Richings English Opera: Martha

Event Information

Venue(s):
Olympic Theatre

Manager / Director:
Leonard Grover

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
25 November 2015

Performance Date(s) and Time(s)

22 Jan 1867, 7:30 PM

Performers and/or Works Performed

1)
aka Martha, oder Der Markt zu Richmond; Martha, or The Market at Richmond
Composer(s): Flotow
Text Author: Friedrich
Participants:  Richings English Opera Company;  Richings English Opera Orchestra;  Richings English Opera Chorus;  Edward S. C. Seguin (role: Sir Tristan Mickleford);  William Castle (role: Lyonel);  Sherwood C. Campbell (role: Plumkett);  Caroline Richings (role: Lady Harriet Durham);  Zelda Harrison (role: Nancy)

Citations

1)
Advertisement: New-York Times, 20 January 1867.
2)
Advertisement: New York Herald, 21 January 1867.
3)
Advertisement: New-York Times, 22 January 1867, 7.

“It should be borne in mind that the rates of admission and secure seats are those of an ordinary dramatic performance, notwithstanding the enormous extra expense incidental to giving grand opera in any language.” [No ticket price given.]

4)
Review: New York Herald, 23 January 1867, 5.

“Martha was given at the Olympic theatre last evening by the Richings English Opera troupe. The audience was large and good humored. [Lists cast.] Miss Richings’ voice showed the accomplished artist as usual, and was used with judicious care, a necessary precaution, as it is becoming evidently worn under the trying test of a different rôle every night. Mrs. Seguin’s Nancy was a rare piece of acting, displaying vivacity, coquetry and charming grace. The voice is one of the best cultivated contraltos we have, although it lacks breadth and power. Campbell’s singing was up to his usual standard of excellence, but there was an absence of that dashing, offhanded, devilshoof air so characteristic of Plunkett. We were disappointed in Castle’s Lionel, especially in the cold, harsh manner in which he sang the beautiful M’appari. It seemed as if he could not use the mezza voce and portamento in the style of Brignoli and Hill in the same air. The choruses were well-rendered, and the orchestra was weak as usual in spite of the left hand whipping in arrangement on the piano.”