ABSTRACT
In 1911 an article in the Musical Times surveyed the career of Rosa Newmarch, then in her early fifties. It indicated some key reasons for her attainment of ‘distinction’ and ‘recognition’ in the contemporary musical world. By the time of the appearance of The Russian Opera Newmarch was heralded by the Daily Sketch for occupying ‘a peculiar position with regard to music in this country’ because ‘she finds herself to be quite a leader of fashion in musical thought’. Yet, in keeping with her wide knowledge and the increasing sense of authority accorded her by other commentators, Newmarch could not avoid speaking - and being seen, as her career developed - as a specialist. In praising Henry Wood as a conductor Newmarch embarked on a long discussion of the importance of interpretation, making a number of remarks that would be surprising in a male author of the time.
