Richings English Opera: The Crown of Diamonds

“’Crown Diamonds’ will soon be produced.”

“There is a deal of pretty music in Auber’s ‘Crown Diamonds;’ and if the different parts are sung only carefully the work is always certain of passing favor.  Interest in the English translation of the opera has been revived by Miss Richings and the company at the Olympic Theatre, and the production in some respects compares favorably with those previous representations by Miss Louisa Payne [Pyne] and her accomplished troupe, which may still be remembered.  The choruses, of which there are quite a number, and all demanding the nicest attention are given in admirable and exhilarating harmony; there is also much effective duty done by Mrs. Seguin as Diana; the actual musical resources of this little lady’s voice are small, but her voice is good enough to sustain her position in the light roles she assumes, and for its shortcomings her quick instinct makes ample amends.  She seems to be one of those artists who know what they cannot do, and take care never to attempt anything, however small, which flies beyond their compass.  In the vocalism of the roles of Rebollica and Henrica, Messrs. Campbell and Castle were efficient, at least, and perhaps the novelty of their situations will excuse their failure to give dramatic expression to them.  Miss Richings in Caterina was as clever, but as labored as she has been in most of her later efforts—efforts in every sense demonstrating most particularly the need that her voice has of a rest.  In justice a certain amount of admiration will always be accorded to Miss Richings’ powers; but while she sings like a musical instrument endowed with locomotion and acts even in few energetic outburst, like an ingenious automaton, it must always be apparent that the spirit of music seems to be on her and not in her.  The orchestra, under Mr. Diedrich, is certainly in command, and does its duty responsibly and not obtrusively.”

“With all due respect to Massanielo [sic] and Fra Diavolo, we give the Crown Diamonds the first place in Auber’s extensive repertoire, and hail their appearance at the Olympic last night as the brightest jewels in English or French opera. From first to last, from the beautiful, plaintive opening andante of the overture to the concluding loyal chorus of the courtiers amid the ruins of the monastery of St. Huberts, in the brilliant salon of the Minister of Police and in the royal palace itself, flash ever varying scintillations of melody and harmony and delicious solos, duets, trios, choruses, and orchestration, form a crown of sparkling diamonds to the never tiresome dialogue that explains the romantic adventures of the young Queen of Portugal. Beside such a work the Bohemian girl, Maritana, Rose of Castile, and all that Balfe or Wallace ever wrote pales into utter insignificance. It was, with few exceptions, finely rendered by the Richings troupe.  Miss Richings is not a Louisa Pyne or a [Natili?], but she sang the florid, trying music of Catarina acceptably. Want of space forbids us entering into further details. We may add, however, that Castle, Campbell, Peakes, and, in particular, Mrs. Seguin, were excellent, and the chorus and orchestra sans reproche.”

“…Auber’s Crown Diamonds, as given last night at the Olympic, was a well-dressed revival of an old favorite, the reappearance of which just now constitutes the greatest novelty, and perhaps the cleverest success of the whole English season. Of the music little more need be said at present than that it is Auber’s—neither his best nor his worst—abundant in vivacity, and excellent in concerted effect and orchestral [tact?], the usual characteristics of a brilliant composer. A Balfish ballad is intruded, according to a well-understood fashion among English tenors, in the second act; but that is no fault of Auber’s. The deficiencies of last evening’s performance might be counted; time and tune were once at least affected by them; but the work, as a whole, was rendered with evident painstaking and spirit, making due allowance for the seemingly incurable ills which English opera is held to. What with Campbell, Castle, Miss Richings, Mrs. Seguin, and a chorus drilled into singing sturdily, if not too well, the Crown Diamonds is a success, and we are glad to hear of its repetition. That English opera, [in] spite of its long and varying vicissitudes, thrives at last so well in the public regard, is much to the credit of its present managers. Viewing how difficult it has been to gather together a good troupe, the harmony and efficiency of the present one is a wonder.”

“The name of Auber is perhaps better known, in this country especially, through the beautiful opera of ‘Fra Diavolo,’ than by any of his other works. Yet he has written several other operas which should rank quite as high as this, whether we judge them according to the severer standard of musical criticism or estimate their value from their popularity. One of these is ‘The Crown Diamonds,’ which the Richings English opera company have just revived at the Olympic with great success. The opera is familiar to many who were delighted by the Pyne and Harrison company several years ago, but for a number of years it has not been played here, if we except one or two performances of it by the French company. It has been brought out under the superintendence of Miss Richings with great care, and will rank as one of the best performances of this generally excellent company. The leading part of Caterina is of course taken by Miss Richings, whose arch acting and graceful manner invest the character with an interest that is kept up till the end of the opera. We have heard Miss Richings sing better than she does in ‘Crown Diamond,’ but after her voice has been allowed a short rest we do not doubt she will give the music of her part with all the fire and spirit that are demanded. At present she seems tired, and sings with an effort and constraint that is unusual to her. Mrs. Seguin (Zelda Harrison) appears to great advantage as Diana. The music seems to suit her exactly, and her acting and singing together deserve all praise. Castle’s Don Henrico is very good. The part requires considerable dash, and Mr. Castle has entered so fully into the spirit of the character as to interpret all of the beautiful airs which naturally fall to a leading tenor’s shrare with a grace and beauty that make his performance exceedingly satisfactory. Mr. Campbell, as the pseudo brigand, Rebolledo, is fully equal to the part, which is saying a good deal, as some very florid and difficult music falls to his part. Peakes, as the Count de Campo Major, is excellent. The choruses are given with precision and beauty. In fact, several of them, particularly the beautiful one concluding the first act, are sung with a power and effect that are worthy a far more ambitious company. The orchestral performance was decidedly the best that Mr. Dietrich has given us. The overture especially, which is one of much beauty, introducing two well-known marches, was so well played as to excite our astonishment. Altogether ‘The Crown Diamonds’ is one of the most enjoyable operas this company present, and is destined, we think both from the work itself and from the excellent manner in which it is presented, to be a very successful one of the management.”         

“Crown Diamonds” one of Auber’s most charming operas, was given at the Olympic Theatre five evenings last week, with Miss Richings as Catarina, Mrs. Seguin as Diana, Castle as Henrico, and S. G. Campbell as Rabolles. It is some time since this opera had been produced in this city—the last time being by the Pyne and Harrison Troupe. Then the opera was considerably cut, many of its beauties having been cut out, owing to the difficulty of getting a lady competent to fill the role of Diana. As given by the Richings’ Troupe, nothing was cut, and for the first time we had the opera just as Auber composed it. Miss Richings was in excellent voice and sang with considerable spirit. Zelda Harrison Seguin was charming as Diana, and fairly divided the honors of the evening with Miss Richings. Messrs. Castle and Campbell appeared to advantage in their repective roles and were loudly encored. Mr. D. B. Wylie is deserving of considerable applause for the excellent manner he rendered the character of Sebastian, lyrically and dramatically. It is a difficult matter to find a tenor competent to play this role, but Mr. Wylie was successful. The opera was well rendered by the troupe, but was badly put upon the stage. We doubt if any country theatre manager would [?] the last scene as badly as it was done at the Olympic. This scene is the adoration of the queen, and instead of having a throne got up in anything like a decent [?], it was done with a simple platform upon which was placed an arm chair. This was in an opening in the rear of the stage, without canopy, curtains, or anything [even?] looking like a throne. This was backed by a common place scene. Taken altogether, it was about the meanest set scene we have seen for what was required in a first-class theatre. The orchestra kept excellent time and the chorus did well. The ‘Bohemian Girl’ was given on the 5^th inst. to a very crowded house for Miss Richings’ benefit.”