Draper English Opera: The Doctor of Alcantara

    “The third representation of the Doctor of Alcantara was a considerable improvement on the two preceding ones, as far as the music went.  There is still much improvement needed in the theatre that would add greatly to the comfort, enjoyment, and, we might say, safety of the audience.  The entrance to the parquet would be improved considerably if the doors opening on the lobby were widened, the stairs made less steep and wider and one ticket collector placed at the head of the stairs, instead of having two in inconvenient and troublesome positions.  Besides, there ought to be a means of communication between the parquet and the two first tiers, without having to pass outside and present a separate check for each part of the house.  The acoustic principles of the auditorium are excellent and the seats unexceptionable in every respect, but the entrance and exit facilities are very faulty.  They can be easily remedied by the management. The ushers, under the direction of Messrs. Morton and Draper, seemed to understand their business last night better than before, and there was no inconvenience experienced at their hands by the audience. Regarding Mr. Eichberg’s work, there is a great deal of merit in it, but mostly the merit of skilful adaptation. The second hearing of the melodies and choruses of this opera convinced us that they are, with few exceptions, adapted from the Italian and French opera, although the adaptor certainly deserves credit for the manner in which he has interwoven them in the comedy. Mr. Eichberg must not imagine that originality in modern opera consists in new unheard of melodic and orchestral combinations. As a single example we refer to the similarity, almost measure for measure, between the braggadocio address of the alghuazil, ‘I’m Don Hypolito Lopez Pomposo,’ and one of the splendid solos of the high priest in Saffo. The other noticeable solos and choruses in the opera struck us as familiar to a considerable degree, and on the repetition of the work to-night we shall be able to give the name of the opera from which each is either taken or adapted. The instrumentation is happily conceived. It is in perfect keeping with the trifling nature of the subject. There is nothing in the vocal or instrumental music of the opera or the plot or dialogue that can be called heavy or stupid. It is just the piece suited for this season, and we think that it would be highly injudicious to introduce during the heated term such operas as Fra Diavolo, the Bohemian Girl, the Rose of Castile or such like heavy works. They will do admirably for the fall season, but now it would be foolish to bring them before the public. Let the Doctor of Alcantara be succeeded by similar light, sparkling works and there will be always as large an audience to the French theatre as there was last night. Miss Richings, Miss Zelda Harrison and Mrs. Sophie Mozart sang and acted better than on the two preceding nights. Mr. Ketchum would make a far better doctor than the present incumbent, to judge from his admirable impersonation of senor Balthasar [sic]. Mr. Castle was very good as the silly pated lover, but his dialogue was too much like recitative. The mazurka solo of Inez, in the first act, is a clever adaptation, and was splendidly sung by Miss Richings. The little, absurd duet sung by the serving men, Messrs. Bartlett and Danks, is an exquisite piece of drollery. Mrs. Mozart sang the quaint minor air, ‘There was a Knight,’ admirably. Her acting was much improved last night. As a clever piece of adaptation the Doctor of Alcantara will long be a favorite with the public. . . . To all who wish to banish dull care with a hearty laugh we recommend it as an infallible specific.”

“The continued and marked success of the English Opera Company, at the new French Theatre, proves that the managers have struck exactly the right vein. The audience last night was as large as on the night before; in other words as large as the house would hold, while numbers who came to the theatre were unable to obtain seats and went away. As on previous occasions of the representation of ‘The Doctor of Alcantara,’ everybody seemed pleased and delighted. It adds to the general satisfaction that this sparkling and enjoyable opera is entirely a home affair, in its music and libretto, its conception and execution. Mr. Eichberg may well be proud of having so well begun the work which we trust others will soon follow up with equal ability.

    If we may be permitted to give a word of advice to the managers, we would urge that they continue to follow up the specialty in which so great and genuine a success has been won, and not be tempted to produce the more serious and elaborate operas, of which we have already had a satiety, and which people really don’t want to hear at this season.”

(…) Richings has a talent for comic parts; however, her voice is beyond its peak. Harrison possesses a fresh and pleasant voice, but she is not very accomplished yet. The audience enjoyed the singing, acting, music, and lyrics and expressed this with enthusiastic applause.