Grove's dictionary of music and musicians

EOZE EOZE 175
bassoon and double-bass at Manchester, who
died in 1891.
The Society pays away annually to relieve
distress over £3000, which amount is provided
by donations from the public, subscriptions and
donations of members of the Society, and interest
(about£2500 per annum) on the Society's funded
property.
Members of the Society must be professional
musicians, and are of both sexes. The Royal
Society of Female Musicians was established in
1839 by several ladies of distinction in the
musical profession, amongst others Mrs. Anderson,
Miss Birch, Miss Dolby, and Miss Mounsey
(Mrs. Bartholomew), in consequence of the
Koyal Society of Musicians having made no
provision in their laws for the admission of
female members. Practically it soon became
evident that the co-existence of two separate
societies with the same aim was resulting in
considerable loss of sympathy and support ; and
that one expenditure would suffice for the
management of both institutions, if they could
be amalgamated. With the consent of the
trustees and members this happy union was
effected in 1866, and the two societies have now
become one.
There is, says Dr. Bumey, 'no lucrative
employment belonging to this Society, excepting
small salaries to the secretary and collector,
so that the whole produce of benefits and subscriptions
is nett, and clear of all deductions
or drawbacks.' The large staff of physicians,
surgeons, counsel, solicitors, give their gratuitous
services to the Society. Thepresentsecretary
is Mr. Charles Lucas, and the honorary treasurer
Dr. W. H. Cummings. The Society's rooms are
at No. 12 Lisle Street, Leicester Square, and
contain some interesting memorials of music,
as well as a collection of pprtraits, including
Handel, by Hudson ; Haydn ; Corelli, by
Howard ; Geminiani, by Hudson ; Pureell, by
Closterman ; C. E. Horn, by Pocock ; John
Parry, the elder ; Sir W. Parsons ; J. Sinclair,
by Harlowe ; Gaetano CriveUi, by Partridge ;
Domenico Francesco Maria CriveUi ; J. S. Bach,
by Clark of Eton ; Beethoven, with autograph
presenting it to C. Neate ; W. Dance by his
brother ; and a life-size painting of George III.
by Gainsborough. w. H. c.
ROZE, Marie Hippoltte, n^e Ponsin, bom
March 2, 1846, at Paris ; received instruction
in singing from Mocker at the Conservatoire,
and in 1865 gained first prizes in singing and
comic opera. She made her debut August 16
of that year at the Opera-Comique as Marie,
in Herold's opera of that name, and at once
concluded an engagement for the next three
years there. She created the part of Djelma
in Le Premier jour de Bonheur ' ' of Auber, at
his request, on Feb. 15, 1868. After farther
instruction from Wartel she appeared at the
Op^ra as Marguerite in 'Faust' (Jan. 2, 1870),
returned to the Op^ra-Comique to create
the part of Jeanne in Flotow's L'Ombre,'
'
July 7, 1870. At the outbreak of the war she
left the opera for the army, and served with
zeal in the ambulance. After the war she
sang for a season at Brussels and elsewhere, and
on April 30, 1872, first appeared in England at
the Italian Opera, Drury Lane, as Marguerite,
and as Marcelline in 'Les Deux Journees,' on
its production (for one night only), June 20,
1872. The ensuing seasons, until 1881 (except
1878 and 1880) she sang at that theatre or
at Her Majesty's, becoming a great favourite,
both on account of her charm of person and
manner, and by her readiness to undertake any
part, from the small one of Berengaria in
Balfe's 'Talismano' (Drury Lane, June 11,
1874), to Donna Anna, Ortrud, Aida, etc.
She also appeared in the provinces, singing
both in Italian and English in opera or the
concert-room. In 1 8 7 4 she married an American
bass singer, Julius Edson Perkins, who died in
the following year at Manchester. She afterwards
married Mr. Henry Mapleson. In the
winter of 1877 she made a highly successful
visit to America, returning in 1879 to Her
Majesty's Theatre, where her parts included
Donna Anna, Donna Elvira, Pamina, Susanna,
Alice, Leonora(Verdi), Agatha, Mignon, Carmen.
Aida, Ortrud, etc. After singing at the
Birmingham Festivalof 1882 with great success,
she joined the Carl Rosa Company from 1883
to 1889 ; in that time she added to her
repertory FideUo, and Elsa, and was the first
representative in England of Manon Lescaut in
Massenet's opera of that name. Margaret and
Helen in Boito's 'Mefistofele,' Fadette in
Maillart's 'Dragons de ViUars,' Donna Maria
in Marchetti's Ruy • Bias, ' are among the parts
which she has sung on the first production of
these works in English. Her impersonation of
Carmen was her greatest success, as it was fiill
of delicate detail, and presented Bizet's music
in an ideal way. Many Carmens before and
since have emphasised the wild, lawless nature
of the gipsy more realistically than she chose
to do ; but none have brought out the individuality
and charm of the musical conception
so finely. She sang the part first in Italian
in 1879 in America and afterwards in London,
next in English in 1880 at Boston (U.S.A.), in
1883 at Manchester, and on April 15, 1884,
appeared in it at Drury Lane, where it was a
constant attraction of the Carl Rosa season.
She sang it in 1889 in Italian at Covent
Garden. Scarcely less effective was her Manon
in Massenet's opera, first sung by her in English
at Liverpool, Jan. 17, 1885, and at Drury Lane
on May 7. In 1890 she settled in Paris as a
teacher of singing, reappearing at long intervals
in London and the English provinces in concerts.
She made a farewell tour in 1894 ; her
last appearance in London was as late as 1903,