Richings English Opera: Daughter of the Regiment

“The Richings opera company have entered upon the second work of their successful engagement at the Olympic Theatre. Last evening the ‘Child of the Regiment’ was presented before a large and appreciative audience. Miss Richings, of course, sustained the character of Marie, and executed the music of that part in the graceful and accurate manner which characterizes her. Her voice is beginning, however, to show signs of over-taxation, and is not quite so fresh and clear as at the commencement of the season. The task of singing on six evenings of a week, and also at a Saturday matinée, nearly every time in a different opera, is one that most artists would shrink from attempting. This, however, Miss Richings is bravely undertaking to do, and so far with greatest success. Her voice now evidently needs two or three days’ rest. The ‘Saint à la France’ was given last evening with a fine effect, and, in fact, all of the beautiful airs written for the part of Marie were exceedingly well rendered. The orchestra was bad, hopelessly so, and needs much training to be even respectable. The choruses were generally well-given, and made up, in a measure, for the orchestral defects. Mr. Seguin made a good Cartouche, and was very well received.”

“Donizetti’s ever popular opera, the Daughter of the Regiment, which recalls more powerfully than any other opera the days of Lind, Piccolomini and Fabri, in which, perhaps, the most scope is given to the prima donna’s voice for dramatic effect, and in which patriotism and love (not of the sickly sentimental kind, however), are admirably blended, was given by the richings Opera Troupe last night at the Olympic theatre. The soul stirring Salut a la France and Rataplan are treasured memories in the hearts of those who heard Lind and Piccolomini; and with such haunting recollections it is an ungrateful task to criticize a modern representative of the spritely vivandière. Miss Richings’ Marie possesses a great deal of merit, her acting being unexceptional and her voice good, if not brilliant. Seguin would have been an admiral Cartouch had there been no singing in his rôle. He attacks the notes in a spasmodic, we might say savage manner, that cannot be termed singing. Wylie’s Tonio was very mediocre, and Mrs. Boudinet made a passable Marchioness. The Hortensius of Arnold was capital, and comic enough, the chorus very good, and the orchestra so so.”