Richings English Opera: Martha

“At the Olympic Theatre there is a radical change in the programme. Mr. Grover introduces English opera to his patrons. The troupe is an excellent one, and numbers among its members such well-known names as Miss Caroline Richings, Miss Zelda Harrison, Mr. William Castle, Mr. S. C. Campbell, Mr. E. Seguin, &c.”

“English Opera.—The Richings English Opera troupe commenced a season of three weeks at the Olympic Theatre last evening. The house, we are glad to say, was completely filled, and the applause was frequent. What is of more importance, both the attendance and the approbation were deserved. An English version of Flotow’s favorite opera of ‘Martha’ was rendered in a thoroughly satisfactory manner. The scene, it will be remembered, lies in England—although Mr. Grover has chosen to transfer it to the market-place of Rouen in Normandy, and the story being English, adapts itself to an English garb with more than ordinary facility. Be that as it may, the action was followed with interest, the music with applause, and the performers with every murk [sic] of favor. The soloists are mainly the same as at the French Theatre; but the younger members of the troupe have ripened. Especially is this the case with Mrs. E. Seguin, formerly Miss Zelda Harrison, whose voice without losing any of its beautiful freshness, has revealed much more strength than it formerly possessed. The young lady is one of the best mezzo-sopranos on the stage. Miss Richings maintains her own as of old. Mr. W. Castle and Mr. S. C. Campbell have sung the principal pieces of this opera so often that we need only say that in the entire work they are admirable, as were Mr. E. Seguin and Mr. J. G. Peakes [sic] in subordinate parts. The chorus was powerful and loud. The orchestra was defective, and gained nothing by being goaded on by the conductor, who waved his baton with one hand and played piano with the other. The general performance, nevertheless, was satisfactory, and will bear several repetitions.”

“The Richings English Opera troupe opened a season of eighteen nights at the Olympic theatre on Monday. A full house greeted their first appearance in New York, and the applause bestowed on the artistes who assumed the principal roles gave evidence that their efforts to please a most appreciate auditory [sic] were not unavailing. The programme for the occasion was Martha, Miss Caroline Richings sustaining the principal rôle. The plot of this fine production by Flotow is so thoroughly known to all lovers of operatic music that it would be a waste of space for us to give it here. As Lionel, Mr. William Castle added another to the laurels he has already won, and received as his efforts well deserved, the unanimous applause of auditors. Especially was he encored in the tenor solo, ‘Martha, Martha, oh Return,’ at the opening of, and in ‘I Forgive the Anguish Thou hast Wrought,’ which immediately precedes the chorus at the close of the third act. Mr. S. C. Campbell as Plunkett, sang well, barring a slight huskiness of voice, evidently the result of a cold. In the fourth act he sang the baritone solo, ‘If this be Love,’ with remarkably fine effect, and so pleased the audience that a unanimous request was made for its repetition. His rendering of the drinking song was also encored. Miss Richings sang ‘The Last Rose of Summer’ in a manner that gave evident satisfaction, though it has often been more artistically given in many mere concert performances.”

“Mr. Grover who seems to believe thoroughly in the influence of St. Cecelia, and Music—of which an interesting tradition makes that deceased lady the patron—opened his doors on Monday night to English Opera and a very large audience. The Richings’ Troupe made their first appearance in New York on that evening, in an English version of Martha. The reception given the singers was very enthusiastic and the performance which the singers gave the public in return was very fine. Their engagement, we hope, will be as profitable as we are certain it will be worthy of support. Such entertainments as they offer in Fra Diavolo, Maritana, and Don Pasquale, are just the kind that our people—(ever eager to answer the call of charming and intelligible music)—want. A comic opera on a comparatively moderate scale—easier of production than the grander lyrical works—appealing to the dramatic as well as to the musical taste, and popular in its style, without being a mere string of favorite melodies, is obviously among the desiderata of the metropolis—in which a love not only of pretty tunes, but even of elaborate musical combinations is diffused among all classes of the people. Hitherto one drawback to the success of such enterprises has been that the soprano roles have been generally filled by artists of mature age, and of even more than mature voice, and the tenor was continually appearing to break that clause of the ecclesiastical law which forbids a man to marry his grandmother. Now, since Miss Richings and Miss Zelda Harrison (or Mrs. E. Seguin, as a happy marriage has made her!) have come to look the heroines as they ought to be looked, and sing the music of these roles as they ought to be sung—that always unfortunately loving gentleman may be seen to incur the displeasure of the wicked baritone, or the non-contesting and parental Basso, in a much more natural manner. Mr. Castle, the tenor, who must have sung love-ditties to many ogres in his time—is doubtless as thankful over the change, as the public are, although hardly as much so as Mr. Campbell, the baritone, (and always the ‘hated rival’—in the operas!) whose taste at making a fuss for the possession of the beautiful heroine will no longer be questioned. The choruses of the new troupe are good—if the choristers are not pretty; but the orchestra needs looking after. You might have thrown a hat between some of the shakes and quavers on Monday night.”

“The opening of the new season of English Opera is auspicious. We have to regret that unusual pressures excluded its earlier notice; for the performance of Martha on Monday evening was exceedingly creditable to our American company, and in parts and chorus would have been worthy of any clever foreign rival. It is something to hear our not always sweet-spoken mother-tongue sung mellifluously, if we may be allowed to speak with euphemism of the satisfaction of hearing good English rationally and agreeably pronounced in music, Flotow’s eclectic music is as well adapted to English interpretation as any other; and the vivacity of Martha furnishes a fair, if not too exacting test of English singing. Hence, we have pleasure from seeing how well the Richings company are now able to render, not merely the vocal form of this favorite, but much of its bloom and spirit—the May-day sprightliness which is its verdant charm to the oldest opera-goer. Miss Richings acted and sung the part of the heroine acceptably; her merits and defects are alike well known to a public with whom she has long been familiar, and who are content to regard the former with deserved partiality on account of the excellent effort which she has made to advance popular and native music. The history of English opera is that of a long-wandering and very scarce tribe, whose members are not to be either brought or kept together easily; and viewing this, the patience and persistence of Miss Richings and her co-managers, in keeping alive the varying fortunes of a native opera, and gathering and drilling, from small and crude beginnings, a respectable force of singers, are to be frankly commended. Mr. William Castle and Mr. Campbell have added very largely to the force and attraction of the company. They are tolerable actors, and the best tenor and baritone that English opera in this country has presented us for many years.”