Grand English Opera Combination: Bohemian Girl

Event Information

Venue(s):
Niblo's Garden

Proprietor / Lessee:
Henry C. Jarrett
Henry Palmer

Manager / Director:
Caroline Richings
Clarence D. Hess

Conductor(s):
S. Behrens

Price: $1.50; $1 dress circle; $.50 family circle

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
26 June 2023

Performance Date(s) and Time(s)

29 Oct 1870, Evening

Performers and/or Works Performed

Bohemian girl, The

aka Zegeunerin; Zigeunerin

Composer(s): Balfe

Text Author: Bunn

Participants: Grand Combination Italian and English Opera Company; Edward S. C. Seguin (role: Devilshoof); Fannie E. Goodwin (role: Gypsy Queen); Brookhouse Bowler (role: Thaddeus); Rose Hersee (role: Arline); Henri Drayton (role: Count Arnhelm); John H. Chatterton (role: Florestine)

Citations

Advertisement: New York Herald, 24 October 1870, 9.

Includes cast list.

Review: New York Herald, 30 October 1870, 5.

“About the most admirably performed and sung opera since the opening of the season was that last night. Miss Rose Hersee as Arline, was excellent throughout, and was repeatedly encored. Her voice was in fine condition, and her acting, as usual, admirable. Mr. Seguin as Devilshoof and Mr. Drayton as Count Arnheim deserve the highest praise for the rendering of their parts, particularly Mr. Seguin, who played the devil-may-care gypsy to perfection. Mr. Bowler’s singing was fine, but his acting was marred by imperfections which he seems wedded to. As the Gypsy Queen Miss Fannie Goodwin did well, but there is still ample room for improvement in both her singing and acting. She possesses decided merit, and after she has got over what appears to be the difficulties of a novice in opera she will make her mark on the lyric stage. On the whole we do not remember seeing ‘The Bohemian Girl’ more acceptably rendered. It was a genuine success from beginning to end, and will, we trust, be repeated before the close of the season. The audience that attended the theatre last night was noticeably large and fashionable.”

Review: New-York Times, 30 October 1870, 5.

“The pressure of political and general news upon the columns of this paper reduced, during the week just ended, the references to the performances of English opera at Niblo’s to the length and spirit of mere records of fact. It is agreeable to note that they were deserving of much more critical allusion. The full strength of two companies, each endowed with excellencies of its own, has been centred in one troupe, and the good qualities of two entertainments given last year at the Academy of Music and at the Grand Opera-house, are now to be enjoyed from one point and in one evening. The repertory of the company is extremely comprehensive. Six important operas were sung in succession between Monday and yesterday night, and each, with but one exception, was rendered in its entirety, with a fidelity and with a spirit ill-consistent, almost, with the lassitude which years of labor in the very same fields might not unnaturally cause the toilers. We have not now the intention of reviewing in detail all the representations in question. The works recited without excision were ‘Martha, ‘Figaro’s Marriage,’ ‘Fra Diavolo,’ ‘The Troubadour,’ and the ‘Bohemian Girl.’ The subject of comprehension was ‘The Huguenots.’ It must in all frankness be admitted that for the omission of much music from Meyerbeer’s colossal opera, honorable precedent can be cited. Perceptibly, its proportions remained unshorn, and these—it can be said without disparagement to the gifts or talent of the singers—proved still rather too formidable for a thoroughly satisfactory exhibition to follow. If in England, and in France, where the art-resources of the Old World can be drawn upon without stint and without delay, a revival of ‘Gli Ugonotti’ is undertaken with uneasiness, the difficulties of a rehearsal here are simply appalling. And when such a rehearsal is conducted with smoothness and its best-known incidents become suitably effective, there is cause for pleasure and congratulation. [See Tuesday, 10/25, performance of Les Huguenots for this portion of the review.]

Last evening, it should be said, ‘The Bohemian Girl’ was played, and a young prima donna of decided promise was added to their ranks. Miss Fannie Goodwin embodied the Gipsy Queen. Her debut was wholly successful. Miss Goodwin is young, and her features are expressive as well as comely. Her voice is even, firm, and powerful, and she used it with skill, although she was visibly affected by the emotion of a first appearance. The single solo falling to her lot, and sung in the second act, was executed with the certainty needed to prove definitively the possession of an organ of especial worth, and the vigor of her attack, and the strength and duration of her sustained notes created flattering hopes as to her future eminence among dramatic prima donnas.”

Review: New York Herald, 31 October 1870, 5.

General remarks on the company’s principal artists. “The English Opera combination, as Mr. Hess calls his excellent troupe, enter upon the second week of their engagement at Niblo’s. We have not had such a choice assemblage of artists in this line for many years. Mrs. Richings-Bernard, without possessing a voice such as one would naturally look for in the prima donna of such a combination, never fails to please through her intimate acquaintance with all the operas produced and her large experience in the direction of them. Her abilities as an actress are unquestionable; but we doubt if ever her voice could, even in years past, be classed among those of the true artistic school. Its faults are in the intonation and that ‘throatiness’ which seems to stifle the tone at its very inception. Miss Rose Hersee’s little, sparkling soprano voice is admirable in its line, and for light music we would desire no better. A better contralto than Mrs. Seguin cannot be found on the American stage. Mrs. Bowler’s voice is exceedingly treacherous, and often falls a half tone below the pitch of the orchestra. Otherwise she is a conscientious artist. Castle is a good actor and has a passing manner on the stage, but his voice is showing ominous signs of wear. Some of the upper notes are absolutely painful in their shrillness. Campbell was suffering from a cold last week, and consequently his superb baritone voice was under a cloud. Bowler is an excellent tenor, but has some disagreeable points in his singing, the principal one being unevenness in intonation. Laurence’s voice, naturally splendid, is so far spoiled by a bad school that one never knows exactly what note he sings. It is like the Irishman’s flea—it hops all around the note, but you can never catch it. The best artist in the company is Henry Drayton. The chorus is excellent in every respect.”