Grand English Opera Combination: Rip van Winkle

“The event of the season.”

“George Bristow’s admirable work—the only true American opera on the boards—had nearly as long a rest as its original, the good-natured do-nothing of the village of Falling Waters, until it was brought out last night at Niblo’s, where it was heard for the first time fifteen years ago. Then the Pyne and Harrison troupe sang it for eighteen nights, to crowded houses, and it would have had a much longer run, had not Mr. Niblo’s previous engagements obliged him reluctantly to withdraw it. The main difficulty with the opera, more than with the drama, is the extreme difficulty of getting a Rip Van Winkle to unite the quality of a first class actor and singer. The difficulty was fortunately obviated last night by Mr. Henry Drayton, who played and sang the title rôle to perfection. His voice seemed to have recovered all its pristine power and expression and he threw himself into the rôle with a heartiness and spirit that made the opera a thorough success. The work, as a whole, is worthy of the highest praise, and reflects honor on both the talented composer and on America which can boast of such a musician. The instrumentation is particularly fine and full of dramatic spirit. Whether it be an aria, chorus, concerted piece or description of a tableau, the cunning hand of the gifted composer throws around it an atmosphere breathing the spirit of the situation. Especially in the scene on the Kaatskills, where Hendrik Hudson’s band are engaged at [illegible] bows, the instrumentation is dramatic in the extreme. The choruses are all descriptive and taking, if we may use that popular expression, and the chorus of spirits on the Kaatskills, the battle songs of the Continentals in the third act, the beautiful opening glee of the villagers and the magnificent ensemble at the fall of the curtain, were enthusiastically applauded. Rip’s drinking song, which closes the first act, is bound to achieve a popularity equal to any morceau in the ‘Bohemian Girl.’ Drayton sang it splendidly, and received a rapturous encore. Mrs. Bernard’s voice was in fine condition, and throughout the trying music which falls to the part of Alice in the third act she sustained both her own high reputation and that of the composer. Mrs. Drayton acted the part of the shrew, Dame Van Winkle, admirably, but her voice was not equal to the music, and Castle’s nervousness affected his voice to such an extent that it nearly broke down in the third act. But the crowning triumph of the opera was the effect produced by Drayton in the last act, where he returns after his twenty years’ doze to find himself forgotten by all. The exquisite ballad, ‘Alone, All Alone, in This Wide World of Sorrow,’ was given by him with such a mournful expression and tenderness that the tears started unbidden to the eyes of those present. In [fine?], there is not a bar of commonplace music in the opera, and much of that which is lasting. Mr. Bristow conducted the work in person, and to his magnetic influence much of the success of the opera was due, as the orchestra was much better than usual. The opera will be repeated to-night and for the rest of the week. It requires considerable pruning and more rehearsals to remove the hitches which occurred last night.”

“Fifteen years ago—on the evening of Thursday, September 27, 1855—Mr. Bristow’s opera of ‘Rip Van Winkle’ was first produced at Niblo’s Theatre. The cast was an excellent one. Louisa Pyne, then in the height of her popularity here, was the Alice, and her sister Susan Pyne took the part of Dame Van Winkle. W. H. Harrison, the tenor, was Edward. Mr. Horncastle played Frederick, and a very careful and effective basso, Mr. Henry Stretton, took the difficult part of Rip Van Winkle. The scenery was picturesque, the house was crowded, and the work met with a very favorable reception. Louisa Pyne made a marked success in the ‘Vivandiere’s song,’ and, after the opera, Mr. Bristow, the composer, and Mr. Wainwright, the librettist, were called before the curtain.

“After a long nap, worthy of Rip himself, the opera has been revived, and was brought out at Niblo’s last night, Mr. Bristow himself leading the orchestra, and many of his musical friends who had ‘assisted’ at the first production, filled seats in the auditorium. On the stage, however, there was an entire change. Mrs. Bernard was the Alice, instead of Louisa Pyne. Mrs. Drayton was Dame Winkle; Mr. Castle, Edward, and Mr. Henry Drayton, Rip.

“The opera showed evident lack of sufficient rehearsal, and several of the minor parts were badly butchered, while the chorus singing was lacking in [illegible]. Yet the representation was sufficiently good to give a [illegible] idea of the really graceful and elegant music with which Mr. Bristow has adorned Irving’s familiar legend. The leading solos were received with warm applause. The Vivandiere’s song was promptly encored, and the exquisite love duet in the second act gave great pleasure. Mr. Drayton had the main weight of the opera on his shoulders, and he bore it most successfully. His acting was good, excepting that the Dutch accent was not consistently maintained. His singing was in his best style, and his rendering of the characteristic song ‘The day is done’ at the close of the second act, and the pathetic ballad, ‘Alone, all alone,’ won the immediate sympathy and recognition of the audience. Mrs. Drayton acted well the part of the shrewish wife, and, though with but limited vocal resources, sang her ballad in good taste. Mrs. Bernard was careful, as usual, in her small part, but appeared to be suffering from a cold. Mr. Castle did his best with a not very grateful character. The part of Frederick would have received better justice

“To the general public the graceful ballads which abound in ‘Rip Van Winkle’ will be its greatest charm. To the musician, the orchestral and choral music which illustrates the scene where Rip meets Hendrik Hudson and his ghostly companions will give the most pleasure. It is weird, quaint and characteristic. Both the amateur and professional listener will, however, agree that the opera needs more cutting, especially in the dreary dialogue. The first act is insufferably tame throughout, and ought to be vigorously compressed, but the latter parts of the opera are their own vindication. We could wish to see a little more dash and spirit in the military music, and we think Mr. Bristow could improve his opera by inserting some of the excellent concerted music which he is perfectly competent to write.” 

It is not often that American composers have an opportunity to be heard. The proverbial camel can more easily pass, pack, humps and all, through that narrow Jerusalem gateway the needle’s eye, than one of our own composers can get beyond the barriers of prejudice of our only orchestral society, the Philharmonic. When, therefore, an American work is given, we ought not only to rejoice with the composer, but to praise the management that has the courage and enterprise to bring it out.

“Such an occasion now presents itself. The Richings-Bernard Opera Company have produced ‘Rip Van Winkle,’ the work of George F. Bristow, an American by birth, and our fellow-citizen.

“This is not the first time that the opera has been given. It was once before performed fifteen years since, in the fall of 1855, and at the very theatre at which it was given last night. At the time it met with very considerable favor. It was the second opera written by an American, the first being William Henry Fry’s ‘Leonora.’

“The company that on that former occasion performed Bristow’s opera was not to be compared in point of excellence with the present one. It possessed but one good singer, and that was Miss Louisa Pyne, who indeed was one of the most meritorious prima donnas we have ever had. In every other respect the company was a poor one. This time Mr. Bristow is more fortunate, for better artists nowhere exist on the English operatic stage than those to whose abilities his music was entrusted last evening. Mrs. Richings-Bernard, Mr. Castle, and Mr. and Mrs. Drayton, have lent to Mr. Bristow their earnest and conscientious aid to give his work a careful preparation and an effective performance. The result may be fairly stated to be very satisfactory.

“A large audience was gathered at the theatre, and listened to the opera with evident pleasure and interest, and with frequent hearty and genuine applause.

“It would not be fair to compare Mr. Bristow’s work with the very best operas of the great Italian or German masters. It should be borne in mind that the encouragement he has received from his countrymen has been so slight that this is his first and only work.

“Consider the fate of the earlier works of almost every distinguished composer. Rossini could not get a patient hearing until his fifth or sixth work. Donizetti’s earlier operas sank into oblivion, one after another, as fast as they were made. Some fifty of them are irretrievably condemned and forever shelved. Meyerbeer’s operas were hissed as soon as they were brought out till he fairly bought for himself a hearing at Paris. It would be easy, if the time allowed, for us to continue the list. The conclusion of experience is that no composer reaches his best work at the very outset, or, indeed, until he has composed some half a dozen operas.

“Mr. Bristow’s first opera must be judged accordingly, and so judged we believe that it compares favorably with the earliest works of most of the foreign composers. It is admirably instrumented, for Bristow is fully competent to write for the orchestra, being a well instructed and thoroughly disciplined musician. It is also melodious, graceful, and pleasing. In a word, the music is enjoyable, bright, and flowing throughout. We could have wished for more energy and stronger and bolder writing in parts, for a more vivid musical coloring, for a freer handling of the voices in concerted pieces, of which there is a great lack. But if Mr. Bristow has been cautious that is certainly a fault that can be pardoned in a composer so young as he was when this opera was written.

“Mr. Drayton was the Rip Van Winkle. It is somewhat unfortunate for him that Jefferson has so profoundly impressed the public mind, with his masterly idea of this character that any other or different personation of the part seems weak and misconceived, especially when hampered by the exigencies of the operatic stage, that compel a man to cease acting and betake himself to singing so constantly

“But Mr. Drayton both sang and acted like a true artist, so did Mrs. Richings Bernard, a lady whose fidelity to her art commands universal respect. Mr. Castle also acquitted himself extremely well.

“This opera is fortunate in two very essential respects—the plot is a good one, and the libretto is very far beyond the average of excellence. This latter is the work of Mr. J. Howard Wainwright, a son of our late Episcopal Bishop, and a man of excellent literary judgment and poetic taste.

“The story does not in the main vary greatly from Irving’s version of the legend. A military and love episode, relating the adventures of the younger Rip and his sister Alice, is introduced, but it harmonizes well with the rest of the story, and furnishes certain much needed dramatic situations to the composer.”

“In reproducing, after a rest of fifteen years, Mr. G. F. Bristow’s opera of ‘Rip Van Winkle,’ the management of the English troupe now singing at Niblo’s Theatre has done very creditable work. The representation of an almost unknown lyric drama is at present in itself a step of sufficient boldness to justify admiration, and a rehearsal, with sufficient preparation to set forth clearly the merits of the subject, warrants the bestowal of hearty praise. We are not greatly at fault in holding Mr. Bristow’s production as unknown, for since its fifteen or twenty performances by the Pyne and Harrison Troupe in 1855, no note of its score has been heard. We can, therefore, deal with it as a fresh theme. The libretto is framed by Mr. J. H. Wainwright. It embodies two stories, each quite independent of the other. The first reviews the familiar incidents of the tale to which Washington Irving has attached his name, while the second, interrupting the progress of the first, brings before the spectator love passages between Alice, the daughter of Rip, and a continental soldier, Edward Gardiner, who almost falls a victim to the treachery of a rival, one Frederick Valcoeur. Mr. Wainwright was evidently influenced by the requirements of the composer, who recognized the effect of portions of the main narrative, but also detected their insufficiency as a canvass for varied inspiration. The librettist does not succeed in binding the two plots with remarkable cleverness, though he is to be complimented for the quality of his prose and rhyme, both of which are intelligible, it might be said, in an unoperatic degree. The result is an extremely satisfactory text-book, which the musician has put to very good use. Mr. Bristow’s music is facile and genial in most of its motives, dramatic—though rather conventionally so—in some, and decidedly inspiriting when illustrative of the episodes of camp-life which the librettist has delighted to dwell upon. Its treatment is scholarly and practical, denoting both acquired skill and experience in writing for the orchestra and for the voice. Thus much for its best qualities. On the other hand, it cannot be concealed that it gives little proof of the creative powers of its author. He who understands the exact value of words is not necessarily a poet, and the man of talent who masters all methods of expression in music, if his ideas are few or without the gloss of newness, can hardly be worshipped as a genius. Mr. Bristow has all the attainments of an eminent composer, but has not the gift, the possession of which makes one. Rossini in Italian opera, in the Germano-Italian repertory, Meyerbeer—by means, perhaps, of a patience and a science little removed from their results in the might of pure inspiration—Wallace, in England, live not by the mere beauty of their utterance, but by the grandeur and the fire of their thoughts. Tunefulness is not wanting in ‘Rip Van Winkle,’ and the ear, in fact, is often sated with sweets, but a hearing of the whole opera does not reveal a single phrase of conspicuous beauty or appropriateness. In their rhythm the numbers are all well colored. While the acknowledged form, however, is easily assumed, how many writers secure the needed and fresh spirit? Mimicking a bacchanalian song is easy, and the suggestion of a chorus of soldiers is to be conveyed by a process of less difficulty, even, but the drinking verses in ‘Martha’ and the ensemble and military march in ‘Faust,’ are similar in the letter only to the acknowledged models. That no encouragement is afforded to native composers, is, of course, to be borne in mind, and that much may have been lost—even in respect of creation, equally susceptible of development with humbler faculties—by the forced inaction of Mr. Bristow, will be readily conceded. Late as it is, we applaud the enterprise shown in submitting his work to judgment, and venture to express the hope that the attention and approval accorded the elaborate and interesting opera last night will urge him to renewed effort. Concerning the representation, we have left ourselves but a small space to cover. It was extremely smooth, and, as we implied above, thoroughly well-fitted to display the qualities of the score. Mr. Drayton sang Rip, and gave with great vim the song in the first act celebrating the virtues of beer, and with much pathos the ballad in the last. The couplets of the Vivandiere, interpreted with rare dash by Mrs. Richings-Bernard, were tumultuously encored. Mr. William Castle sang languidly the notes allotted to Edward Gardiner, and Mr. Arthur Howell depicted Frederick. Dame Van Winkle’s part was filled by Mrs. Drayton. The chorus performed its task with its habitual vigor, and the orchestra—which was under the bâton of Mr. Bristow himself—distinguished itself in its reading and execution. The scenery was appropriate, and, in brief, nothing was lacking a very pleasant entertainment. ‘Rip Van Winkle’ is to be given again to-night, and we trust that the composer of this national work, and the American artists who appear in it, will have an audience evidencing by its size and appreciation, the approbation generally felt to be due.”

“The production of any opera by an American composer, even an old one, is an event of so much importance and such excessive rarity that it ought to arouse a great deal of public interest. But how little the people of New-York care for the encouragement of native art was painfully evident on Wednesday evening, when Mr. Bristow’s pretty and graceful work was revived at Niblo’s Theater, after a sleep almost as long as that enjoyed by the hero of the story. When it was first performed, in 1855, by the Pyne and Harrison troupe, it was cordially received, and drew excellent houses for many nights. During the interval that has since elapsed, Mr. Bristow’s reputation has increased; he is acknowledged to be one of the best composers this country has ever produced, an excellent scientific musician, and a pleasing melodist. Yet the attendance on Wednesday evening was meager, and the interest of the audience undeniably languid. One cause from which Mr. Bristow’s work must suffer now did not exist in 1855. Since he set the legend of ‘Rip Van Winkle’ to music, Boucicault and Jefferson between them have created a new dramatic personation of Irving’s charming story, with which popular criticism will at once compare every other attempt to set it forth upon the stage. No other Rip Van Winkle is likely to be tolerated in New-York while Jefferson lives or is remembered; and though we are far from saying that no other dramatization of the tale is likely to be accepted in place of Boucicault’s, we do say that the London playwright’s work is held in considerable affection for the sake of the exquisite actor who has identified himself with it, and that the libretto by Mr. J. H. Wainwright, to which Mr. Bristow has set his music, would have difficulty, even were it far better than it really is, to overcome the popular prejudice in favor of the version now performing at Booth’s. Mr. Wainwright did his task pretty well. The words can be sung without difficulty, and are not exasperating nonsense like the words of most English operas. Dramatically, however, the piece is ineffective. The first part (it is written in three acts, but performed in four) follows pretty closely the story of Irving. The second is occupied with the fortunes of Rip’s children and patriotic revolutionary scenes which are supposed to happen during the twenty years’ sleep. The last part returns again to the original legend, and the opera closes with a very tame and uninteresting recognition of Rip by his son and daughter. There is no climax, and the interpolation of the revolutionary incidents, though necessary for musical reasons, is a dramatic misfortune. The action drags whenever Rip is off the stage. It is unnecessary now to review the music which The Tribune so warmly commended fifteen years ago. We shall content ourselves with repeating that it is delicately conceived and scientifically treated, and the principal soprano, tenor, and bass artists have each some charming melodies which deserve to be popular. Perhaps Mr. Bristow’s inspirations are not in the highest sense of the word original, but they are never common-place or hackneyed. His choruses are generally lively and graceful, if not very striking. One, a battle-prayer of the American soldiers, is treated in a broad and very effective manner. The gems of the opera are Rip’s songs, ‘The Day is Done,’ a charming, well-rounded melody, with which he drops off into his long slumber, and ‘Alone, all alone,’ an exquisite and truly pathetic ballad in the last act. A duet between Alice and Edward (soprano and tenor) also struck us as particularly happy. The instrumentation is admirable, for Mr. Bristow is a master of the orchestra.

“It will perhaps seem to many people that since Mrs. Bernard has had the enterprise to bring out an Ameican opera at all, a generous critic ought to content himself with thanking her for what she has done, instead of weighing too carefully the merits and the faults of the performance. But we are not at all sure that the representation of Wednesday evening is one for which either the public or Mr. Bristow ought to feel a particle of gratitude. We are certain at all events that what the present English Opera Company needs from the press is not encouragement, but frank and honest criticism. It is composed of excellent material; it is prosperous beyond its deserts; and it is careless, inefficient, and bungling to the last degree. The cast of ‘Rip Van Winkle’ consists of [see above]. We have no fault to find with Mr. Drayton’s singing. He has a coarse conception of the character, trampling all the poetry out of it with ruthless foot, acting very much as we suppose a tipsy Huguenot might act,--copying Jefferson just enough to remind us perpetually of that great artist, but falling, oh, how immeasurably far below him! Yet he sang his music admirably, especially the two arias which we have already mentioned, and whatever praise is due to the performance belongs properly to him. Mr. Castle was not in voice, nor was Mrs. Bernard. The gentleman sang almost everything flat, and the lady reminded us of a jet of gas in a high wind, which one minute flares up with exaggerated force, and the next seems to go out entirely. If she will pardon us for saying so, she was out of place in that wonderful role; Miss Hersee ought to have had it. Mrs. Drayton, whose voice is a musical monstrosity, being both flat and sharp at the same time, was the crowning outrage of the evening. It is best to tell the plain truth; she was an artist once, but she has not a vestige of voice left, and Mrs. Bernard, who is herself an accomplished critic and musician, insults the intelligence of the New-York public when she invites them to listen to a singer of this caliber in a prominent role. Two or three minor parts were even more execrable, and the orchestra—though Mr. Bristow led it himself—was about as bad as usual. In fact, ‘Rip Van Winkle’ was butchered—and that [illegible] by a company which had all the necessary resources for doing it well.”

“The English opera company, which has just closed a season at Niblo’s, has some excellent materials in it, as was proved by their admirable rendering of Bristow’s grand American opera, ‘Rip Van Winkle.’ It was a mistake to have left this work until the last three nights of the season. It drew larger houses than any of its predecessors. Mrs. Bernard is a painstaking, conscientious artist, although her voice is no longer what it was, and Mrs. Seguin is one of the very best contraltos on the stage. Miss Fannie Goodwin, in spite of the short time she has been before the public, has proved herself a thorough artist and will yet win an enviable position on the lyric boards. Miss Rose Hersee’s voice is too limited in tone to be suitable for large rôles, and Mrs. Bowler is fast getting rid of her disagreeable habit of singing flat. Neither Castle nor Bowler are satisfactory tenors, and Campbell’s voice is beginning to show deterioration. Lawrence is a total failure, and Henry Drayton the most accomplished artist on any stage. The season at Niblo’s was not as successful as might be expected, partly on account of its being a dramatic establishment and therefore incapable of attracting a musical audience, and partly because the change of bill every night and selection of operas beyond the capabilities of the company acted as a repellant.”

“Last Saturday night the English Opera Company at Niblo’s closed its season with the fourth performance of Mr. Bristow’s ‘Rip Van Winkle,’ an opera which has been received with applause by an audience evidently predisposed toward the composer. There is much in Bristow’s music to awaken scholarly admiration, but little to arouse enthusiasm. The melodies are graceful; the instrumentation is good; but there is not enough force and fire in it to thoroughly suit the popular taste. So far, however, it is the best American opera yet produced; and we trust that Mr. Bristow will follow it up with another lyric work which shall still more fairly prove his genuine ability as a composer.”

“In the same journal (of last Saturday [Weekly Review, 11/12/70]) we read:

“After a great many years Mr. George Bristow’s opera has been reproduced at Niblo’s, and if the present English opera company had no other claim to our consideration, than having revived this opera, it must be considered a powerful one by all who take an interest in the progress and culture of musical art in the country. Opera writing requires so many qualities, that it cannot but reflect credit, not only upon the author, but also the country to which he belongs. And, if it is done at all in a respectable, conscientious manner, with due consideration of the necessary artistic claims, it ought to be encouraged and honored by all possible means. That this is the case in the present instance, all know who have become familiar with the efforts of Mr. Bristow. Of the very few American composers who have attained a certain facility in handling the larger forms of compositions, especially in reference to writing for an orchestra. Mr. Bristow stands foremost. Every measure of his music shows the thorough musician, brought up in a good school. It is fluent, good, respectable music, a credit to the man who has composed it. But the question arises, whether it is good dramatic music, whether the salient points of the drama have been hit upon by the composer in such a manner as to produce, in the listener, a climax of interest. This, we are afraid, is not the case in the present instance. The fault lies not altogether with the composer, but with the text. In our opinion, Rip Van Winkle ought to have been made the centre of interest. Instead of this, we find that, during one whole—and very long—act, he does not appear at all, and we are bored with a very tedious love story. Besides, the text does not furnish sufficient scope for ensembles and finales. It gives us ballads, duos, etc., in abundance, but we all know that nothing is more tedious than a so-called balled opera. Modern opera writing means a strong dramatic accentuation, much coloring, and strong contrasts. Where all this is wanting, even the greatest flow of melody will be of no avail. We are confident, that if Mr. Bristow would write his opera do-day he would show us by his music that he is of our opinion; and we hope and trust, that, encouraged by his present success, he will compose another opera. His country has a right to expect this from him.

“The performance was as smooth as it can be with such an orchestra and such a conductor, as allied to the present company. Mr. Henry Drayton (Rip), and Mrs. Richings-Bernard were, as usual, excellent.”

“Mr. George F. Bristow’s opera of ‘Rip van Winkle’ has been the chief attraction at Niblo’s Garden during the past week. It was produced under the composer’s own direction on Wednesday evening, 9^th, and he, in person, on that night only, conducted the orchestra. The opera was first produced at this same theatre in 1855, and was then interpreted by the artists of the Pyne and Harrison Troupe, and enjoyed a run of some fifteen or twenty performances, but achieved only a mediocre success. In order to adapt Irving’s sketch to operatic purposes, it became necessary to introduce extraneous matter, and the librettist selected scenes of camp life at the time of the American Revolution, the effect of which upon a miscellaneous audience is very similar to what would be produced by performing three acts of ‘Hamlet’ then introducing the fourth act of the ‘Lady of Lyons,’ and then after its performance continuing ‘Hamlet.’ The music is graceful and delicate, yet not of that style which would ever become popular with the masses. The only music that received any recognition at the hands of the audience was a bacchanalian song in the first act, ‘The Day is Done,’ at the close of the second act, and ‘Alone, all Alone,’ in the last act, all of which were sung by Mr. Henri Drayton, who impersonated Rip, and who was rapturously encored. A duet between Alice (Mrs. Bernard) and Edward (Mr. Castle) was very pleasing, as was also a vivandiere’s song by Mrs. Bernard. We may safely say that what success the opera achieved was owing to Mr. Drayton, an artist of great skill and experience. With regard to his acting of Rip little was of course expected of him, and had his impersonation been never so artistic it must have become absurd from the requirements of the opera in the last act. To expect an artist, who is portraying in a piping voice and a halting gait the ravages of age, suddenly to drop these distinctive characteristics and break forth into song which requires the fresh, strong voice of early manhood to execute, borders upon the ridiculous. The composer was most unfortunate in his selection of a subject to musically illustrate. The opera was received by a thin audience in an apathetic manner on its first production, and although the audiences increased on the succeeding nights, we fear the treasury was not correspondingly benented [sic], nor did the audience appear any more demonstrative.”