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Charles Manners (bass)

March 20, 2024

Charles Manners (27 December 1857 – 3 May 1935) was a British bass singer and opera company manager. His earliest performances were with the D'Oyly Carte Opera Company, first as a chorus member and then as a principal, creating the role of Private Willis in Iolanthe in 1882. After leaving D'Oyly Carte the following year, he sang with several opera companies, most notably the Carl Rosa Opera Company and Covent Garden. In 1898, he and his wife, the singer Fanny Moody, set up their own company, dedicated to presenting opera in English.

Charles Manners and Alice Barnett in Iolanthe, 1882

The Moody-Manners company performed in London, the British provinces, North America and South Africa from 1898 to 1916. After his retirement, Manners continued to campaign for a national opera company, which was eventually founded forty years after his death.

Life and career edit

Early years edit

Manners was born Southcote Randal Bernard Campbell Mansergh[1] in Hoddesdon,[a] England, son of Colonel J. C. Mansergh, an Irishman.[2] He was educated at Hoddesdon Grammar School and considered a career in the army. He tried engineering and stockbrokerage before deciding on music as a profession.[2] He studied at the Royal Irish Academy in Dublin, the Royal Academy of Music in London, and in Florence.[3]

In either 1881 or 1882 he joined the D'Oyly Carte Opera Company as a chorus member.[b] In early 1882, he appeared on tour in the chorus of Claude Duval and, later in the same year, in the chorus of H.M.S. Pinafore and The Pirates of Penzance.[4] He was promoted to the roles of Dick Deadeye in Pinafore and Samuel in Pirates in August 1882.[5] He also appeared as Mr. Wallaby in the companion piece Quite an Adventure.[4] In November 1882, he created the role of Private Willis in Iolanthe at the Savoy Theatre.[6]

Manners left the D'Oyly Carte company in late 1883.[6] In 1884, he sang Boleslas in Falka on tour.[7][8] In 1885 he sang in light opera at the new Empire Theatre,[9] and played Wickermark in a romantic opera, The Fay o' Fire at the Opera Comique with the young Marie Tempest.[10] In 1886, he joined a touring opera troupe called "The Royal English Opera Company", later renamed "Sydney Leslie's Opera Company", playing Bartolo in The Marriage of Figaro, and the Commendatore in Don Giovanni.[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."[12] With the same company he played General Bombardos in the English première of Charles Lecocq's Pepita.[13]

Carl Rosa and Covent Garden edit

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.[17][18][19][20] His later roles included Mephistopheles in Faust,[21] and Cardina Brogni in La Juive.[22] A fellow member of the company was the Cornish soprano Fanny Moody, whom Manners married at St George's, Hanover Square on 5 July 1890.[23][24][25] When not touring in opera, Manners took part in concerts in London and the provinces, gaining favourable reviews.[26] He was one of three singers invited to tour with Sims Reeves in Reeves's farewell series of concerts.[27]

In October 1890 Manners joined the Covent Garden company, making his debut in Roberto il Diavolo. "The English basso-profondo, Mr. Charles Manners, sang with grand effect the music allotted to Bertram, and his acting was powerfully impressive."[28] For the same management, this time at the Olympic Theatre, he appeared as King Henry in Wagner's Lohengrin (given in Italian: his role was billed as "Enrico l'Ucellatore") with Emma Albani as Elsa; and as Gremin in the British première of Eugene Onegin conducted by Henry Wood, with Fanny Moody as Tatiana.[29]

In 1893 he made his New York début,[30] and on his return he and Moody signed to appear with Augustus Harris's opera company. Among other roles, Manners played Devilshoof in The Bohemian Girl at the Theatre Royal, Drury Lane with Moody as Arline.[31] In 1896–97 he made a successful and remunerative tour of South Africa with Moody. When they returned to England in 1898, they formed the Moody-Manners Company.[24]

Moody-Manners Opera Company edit

Manners's ambition was to found a company to give opera in English that would, in time, become a permanent national ensemble based in London.[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."[34] Moody was the company's leading soprano.[35]

 
Manners circa 1900

By 1902 there were two Moody-Manners touring companies. 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.[36][37] There were Moody-Manners tours not only of Britain but also of North America and South Africa.[4]

The opera historian Harold Rosenthal wrote of the Moody-Manners company: "With the Carl Rosa company, it was the principal training ground for British artists in the years before World War I."[32] Manners held strong views about the training given by British music academies to young singers. In his view students were not equipped for a professional career because they were trained in the principal operatic roles rather than in the chorus parts, which almost all singers new to the profession would need to sing before being promoted to leading roles. He instanced his own early career: "I studied both at the Royal Academy, Dublin, and the Royal Academy, London, and then in Italy, and when I came back to London, all I could get was an engagement in comic opera where I sang for eighteen months before I could become a principal. It was not till over six years after I left my studies that I found anything I had learnt at the academies of any value to me."[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).[38] He sponsored opera festivals in Sheffield in 1904 and 1906, whose profits helped to found Sheffield University. He also used profits from a successful season in Glasgow in 1906 to help create the Glasgow Grand Opera Society, which continued his work in popularising opera in English between the two World Wars.[32] By 1910, Manners faced financial difficulties and had to disband one of his two companies, and the remaining Moody-Manners Company gave its last performance in May 1916.[32] Manners retired from singing in 1913.[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.[39]

After the closure of his companies, Manners continued to campaign for a national opera company. He wrote to The Musical Times in 1921, "I here assert for the thousandth time that National Grand Opera can be given in an all round way at popular prices – I repeat, popular prices – far better than it has ever been given, without a cost of a farthing to the rates or taxes."[40] In 1926 he wrote a long article on "The Financial Problem of National Opera. By the People for the People", explaining his rationale.[41] He disapproved of public subsidy, insisting that opera could be self-supporting and even profitable. Although later attempts to follow his precepts, such as those of Raymond Gubbay at the Savoy Theatre in 2004, have failed,[42] his dream of a national opera company presenting operas in English has been realised.

Manners and Moody retired to Ireland, where he died at Dundrum, County Dublin, aged 77.[24]

Notes edit

  1. ^ According to most references, but The Musical Times obituary, July 1935, p. 656, records his place of birth as London
  2. ^ According to Manners, in his letter to The Manchester Guardian, 27 September 1899, he served for eighteen months in the chorus before becoming a principal, which would mean that he joined in the spring of 1881.[3] The Times obituary (7 May 1935) also gives 1881 as the year in which he joined the company.[2] Rollins and Witts, on the other hand, date his membership to 1882.

References edit

  1. ^ "Recent Wills". The Manchester Guardian. 21 October 1935. p. 9. Retrieved 10 January 2024 – via Newspapers.com.
  2. ^ a b c "Mr. Charles Manners". The Times. No. 47057. London. 7 May 1935. p. 25. Retrieved 10 January 2024 – via The Times Digital Archive.
  3. ^ a b c Manners, Charles (20 September 1899). "The Training of Operatic Singers". The Manchester Guardian (published 27 September 1899). p. 3. Retrieved 10 January 2024 – via Newspapers.com.
  4. ^ a b c Stone, David. Charles Manners at Who Was Who in the D'Oyly Carte Opera Company, 17 August 2001, accessed 26 December 2009
  5. ^ Rollins and Witts, p. 40
  6. ^ a b Rollins and Witts, p. 8
  7. ^ Hubbard, L. W. (ed.). The American History and Encyclopedia of Music, Vol. II Operas (1908) pp. 159-162. London: Irving Squire
  8. ^ Hibbert, Henry George. A playgoer's memories (1920), pp. 31–32 and 208, London: G. Richards Ltd
  9. ^ "The Empire". The Era. London. 1 August 1885. p. 14. Retrieved 10 January 2024 – via Newspapers.com.
  10. ^ "The London Theatres". The Era. London. 21 November 1885. p. 14. Retrieved 10 January 2024 – via Newspapers.com.
  11. ^ "Theatre Royal, Birmingham". Birmingham Daily Post. 3 May 1886. p. 1. Retrieved 10 January 2024 – via Newspapers.com.
  12. ^ "Court Theatre". Liverpool Mercury. 7 September 1886. p. 6. Retrieved 10 January 2024 – via Newspapers.com.
  13. ^ "'Pepita'". The Era. London. 1 January 1887. p. 14. Retrieved 10 January 2024 – via Newspapers.com.
  14. ^ The Era, 4 June 1887, p. 8
  15. ^ Freeman's Journal, 30 August 1887, p. 7
  16. ^ "The Manchester Dramatic Season". The Manchester Guardian. 27 February 1889. p. 5. Retrieved 10 January 2024 – via Newspapers.com.
  17. ^ "Carl Rosa Opera Company at Cardiff". Western Mail. Cardiff. 30 September 1887. Retrieved 10 January 2024 – via Newspapers.com.
  18. ^ "Carl Rosa Opera Company". Glasgow Herald. 9 November 1887. p. 7. Retrieved 10 January 2024 – via Newspapers.com.
  19. ^ "Carl Rosa Opera Company". Glasgow Herald. 11 November 1887. p. 8. Retrieved 10 January 2024 – via Newspapers.com.
  20. ^ "Glasgow". The Era. London. 12 November 1887. p. 17. Retrieved 10 January 2024 – via Newspapers.com.
  21. ^ "Opera at the Prince's". Bristol Mercury. 15 October 1888. p. 8. Retrieved 10 January 2024 – via Newspapers.com.
  22. ^ "Theatre Royal". Birmingham Daily Post. 29 October 1888. p. 4. Retrieved 10 January 2024 – via Newspapers.com.
  23. ^ "Dublin". The Era. London. 10 September 1887. p. 17. Retrieved 10 January 2024 – via Newspapers.com.
  24. ^ a b c Rosenthal, Harold and George Biddlecombe. Manners, Charles (Mansergh, Southcote), Oxford Music Online (requires subscription), accessed 26 December 2009
  25. ^ Marriage of Frances Moody (1890) in Westminster, London, England, Church of England Marriages and Banns, 1754–1935, via Ancestry.co.uk
  26. ^ See, for example, The Observer, 29 September 1889, p. 2; 20 October 1889, p. 6; and 27 October 1889, p. 7; and The Manchester Guardian, 18 November 1889, p. 8; and 13 January 1890, p. 5.
  27. ^ "Gloucester". The Era. London. 30 November 1889. p. 20. Retrieved 10 January 2024 – via Newspapers.com.
  28. ^ "Music". The Observer. London. 26 October 1890. p. 6. Retrieved 10 January 2024 – via Newspapers.com.
  29. ^ "Music". The Observer. London. 23 October 1892. p. 6. Retrieved 10 January 2024 – via Newspapers.com.
  30. ^ a b c Warrack, "Manners, Charles", p. 313
  31. ^ "English Opera at Drury-Lane". The Era. London. 20 April 1895. p. 15. Retrieved 10 January 2024 – via Newspapers.com.
  32. ^ a b c d Rosenthal, Harold. "Moody-Manners Company", Oxford Music Online (requires subscription), accessed 26 December 2009
  33. ^ Music & Letters, April 1926, p. 95
  34. ^ "Comedy Theatre". The Manchester Guardian. 19 September 1898. p. 5. Retrieved 10 January 2024 – via Newspapers.com.
  35. ^ Warrack, "Moody, Fanny", p. 345
  36. ^ "Opera in English". The Musical Times. Vol. 48, no. 774. 1 August 1907. p. 542. Retrieved 10 January 2024 – via Google Books.
  37. ^ "Operas in English". The Musical Times. Vol. 50, no. 787. 1 September 1908. p. 600. Retrieved 10 January 2024 – via Google Books.
  38. ^ Hubbard and Krehbiel, p. 348. Revival reviewed in The Era, 22 December 1915
  39. ^ "Liverpool". The Musical Times. Vol. LVII. 1 February 1916. p. 109. Retrieved 10 January 2024 – via Google Books.
  40. ^ Manners, Charles (1 February 1921). "Letters to the Editor: Permanent Opera in English". The Musical Times. Vol. 62, no. 936. p. 119. Retrieved 10 January 2024 – via Google Books.
  41. ^ Music & Letters, April 1926, pp. 93–105
  42. ^ Higgins, Charlotte. "After just one month, curtain falls on Savoy Opera – West End experiment to find wider audience flops", The Guardian, 8 May 2004, accessed 26 December 2009

Sources edit

  • Hubbard, W.L. and H.E. Krehbiel. The American History and Encyclopedia of Music: Operas Part II, Squire-Cooley Co., Toledo, Ohio, USA (1924)
  • Mander, Raymond and Joe Mitchenson. A Picture History of Gilbert and Sullivan, Vista Books, London (1962)
  • Rollins, Cyril and R. John Witts. The D'Oyly Carte Company in Gilbert and Sullivan Operas. Michael Joseph, London (1962)
  • Warrack, John and Ewan West. The Concise Oxford Dictionary of Opera, Oxford University Press, p. 345 (3rd Edition, 1996) ISBN 0192800280

External links edit

  • Profile of Manners

March 20, 2024
charles, manners, bass, charles, manners, december, 1857, 1935, british, bass, singer, opera, company, manager, earliest, performances, were, with, oyly, carte, opera, company, first, chorus, member, then, principal, creating, role, private, willis, iolanthe, . Charles Manners 27 December 1857 3 May 1935 was a British bass singer and opera company manager His earliest performances were with the D Oyly Carte Opera Company first as a chorus member and then as a principal creating the role of Private Willis in Iolanthe in 1882 After leaving D Oyly Carte the following year he sang with several opera companies most notably the Carl Rosa Opera Company and Covent Garden In 1898 he and his wife the singer Fanny Moody set up their own company dedicated to presenting opera in English Charles Manners and Alice Barnett in Iolanthe 1882The Moody Manners company performed in London the British provinces North America and South Africa from 1898 to 1916 After his retirement Manners continued to campaign for a national opera company which was eventually founded forty years after his death Contents 1 Life and career 1 1 Early years 1 2 Carl Rosa and Covent Garden 1 3 Moody Manners Opera Company 2 Notes 3 References 4 Sources 5 External linksLife and career editEarly years edit Manners was born Southcote Randal Bernard Campbell Mansergh 1 in Hoddesdon a England son of Colonel J C Mansergh an Irishman 2 He was educated at Hoddesdon Grammar School and considered a career in the army He tried engineering and stockbrokerage before deciding on music as a profession 2 He studied at the Royal Irish Academy in Dublin the Royal Academy of Music in London and in Florence 3 In either 1881 or 1882 he joined the D Oyly Carte Opera Company as a chorus member b In early 1882 he appeared on tour in the chorus of Claude Duval and later in the same year in the chorus of H M S Pinafore and The Pirates of Penzance 4 He was promoted to the roles of Dick Deadeye in Pinafore and Samuel in Pirates in August 1882 5 He also appeared as Mr Wallaby in the companion piece Quite an Adventure 4 In November 1882 he created the role of Private Willis in Iolanthe at the Savoy Theatre 6 Manners left the D Oyly Carte company in late 1883 6 In 1884 he sang Boleslas in Falka on tour 7 8 In 1885 he sang in light opera at the new Empire Theatre 9 and played Wickermark in a romantic opera The Fay o Fire at the Opera Comique with the young Marie Tempest 10 In 1886 he joined a touring opera troupe called The Royal English Opera Company later renamed Sydney Leslie s Opera Company playing Bartolo in The Marriage of Figaro and the Commendatore in Don Giovanni 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 12 With the same company he played General Bombardos in the English premiere of Charles Lecocq s Pepita 13 Carl Rosa and Covent Garden edit In June 1887 Manners signed a two year contract with the Carl Rosa Opera Company as a principal bass 14 making his debut as King Henry in Lohengrin 15 His early roles for the company included Peter the Great in Meyerbeer s L etoile du nord 16 the King of Spain in Maritana Pietro in Auber s Masaniello and Bertram in Robert the Devil 17 18 19 20 His later roles included Mephistopheles in Faust 21 and Cardina Brogni in La Juive 22 A fellow member of the company was the Cornish soprano Fanny Moody whom Manners married at St George s Hanover Square on 5 July 1890 23 24 25 When not touring in opera Manners took part in concerts in London and the provinces gaining favourable reviews 26 He was one of three singers invited to tour with Sims Reeves in Reeves s farewell series of concerts 27 In October 1890 Manners joined the Covent Garden company making his debut in Roberto il Diavolo The English basso profondo Mr Charles Manners sang with grand effect the music allotted to Bertram and his acting was powerfully impressive 28 For the same management this time at the Olympic Theatre he appeared as King Henry in Wagner s Lohengrin given in Italian his role was billed as Enrico l Ucellatore with Emma Albani as Elsa and as Gremin in the British premiere of Eugene Onegin conducted by Henry Wood with Fanny Moody as Tatiana 29 In 1893 he made his New York debut 30 and on his return he and Moody signed to appear with Augustus Harris s opera company Among other roles Manners played Devilshoof in The Bohemian Girl at the Theatre Royal Drury Lane with Moody as Arline 31 In 1896 97 he made a successful and remunerative tour of South Africa with Moody When they returned to England in 1898 they formed the Moody Manners Company 24 Moody Manners Opera Company edit Manners s ambition was to found a company to give opera in English that would in time become a permanent national ensemble based in London 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 34 Moody was the company s leading soprano 35 nbsp Manners circa 1900By 1902 there were two Moody Manners touring companies 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 Tannhauser Lohengrin Tristan and Isolde Faust Cavalleria rusticana and Pagliacci Madame Butterfly Aida and Il trovatore 36 37 There were Moody Manners tours not only of Britain but also of North America and South Africa 4 The opera historian Harold Rosenthal wrote of the Moody Manners company With the Carl Rosa company it was the principal training ground for British artists in the years before World War I 32 Manners held strong views about the training given by British music academies to young singers In his view students were not equipped for a professional career because they were trained in the principal operatic roles rather than in the chorus parts which almost all singers new to the profession would need to sing before being promoted to leading roles He instanced his own early career I studied both at the Royal Academy Dublin and the Royal Academy London and then in Italy and when I came back to London all I could get was an engagement in comic opera where I sang for eighteen months before I could become a principal It was not till over six years after I left my studies that I found anything I had learnt at the academies of any value to me 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 38 He sponsored opera festivals in Sheffield in 1904 and 1906 whose profits helped to found Sheffield University He also used profits from a successful season in Glasgow in 1906 to help create the Glasgow Grand Opera Society which continued his work in popularising opera in English between the two World Wars 32 By 1910 Manners faced financial difficulties and had to disband one of his two companies and the remaining Moody Manners Company gave its last performance in May 1916 32 Manners retired from singing in 1913 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 39 After the closure of his companies Manners continued to campaign for a national opera company He wrote to The Musical Times in 1921 I here assert for the thousandth time that National Grand Opera can be given in an all round way at popular prices I repeat popular prices far better than it has ever been given without a cost of a farthing to the rates or taxes 40 In 1926 he wrote a long article on The Financial Problem of National Opera By the People for the People explaining his rationale 41 He disapproved of public subsidy insisting that opera could be self supporting and even profitable Although later attempts to follow his precepts such as those of Raymond Gubbay at the Savoy Theatre in 2004 have failed 42 his dream of a national opera company presenting operas in English has been realised Manners and Moody retired to Ireland where he died at Dundrum County Dublin aged 77 24 Notes edit According to most references but The Musical Times obituary July 1935 p 656 records his place of birth as London According to Manners in his letter to The Manchester Guardian 27 September 1899 he served for eighteen months in the chorus before becoming a principal which would mean that he joined in the spring of 1881 3 The Times obituary 7 May 1935 also gives 1881 as the year in which he joined the company 2 Rollins and Witts on the other hand date his membership to 1882 References edit Recent Wills The Manchester Guardian 21 October 1935 p 9 Retrieved 10 January 2024 via Newspapers com a b c Mr Charles Manners The Times No 47057 London 7 May 1935 p 25 Retrieved 10 January 2024 via The Times Digital Archive a b c Manners Charles 20 September 1899 The Training of Operatic Singers The Manchester Guardian published 27 September 1899 p 3 Retrieved 10 January 2024 via Newspapers com a b c Stone David Charles Manners at Who Was Who in the D Oyly Carte Opera Company 17 August 2001 accessed 26 December 2009 Rollins and Witts p 40 a b Rollins and Witts p 8 Hubbard L W ed The American History and Encyclopedia of Music Vol II Operas 1908 pp 159 162 London Irving Squire Hibbert Henry George A playgoer s memories 1920 pp 31 32 and 208 London G Richards Ltd The Empire The Era London 1 August 1885 p 14 Retrieved 10 January 2024 via Newspapers com The London Theatres The Era London 21 November 1885 p 14 Retrieved 10 January 2024 via Newspapers com Theatre Royal Birmingham Birmingham Daily Post 3 May 1886 p 1 Retrieved 10 January 2024 via Newspapers com Court Theatre Liverpool Mercury 7 September 1886 p 6 Retrieved 10 January 2024 via Newspapers com Pepita The Era London 1 January 1887 p 14 Retrieved 10 January 2024 via Newspapers com The Era 4 June 1887 p 8 Freeman s Journal 30 August 1887 p 7 The Manchester Dramatic Season The Manchester Guardian 27 February 1889 p 5 Retrieved 10 January 2024 via Newspapers com Carl Rosa Opera Company at Cardiff Western Mail Cardiff 30 September 1887 Retrieved 10 January 2024 via Newspapers com Carl Rosa Opera Company Glasgow Herald 9 November 1887 p 7 Retrieved 10 January 2024 via Newspapers com Carl Rosa Opera Company Glasgow Herald 11 November 1887 p 8 Retrieved 10 January 2024 via Newspapers com Glasgow The Era London 12 November 1887 p 17 Retrieved 10 January 2024 via Newspapers com Opera at the Prince s Bristol Mercury 15 October 1888 p 8 Retrieved 10 January 2024 via Newspapers com Theatre Royal Birmingham Daily Post 29 October 1888 p 4 Retrieved 10 January 2024 via Newspapers com Dublin The Era London 10 September 1887 p 17 Retrieved 10 January 2024 via Newspapers com a b c Rosenthal Harold and George Biddlecombe Manners Charles Mansergh Southcote Oxford Music Online requires subscription accessed 26 December 2009 Marriage of Frances Moody 1890 in Westminster London England Church of England Marriages and Banns 1754 1935 via Ancestry co uk See for example The Observer 29 September 1889 p 2 20 October 1889 p 6 and 27 October 1889 p 7 and The Manchester Guardian 18 November 1889 p 8 and 13 January 1890 p 5 Gloucester The Era London 30 November 1889 p 20 Retrieved 10 January 2024 via Newspapers com Music The Observer London 26 October 1890 p 6 Retrieved 10 January 2024 via Newspapers com Music The Observer London 23 October 1892 p 6 Retrieved 10 January 2024 via Newspapers com a b c Warrack Manners Charles p 313 English Opera at Drury Lane The Era London 20 April 1895 p 15 Retrieved 10 January 2024 via Newspapers com a b c d Rosenthal Harold Moody Manners Company Oxford Music Online requires subscription accessed 26 December 2009 Music amp Letters April 1926 p 95 Comedy Theatre The Manchester Guardian 19 September 1898 p 5 Retrieved 10 January 2024 via Newspapers com Warrack Moody Fanny p 345 Opera in English The Musical Times Vol 48 no 774 1 August 1907 p 542 Retrieved 10 January 2024 via Google Books Operas in English The Musical Times Vol 50 no 787 1 September 1908 p 600 Retrieved 10 January 2024 via Google Books Hubbard and Krehbiel p 348 Revival reviewed in The Era 22 December 1915 Liverpool The Musical Times Vol LVII 1 February 1916 p 109 Retrieved 10 January 2024 via Google Books Manners Charles 1 February 1921 Letters to the Editor Permanent Opera in English The Musical Times Vol 62 no 936 p 119 Retrieved 10 January 2024 via Google Books Music amp Letters April 1926 pp 93 105 Higgins Charlotte After just one month curtain falls on Savoy Opera West End experiment to find wider audience flops The Guardian 8 May 2004 accessed 26 December 2009Sources editHubbard W L and H E Krehbiel The American History and Encyclopedia of Music Operas Part II Squire Cooley Co Toledo Ohio USA 1924 Mander Raymond and Joe Mitchenson A Picture History of Gilbert and Sullivan Vista Books London 1962 Rollins Cyril and R John Witts The D Oyly Carte Company in Gilbert and Sullivan Operas Michael Joseph London 1962 Warrack John and Ewan West The Concise Oxford Dictionary of Opera Oxford University Press p 345 3rd Edition 1996 ISBN 0192800280External links editProfile of Manners Retrieved from https en wikipedia org w index php title Charles Manners bass amp oldid 1213922055 Moody Manners Opera Company, wikipedia, wiki, book, books, library,

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