master Sculptor. It also houses a Copy of Guido Reni’s “Annunciation”, completed by Giacinto Gimignani.

The fifth Chapel, on the Right, has a “Death of Saint Giacinta Marescotti”, by Marco Benefial, and a “Life of Saint Francis” (1624), by Simon Vouet. 

The fourth Chapel has a “Saint Giuseppe”, by Alessandro Turchi, and a “San Carlo Borromeo”, by Carlo Saraceni. The first Chapel has Works (1721) by Giuseppe Sardi.

Our Lady Of The Atonement Cathedral,

Baguio, Philippines.

Photo: 29 March 2024.

Source: Own work.

This File is made available under the

Creative Commons CC0 1.0

Universal Public Domain Dedication.

Author: Galaxiaria

(Wikimedia Commons)

Wells Cathedral.

Photo: August 2006.

Source: Own work.

This File is licensed under the

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Steinsky

(Wikimedia Commons)

Altar Frontals (Antependia) Enhance The Dignity, And Profundity, And Beauty, Of The Divine Holy Mass.

Saint Barnabas Roman Catholic Church,

East Molesey, Surrey, England.

All Illustrations

FACEBOOK, PENSON ECCLESIASTICAL ARTS

Saint Barnabas Roman Catholic Church,

East Molesey, Surrey, England.

The Web-Site of Penson Ecclesiastical Arts can be found

HERE

The Shrine of Our Lady of Willesden, London.

Saint James’s Roman Catholic Church,

Spanish Place, 22 George Street, London.

Saint James’s Roman Catholic Church,

Spanish Place, 22 George Street, London.

Saint Barnabas Roman Catholic Church,

East Molesey, Surrey, England.

Saint Barnabas Roman Catholic Church,

East Molesey, Surrey, England.

Saint James’s Roman Catholic Church,

Spanish Place, 22 George Street, London.

Wells Cathedral (Part Eighteen).

The Great West Front,

Wells Cathedral.

Photo: 30 April 2014.

Source: Own work.

Attribution:

Photo by DAVID ILIFF.

Licence: CC BY-SA 3.0.

Author: Diliff

(Wikimedia Commons)

Text from Wikipedia - the free encyclopædia,

unless stated otherwise.

Each Pier of the Arcade has a surface enrichment of twenty-four slender Shafts, in eight groups of three, rising beyond the Capitals to form the deeply undulating Mouldings of the Arches.[90]

The Capitals are remarkable for the vitality of the stylised foliage, in a style known as “ Stiff-Leaf ”. The liveliness contrasts with the formality of the Moulded Shafts and the smooth unbroken areas of Ashlar Masonry in the Spandrels. Each Capital is different, and some contain small figures illustrating narratives.[90]

Wells Cathedral in the reflecting pool

in the grounds of the Bishop’s Palace.

Photo: 26 February 2014.

Source: Own work.

This File is licensed under the

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Rodw

(Wikimedia Commons)

The Vault of the Nave rises steeply in a simple quadripartite form, in harmony with the Nave Arcade.[88]

The Vault has a multiplicity of Ribs in a net-like form, which 

is very different from that of the Nave, and is perhaps a recreation in Stone of a local type of compartmented Wooden Roof, of which examples remain from the 15th-Century, including those at Saint Cuthbert’s Church, Wells.[113]

Wells Cathedral.

Photo: August 2006.

Source: Own work.

This File is licensed under the

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Steinsky

(Wikimedia Commons)

Until the Early-14th-Century, the Interior of the Cathedral 

was in a unified style, but it was to undergo two significant changes, to the Tower and to the Eastern End.

Between 1315 and 1322, the Central Tower was heightened and topped by a Spire, which caused the Piers that supported it to show signs of stress.

In 1338, the Mason, William Joy, employed an unorthodox solution by inserting Low Arches, topped by inverted Arches 

of similar dimensions, forming scissors-like structures.[114]

These Arches brace the Piers of the Crossing on three sides, while the Easternmost side is braced by a Choir Screen.[115]

The Great West Front, Wells Cathedral. An eroded layer of Angels, with the twelve Apostles, carved in the 15th-Century, above. Centre right is Saint Andrew, Patron of the Cathedral, holding the Saint Andrew Diagonal Cross. Uppermost, sits Christ, flanked by two Seraphim, carved in 1985.

Photo: 24 October 2009.

Source: From geograph.org.uk

Attribution:

Ivan Hall / Detail, West Front, Wells Cathedral /

CC BY-SA 2.0.

Author: Ivan Hall

(Wikimedia Commons)

PART NINETEEN FOLLOWS.