Richings English Opera: The Huguenots

“The Richings Opera Troupe announce for production at the Grand Opera House, for the first time in America in English, Meyerbeer’s opera of ‘The Huguenots.’ It will be presented during the current week, with a most excellent cast, increased orchestra and chorus, and new dresses.”

“The Directress takes great pleasure in announcing that, after three months’ rehearsal and the most careful stage preparations, Meyerbeer’s Grand Opera of THE HUGUENOTS will be produced for the first time in the English language on MONDAY EVENING, December 6, 1869, on a scale of magnificence hitherto unknown in the representation of English operas. To render the production of the ‘Huguenots’ as effective as it can be rendered by stage accessories, new and beautiful scenes have been painted, appropriate and correct costumes prepared and every detail arranged that will impart a verisimilitude to this grand spectacular opera. The chorus has been doubled, large and imposing processions, mounted and on foot, with military bands and every accompaniment of stage pageantry have been devised that can heighten the effect of the impressive scenes incident to a proper presentation of the ‘Huguenots.’
“Mrs. Bernard feels confident that with such preparations and the vocal resources of the largest and most talented English opera troupe every organized in this country, and fully equal to the faithful and effective interpretation of the productions of the greatest composers, Meyerbeer’s immortal work will be worthily presented to the patrons of the lyric stage in this city, where the compositions of the great maestro have also found a sympathetic spirit.”

“For to-morrow night the ‘Huguenots’ is announced, and, if we may trust the advertisements, which in the case of the Richings opera troupe have been unusually trustworthy heralds of performance—Meyerbeer’s chef d’œuvre will be placed on the stage, however it may be sung, better than it has ever yet been in this country. It is noteworthy that the greatest works of the two composers who were in some sort rivals, and whose operas were unapproached for success as well as merit by any contemporaries, should be presented in New-York at the same time. The revival of ‘William Tell’ has already made its profound impression—chiefly owing to the splendid abilities of Signor Lefranc. It remains to be seen whether that of the ‘Huguenots’ will [sic] be equally fortunate.”

“The present is the last week of the season of English opera under the direction of Mrs. Richings-Bernard at the Grand Opera House. The operas produced at this house up to the present time have been very creditably performed and have been liberally patronized by our music-loving citizens. Not content, however, with the flattering success which has thus far attended her efforts, Mrs. Bernard has determined to wind up her operatic season in this city in a blaze of splendor. With this object in view she presents to us this evening Meyerbeer’s grand opera ‘The Huguenots,’ which has never before been done in English in this country. It is to be given upon this occasion with a strong cast, new scenery, a double chorus and all the accompaniments of stage pageantry, and will probably hold possession of the boards during the entire week.”

Prices.

“Lovers of English opera may enjoy an unusual treat to-night at the Grand Opera House, in the production of Meyerbeer’s ‘Huguenots,’ in which Miss Richings will take the part of Valentine, with Haigh as Raoul, and Drayton as Marcel. The chorus has been doubled, and the management assures the public that in point of spectacular display the work will be presented on a scale of magnificence hitherto unknown on the English operatic stage. The Sangalli ballet troupe has been reserved for the terpsichorean features of the opera. Two items are worthy of note in this occasion: that this will be the first rendering of this great opera of Meyerbeer’s into English, and that the present is the last week of the highly successful English opera season at the Grand Opera House.”

“Miss Richings-Bernard is to bring out ‘The Huguenots’ this evening in English, and we are assured that a great deal of money and care has been expended in the preparation for it. The season closes at the end of this week.”

“The English Opera offers one of the best—in the opinion of many the very best—of the works of the greatest of modern German composers, Meyerbeer’s ‘Huguenots,’ which opera is to be put upon the stage with a sumptuousness of effect never before undertaken in this country.

“Grand Opera House.—With a howling wintry snow storm in full blast, that would do honor to the opening of December among the cliffs of Greenland or the stormy seaboard of Alaska, this deponent went up to the Grand Opera House last night in an Eighth avenue car drawn by four white horses, under the full expectation of being informed that ‘Owing to the inclemency of the weather the first performance of Meyerbeer’s grand opera in English of ‘The Huguenots’ has been postponed till to-morrow evening, for which your tickets for this evening will admit you.’ But we were disappointed. We reached our destination to find ‘The Huguenots’ in full operation, although to a house which in numbers was not calculated to awaken an extraordinary degree of enthusiasm on the stage. And yet the artists never acquitted themselves more handsomely, and no audience was ever better satisfied. Mr. Haigh, as Raoul; Mr. Drayton, as Marcel; Mr. Arnold, as Count de Nevers; Mr. H. C. Peakes, as Count St. Bris; Mrs. Drayton, as Maragret de Valois; Mrs. Richings-Bernard, as the lady Valentine; Mrs. Kemp Bowles; as the gallant Urbain, and Mr. Bernard as Bois Rose, a good singer, entitled to special notice, made an excellent distribution of the leading rôles. Supported, as the singers were, by an orchestra of fifty musicians and by a very numerous and excellent chorus, such justice to the strong, majestic and sonorous music of Meyerbeer was done as we dare say it was never before honored with on this side the Atlantic [sic]. The groups of ladies of honor, nobles, pages, citizens, soldiers, students, &c.; the cavalcade on horseback, the ballet troupe—all together an unusual multitude, and in costumes that were evidently got up regardless of expense—made a rich and gorgeous framing to the grand, romantic, heroic, terrible and impressive drama. The performance last night, in short, was of that emphatic rendering that would have filled a house capable of holding an audience of 10,000; and leading singers, orchestra and chorus were admirable in the execution of their work. Drayton was grand, and the whole performance was glorious. We had never supposed that the ‘Huguenots’ was the splendid opera that it was proved to be last night at the Grand Opera House.”

“The massive strains of Meyerbeer’s grandest opera were said to have been wedded to English words for the first time at the splendid theatre in Twenty-third-street last night. The statement should, perhaps, be qualified so far as to describe ‘The Huguenots’ as a whole, since, we believe, parts of the opera have been before now publicly rendered in English translation. Much was expected from the present attempt, and, although the first snowstorm of the season undoubtedly threw a chill over the performance and lessened the number of those who gathered to assist at it, it is but fair to congratulate the management and all concerned upon what was in most respects an even and conscientious interpretation of an exceedingly arduous undertaking. ‘The Huguenots’ is in some respects a more critical work to attack than ‘William Tell.’ It requires, indeed, a greater number of leading voices, although the requisitions upon each may not be of so exacting a character as on the principal róles [sic] of Rossini’s opera. To give proper effect to the magnificent choruses and concerted music, the director of the English Opera Troupe has liberally increased her force both in the orchestra and on the stage—the augmentations on the latter including quadrupeds as well as bipeds. New scenery has also been painted, and accurate and handsome costumes provided. Perhaps with the single exception of its original production at the French opera in New-Orleans, ‘The Huguenots’ has never been so well mounted in America as it was last night at the Grand Opera House.

“The singing also deserves, in parts, no little praise. Mrs. Richings-Bernard took extraordinary pains with Valentine; Mr. Henry Haigh was an effective, in unequal, Raoul; Mr. Henry Drayton gave noble effect to the martial strains of the old Puritan Marcel; Mrs. Bowler was an arch and sprightly Urbain; and St. Bris and De Nevers found efficient representatives in Messrs. Peakes and Arnold. Mr. Haigh evinced much delicacy in his opening air in the first act, although a little occasional throatiness and uncertainty showed that his voice was hardly in the best order, and, on the other hand, his fire and passion in the trying later scenes were marked and commendable. Mr. Drayton in the terrific ‘Piff! Paff!’ song gained the first encore of the evening and, indeed, his impersonation throughout was striking, consistent and artistic. The first regrets suggested by the performance were incident to the second act. Neither the exquisite music of Margaret de Valois nor that of Raoul could here be said to be satisfactorily sung. Perhaps the imperfections in the case of the latter were primarily occasioned by those of the former. The first essay of a difficult part by a lady calls for leniency, however, and we forbear. Various trifling slips in this act indicated the magnitude of the undertaking in hand without obviating the propriety of recognizing the success which more frequently challenged attention. It is a pleasure to do justice to the efforts of Mrs. Richings-Bernard in Valentine. To act and sing such a part so well as she did when under the responsible burden of direction and management, is what very few artists could do, and demands commensurate applause. A word of approval is due to the ballet, which is much better here than at the house now devoted to Italian opera. 

“The later portions of the opera were, as we have hinted, more adequately given. The most famous numbers, including the finale of the third act, the final scene between Valentine and Raoul and the ‘Benediction of the Daggers,’ were sung with fine effect, and the scenic merits of the representation did much to gain general approbation. On the whole, the performance was deserving. The aim was high, and a generous criticism should make allowances that might be uncalled for in the case of a more symmetrical representation of a minor work. We have no doubt that future performances of ‘The Huguenots’ by this generally excellent company, will offer substantial improvements on the first, and that it will become one of the most successful operas in their repertory.”

“The bold venture of Mrs. Richings-Bernard in bringing out an English version of so important a work as Meyerbeer’s ‘Huguenots’ promises to be crowned with a larger measure of success than it was natural to anticipate. The performance last night was hardly more than a dress rehearsal, for one or two of the personages of the drama were not perfect in their parts, and the fierce storm had a depressing effect upon the house which was reflected upon the performers. Still the merits of the representation were decided. The opera, in the first place, is liberally mounted. The dresses are rich, the chorus is large, the orchestra is greatly augmented for the occasion, the scenery is excellent, and there is a good ballet. Of the principal artists in the cast there is much to be said in praise. Mr. Henry Drayton is a capital Marcel, with all the requisite voice and an admirable actor besides. Mrs. Richings Bernard as Valentin not only sings correctly—as she always does—but both sings and acts with a degree of passion and earnestness of which we hardly thought her capable. Mrs. Annie Kemp Bowler is a charming Urbain, and Messrs. Arnold, Bernard, and Peakes are satisfactory in certain of the secondary parts. The weakness of the cast is in the Raoul of the untamed Mr. Henry Haigh and the Marguerite of Mrs. Henry Drayton; but nothing is perfect in this world, and when there is much good we must bear patiently with a little that is unpleasant. The opera will probably run through the remainder of the season (which closes on Saturday), and will undoubtedly improve with every repetition.”

“The second performance of the ‘Huguenots’ at the Grand Opera House last night was in many points a notable one, and went far towards justifying the managerial boldness which selected Meyerbeer’s most elaborate work for representation in English. The choruses were magnificently given throughout, and the scene of the benediction of the swords was quite as effective as in any of the Italian representations of the work. The orchestration was also admirable, the number of performers more than filling the orchestra and occupying a number of the front seats in the auditorium. In the costuming and grouping there was nothing to condemn and much to praise. The scenery was generally good, and included several of the ‘sets’ prepared for ‘Prairie.’

“We have no hesitation in saying that Miss Richings did not overrate her powers when she took the part of Valentine. Her personation of this character—one of the most difficult in the whole range of lyric drama—places her at once in a higher position in lyric art than she ever occupied before. Her voice is not a naturally sympathetic one; but it certainly seems sympathetic in the music of Valentine. Her style of acting is not highly dramatic; but last night she was in this point but little behind the few great prima donnas of the Italian stage. In warmly congratulating Miss Richings on her dignified, womanly and at time passionate performance in the ‘Huguenots,’ we trust that we shall be able to congratulate her on the pecuniary success of this production.

“The warmest praise is due to Mr. Henry Drayton for his Marcel, which in his hands thoroughly realizes the idea of the composer. Mr. Haigh and Mrs. Annie Kemp Bowler both are satisfactory in their respective parts of Raoul and the Page; but only gallantry towards an accomplished but in this case ill-advised lady prevents us from saying what every one in the audience thought of the personation of Marguerite de Valois.

“‘The Huguenots’ will be repeated at the Grand Opera House every evening this week.”

“Meyerbeer’s ‘Huguenots’ was produced by the English Opera Company on Monday night, and again performed last evening. We have no desire to disparage the ability of this very excellent company, but they have certainly undertaken in this great opera a work somewhat beyond their strength. Nor does Meyerbeer’s splendid creation lend itself at all readily to an English text. Nothing is harder than to fit proper words to a song, as any one who has ever tried to translate a simple German lied can tell. It is reversing the established rule to write the words for the music, instead of the music for the words, and the translation of this opera is a sufficient commentary on the difficulty of doing it well.

“The management have given the greatest care to the mise en scéne. The chorus is large, and the orchestra fairly bursts its bounds and overflows into the parquet. Indeed, if the work is not well given, it is not through any lack of will or energy on the part of those engaged in it, but because of the intrinsic and almost insuperable obstacles that beset the undertaking.”

“The English opera company announce ‘The Huguenots’ for to-night, and will repeat it on Friday night for the benefit of Miss Richings, and at the Saturday matinée. We have already expressed our high opinion of this admirable production, and of the superior singing and acting of Miss Richings and Mr. Drayton. The lovers of English opera are bound to support this most elaborate experiment in this line.”

“The performances of ‘The Huguenots’ at the Grand Opera House have very much improved since the first night, and except in one or two points there is no particular fault to be found with them. Mrs. Richings-Bernard, Mrs. Bowler, Mr. Henry Drayton, and Mr. J. G. Peakes render full justice to their respective parts; the choruses are brilliant and strong; and the setting of the opera shows a liberal and careful stage-management which might with propriety be imitated at the Academy of Music. The orchestra is also large and well handled. Notwithstanding the excessive length of the performance and the severe character of the music, large audiences sit pleased and patient till the close, so that we have no hesitation in pronouncing the bold venture of producing this great work in English a success far beyond our expectations. At the same time the attempt was more heroic than judicious. The best powers of the company are not displayed in compositions of Meyerbeer’s school, and Mrs. Bernard produces light operas so much better than she does heavy ones that we should be glad if she kept to them. The second act of ‘The Huguenots’ is rendered tedious by the conspicuous inefficiency of Mrs. Drayton as Margaret of Valois, and several scenes both in that and other acts are marred by Mr. Henry Haigh’s Raoul. Mrs. Drayton is an artist with the merest vestige of a voice, and Mr. Haigh has a good voice with hardly the vestige of an art in using it.”

“Mrs. Richings announces for this evening Meyerbeer’s opera of ‘The Huguenots,’ for the first time in the English language. Great preparations have been made for its proper production.”

“The past week has been an interesting one at the opera houses. On Monday, the Richings Troupe produced the ‘Huguenots,’ with considerable splendor, against ‘William Tell,’ at the Academy. Some of the singing in the ‘Huguenots’ was curiously bad, yet the work was so well placed upon the stage and the deserts of Mrs. Richings-Bernard in the production so generally felt and acknowledged that it was favorably received. This is the first time that the whole opera, or nearly the whole opera, has been sung in English.”

“The Richings English Opera Troupe closed their four weeks’ season at the Grand Opera House on the 11th inst. Meyerbeer’s ‘Huguenots’ was performed for the first time in English on the 6th inst. and kept the boards during the week, excepting the 10th and 11th. ‘The Bohemian Girl’ was given on the 11th. It was placed upon the stage in a manner that surpassed all previous English opera productions, the mise en scene being splendid. The interest was heightened in the third act by the appearance of mounted musicians, and the scene was a most spirited one. The opera dragged continually, and is altogether too heavy for an audience that goes to hear English opera. This troupe appear to greater advantage in ‘The Bohemian Girl,’ ‘Martha,’ ‘Maritana,’ ‘Crown Diamonds’ and similar ones, and should strike all such operas as the ‘Huguenots’ from their repertoire.”