Richings English Opera Company: Linda di Chamounix

“Amusements. Musical. Linda di Chamounix, by the Richings opera troupe, as might have been expected, drew a large and fashionable auditory to the Olympic theatre last evening. The title role was rendered by Miss Caroline Richings, the Viscount by Mr. Castle, Antoino [sic] by Mr. Seguin and Pierotto by Mrs. Seguin. The solo parts were effectively given, and the duetto between Carlo and Linda in the second act was loudly encored. At the finale of the second act Miss Richings was called before the curtain, and bowed her acknowledgment of the applause bestowed on her efforts. The choruses were efficient, and the instrumentation (a matter of more than ordinary difficulty in Donizetti’s opera) was excellent.”

“Music. One of the most novel productions of late in English opera has been Donizetti’s Linda at the Olympic Theater. Some other operas the English troupe have sung more acceptably but the Linda music is not too trying, most of it is popular—and, upon the whole, it was not unsuitable to the capacity and opportunity, of Miss Riching’s company. That lady’s Linda is stockish and mannered, to be sure, but still an effective performance—would that its feeling were as true as its vocal delivery is now and then skilled and vigorous. We once fondly felicitated ourselves that English language was really susceptible of a sort of operatic crystallization, foreign cynics, and home critics to the contrary notwithstanding. After hearing a duet of suffocated English by Messrs. Seguin and Peakes—as vague in its way as pudding—we are almost inclined to surrender our opinion. Either the language is bad, or its singers are Swiss. The songs of Pierotto, sung in the warm, sympathetic contralto of Mrs. Seguin, were the best morceaux of the performance, as they are of the opera—and this because they are full of a sincere and natural feeling, never lost in fanciful elaboration. So true it is, in fine, that grand arias and strong voices do not always make the best music. The performance, upon the whole, is worth giving again.”  

“English Operas, as rendered by the Richings’ Troupe, has become very popular in this city. This is the third week of the second engagement of the Richings’ Troupe at the Olympic Theatre. Business has been pretty good the past two weeks, but not so large as during their first engagement here. This is, no doubt, owing to the season of Lent and the counter attraction of the Italian Opera, which gobbles up the regular codfish opera goers, who go more for fashion’s sake and not because they appreciate Italian Opera. Those who attend the English Opera go because they can understand what they hear, and [illeg.] bestow their plaudits upon native talent. The Richings Troupe is, without doubt, composed of some of the best lyric artists that have ever appeared in this country, and, being native and to the manor born, we hail with pleasure their success. Last week the operas given were. . . . ‘Linda di Chamounix,’ a version of ‘La Grace de Dieu,’ a French piece, played many nights in Paris, is a very simple story, which depends entirely upon the actors for dramatic interest. As an ensemble, we have never heard it better sung, or seen it better performed, than on this occasion. It is an opera neither epic or heroic, and therefore admirably suited for the prima donna. Donizetti’s music too, is so well written for the voice that it does not try the singer’s powers, but leaves them full latitude for effect and expression. Miss Richings astonished all by her artistic rendition of the role of Linda. The duett with Mr. Castle, in which is the melody of the piece, was charmingly sung by both. In the mad scene she was true to mature—nothing conventional, nothing forced; and her weary, careworn return home, her sudden recognition of all around were exquisite. Zelda Harrison Seguin had a part which suited her; she made a very favorable impression in Pierrotto. Her method is very good, and the music was well adapted to her voice. Castle sang well and received considerable applause, which he deserved. E. Seguin, as the heart-broken, woe-begone Antonio, was capital. His sorrows caused the eyes to glisten, and his intensity of emotion compelled the sympathy of all present. It was a good piece of acting. The malediction scene was well given.”