In the vibrant tapestry of Ireland’s musical history, the city of Limerick holds a unique thread, woven by the talented Levey family. Their impact, spanning generations, resonates not only locally but echoes in the wider world of music.
The Levey saga began with William Levey, a prodigious talent who, as a mere boy, graced the public stage in Limerick, showcasing his skills with piano solos. Following his studies in Paris, William later assumed the role of conductor at prestigious London theatres, including Drury Lane. His musical prowess extended to composition, contributing to the repertoire of operas that delighted audiences.
The Levey family’s musical prowess wasn’t confined to one member. B. M. Levey, William’s twin brother, emerged as a brilliant violinist. In the early 1850s, he played a pivotal role in the Theatre Royal orchestra in London. Later, he captivated audiences in Paris with the innovative musical entertainment, “Paganini’s Ghost,” solidifying his reputation as a virtuoso. Notably, the Levey twins’ father, R. M. Levey, was a key figure in the Dublin music scene, leading the Theatre Royal orchestra during the annual Italian opera seasons.
The Leveys’ connection to Limerick remained strong, illustrated when R. M. Levey accompanied the first great Irish Donna, Catherine Hayes, during her professional visit to the city in March 1830. The performance of “La Sonnambula” was met with fervent enthusiasm, underscoring the Levey family’s significant role in promoting musical culture in Dublin.
Aside from his orchestral leadership, R. M. Levey was a driving force in the establishment of the Royal Irish Academy of Music in 1850. Collabourating with musical luminaries like John Stanford, Joseph Robinson, and Sir Francis Brady, he contributed to the growth of Ireland’s musical landscape. His involvement in various musical societies and quartet unions showcased his commitment to fostering musical talent.
The Levey family’s influence extended beyond the concert hall and opera stage. In a curious and humorous twist of fate, R. M. Levey found himself momentarily sidetracked during a rehearsal when news of the birth of his son interrupted proceedings. The amusing episode unfolded as the servant girl gleefully announced not one but three newborns, prompting Levey to humorously halt the rehearsal.
Limerick, a city that experienced changes over time, became a backdrop to the Levey family’s musical journey. The once vibrant gallery wit gradually faded, but the Leveys’ musical legacy endured. During a visit by the renowned Madame Patti and an Italian opera company, an incident in the upper gallery added a touch of humour to the evening. When a nervous tenor cracked an important note, a voice from the gallery exclaimed, “Blood-an’-ouns, my poor eighteen pence!”
The year 1864 marked significant musical events in Limerick, including R. M. Levey’s orchestration of the Dublin Madrigal Society’s concert and the performance of a new oratorio, “The Captivity,” conducted by the talented G. W. Torrance. Levey’s contributions to these events underscored his versatility and dedication to the musical arts.
Notably, the year also witnessed a milestone at the Theatre Royal, with the first production of Dion Boucicault’s enduring classic, “Arrah-na-Pogue.” Little is known about Boucicault’s connection to Limerick, but the historical significance of the play’s staging in the city is a testament to its enduring popularity.
In 1868, R. M. Levey played a crucial role in the establishment of the Monthly Popular Concerts, fostering a taste for amateur opera. The Levey family’s commitment to musical education continued with the founding of the Royal Irish Academy of Music, leaving an indelible mark on Ireland’s cultural landscape.
As Limerick continues to evolve, the echoes of the Levey family’s musical contributions persist. Their legacy remains an integral part of Ireland’s melodic heritage, an enduring testament to the power of music to transcend time and enrich the cultural fabric of a city.
Weekly Freeman’s Journal – Saturday 10 December 1910
