Richings English Opera: The Desert Flower: Helene Wallace Benefit

“Academy of Music—Benefit of Mrs. William Vincent Wallace.—The benefit of the deserving lady of William Vincent Wallace was rather poorly attended. His latest opera, ‘The Desert Flower,’ was given on the occasion. We have already spoken of the music of this opera, and can only refer to some other matters connected with the representation. Why does Castle, as an officer, in uniform, on duty, wear a turned-down collar and a black necktie? And why has Miss Richings and some of the Indians bows without quivers or arrows? Some of the scenes betray the want of a competent stage manager. The dramatic part of the opera has been shamefully neglected. Wallace may be justly termed an English or an Irish Meyerbeer; and his operas require as much attention as the ‘Huguenots,’ ‘Robert le Diable,’ or ‘L’Africaine.’ Why not bring them out in the same style? The best part of ‘The Desert Flower’ is the trio and ensemble in the last act, and it was splendidly given last night. Seguin’s Major Von Pumpernickle is a gem of acting.”  

“‘The Desert Flower’ was performed last evening for the third time by the Richings company at the Academy, for the benefit of the widow of the composer, the late William Vincent Wallace. The performance was a decided improvement on that of Monday evening, so far as regards the vocal and orchestral work, but there were many awkwardnesses in the acting. The attendance was not as large as could have been desired on such an occasion.”

“. . . Then came, on Monday last, the ‘Desert Flower.’ It was played to a wretched house, and repeated to another that was hardly a shade better, albeit the second performance was for the benefit of the composer’s widow, Mrs. Wm. Vincent Wallace. It was of course withdrawn. On the other hand when pieces like the ‘Bohemian Girl’ or ‘Maritana’ were played, the audience was invariably good. This state of things, to say the least of it, is discouraging. It benumbs effort, if it does not kill it, and shows a lamentable indifference to the question of progress. It is better to witness a dozen failures, than sit, stolidly content, over a single success.

Wallace's opera of the ‘Desert Flower’ is one of his later works, written when the pressure of success was bearing heavily upon a weakened constitution. The plot of the opera is a good deal like that of ‘Pocahontas,’ and somewhat like the plot of something else which we forgot. It is quite unimportant to try to remember it. The quality of the libretto can be estimated from the fact that it is written by Mr. Augustus Harris, with the assistance of Mr. Thomas J. Williams. The first gentleman is stage-manager at Covent Garden—the other may, for aught we know to the contrary, be stage-carpenter or scene-shifter. Both are so obscure in dramatic literature that they have become conspicuous. Wallace, whose utter indifference to the matter of words is well-known, probably selected them on this very account. The result is what might be expected—a mass of nonsense. Here’s a specimen [sic]:

Through the pathless forest drear,

See the hunter threads his way, 

His dauntless breast ne’er knoweth fear,

As forth he goes in search of prey.   

There is more of it, but this is enough. Apart from the intrinsic beauty of the thought—with which it is needless to tamper—we may remark that, technically, a writer for music should use as many open sounds as possible, and especially avoid all those words where the tongue is compelled to strike the teeth or palate. The above is sufficient to make the fog-trumpet lisp. The situations are commonplace and hackneyed, but they are at all events animated. Mr. Wallace has written many operas vastly superior to the ‘Desert Flower.’ ‘Maritana’ has become a standard favorite, and ‘Lurline’ is certainly one of the most attractive and beautiful romantic operas now on the stage. The ‘Amber Witch’ is on a larger scale; and as the work of a musician for musicians, is perhaps the composer’s best effort. He so regarded it himself. The operas we have named approach nearest to the form of grand opera—where recitative takes the place of dialogue. But in the ‘Desert Flower’ there is a ponderous and direful amount of dialogue, the music being to a certain extent auxiliary. There are in all twenty-four numbers, including the overture. The latter is well instrumented, and, although not novel in form, is a pleasing and agreeable introduction. The trio in the first act is pretty, as is also is the ‘Wood-Bird’s Song,’ and the whole of the concerted and dramatic music is skillfully wrought. There are pieces which, notwithstanding the failure of the performance, will yet win their way into favor—pieces that reveal the melodic clearness of Wallace's invention, and his masterly skill as a musician. ‘The Pangs of Unrequited Love,’ ‘Though Born in Wood,’ ‘Why Throbs this Heart with Rapture Now,’ are all thrillingly beautiful melodies. The Indian march and chorus is original and effective, and the concerted music is generally good. But the performance, as we have already said, was a failure. The work has been badly rehearsed, and the singers were unequal to the task of interpreting it. Miss Richings is an energetic manager, but she lacks culture as a prima donna. The singular habit which she has of whooping the intervals destroys any individuality the music may possess. Mr. Castle, although not wholly incapable of lending importance to any rôle from the sweetness of his voice, disregards the accentuation of the composer, and save in an occasional ballad, is apt to be a little wearisome. Mr. Campbell sang well, but the part was evidently not to his liking. Finally, the orchestra and chorus were bad. Too much had been attempted, and the result was that too little was accomplished. To bring out a new work as the occident of a season is a mistake. We advise our readers to examine the music for themselves. It is published in every form, from the full score to a piano-forte arrangement, by Messr. Wm. Hall & Son.”

“The chief event of the season was the production of Mr. Wm. Vincent Wallace’s ‘Desert Flower,’ the roles of which were artistically sustained by Miss Richings and Messrs. Castle and Campbell.”

“The Richings Opera Troupe closed at the Academy of Music, on the 18th inst., and have gone down through the Eastern country. During their last week they produced the late Vincent Wallace’s new opera of the ‘Desert Flower,’ but it failed to please. . . . The benefit of Mrs. Helene Wallace, widow of the composer, was very poorly attended on the 15th inst.”