Composer: Victor Herbert
Works: Eileen (musical, 1917)
Performers: Suzanne Woods (Eileen), John Pickle (Barry O’Day), Catherine Robinson (Lady Maude), Alan Payne (Shaun Dhu), Boyd Mackus (Sir Reggie), Damian Savarino (Colonel Lester), Ohio Light Opera Chorus, Ohio Light Opera Orchestra/Michael Butterman
Recording: Newport Classics NPD85615/2 [CD1 47:25, CD2 58:25]
Label: Newport Classics
Victor Herbert stands as a pivotal figure in the American musical landscape, bridging the gap between European operatic traditions and the burgeoning American musical theater scene. His work, Eileen, originally opened in 1917, encapsulates his fascination with Irish themes and melodies, reflecting his own heritage. This production by the Ohio Light Opera, which revives Herbert’s somewhat obscure musical, offers an illuminating glimpse into a world where Broadway began to intertwine with the folk traditions of immigrant communities, particularly the Irish. The recording, a re-release from 1998, comes at a time when Herbert’s oeuvre is gradually being rediscovered, and it serves as a testament to the ongoing efforts to revive forgotten works of this era.
The orchestration by Quade Winter presents a critical aspect of this recording, having been reconstructed from the scant surviving materials. Winter’s work, while commendable, occasionally lacks the depth one might expect from Herbert’s original intentions, particularly in moments where a more lavish orchestral texture could enhance the melodic lines. The overture opens with an offbeat jig, vibrant and evocative, immediately immersing the listener into the Irish atmosphere that Herbert so passionately sought to depict. This motif, reminiscent of traditional Irish dance, segues into a romantic theme that captures the essence of the narrative. The Ohio Light Opera Orchestra, under the direction of Michael Butterman, generally executes the score with competence, though there are moments of pitching challenges, particularly in the cello section, which detracts from the overall cohesiveness of the performance.
Vocal performances are a standout feature of this recording. Suzanne Woods as Eileen embodies the spirited and vivacious character with commendable clarity and charm. Her voice shines in the love arias, particularly in “When Love at Last Awakens,” where her lyrical phrasing conveys both innocence and yearning. John Pickle, in the role of Barry O’Day, demonstrates a strong grasp of the character’s Irish roots through his accent, though his vocal delivery sometimes veers into forced territory. His articulation, at times reminiscent of early 20th-century theatrical diction, may not resonate with contemporary listeners seeking authenticity. Catherine Robinson’s portrayal of Lady Maude adds a nuanced layer to the narrative, though her youthful timbre sometimes undermines the character’s maternal authority.
The production is marked by a strong sense of theatricality, evidenced by the engaging dialogue that connects the musical numbers. However, the absence of a stage cloth creates an unintended sound effect, making the performers’ footsteps resonate uncomfortably, suggesting an overly literal interpretation of the setting. This is a distraction not typically present in Ohio Light Opera’s previous recordings, indicating a need for greater attention to acoustic detail. Additionally, a slight 50Hz hum is noticeable during dialogue passages, which could have been mitigated through careful engineering.
Herbert’s musical language in Eileen, while not as memorable as his more famous works like Babes in Toyland, still reveals a composer adept at weaving together melodies that evoke the lush landscapes of Ireland. The score features delightful numbers, including the spirited “Blarney is Our Birthright” and the charming “Too-ra-loo-ra,” which showcase Herbert’s ability to blend folk elements with theatrical flair. However, one cannot help but feel that a more intricate orchestration could have done justice to these melodies, providing a richer backdrop for the vocal performances.
The Ohio Light Opera’s revival of Eileen serves as an essential contribution to the rediscovery of Victor Herbert’s musical legacy. While the production may not fully capture the depth of Herbert’s intentions, it nonetheless offers an enjoyable and enlightening experience. The combination of spirited performances, coupled with the charm of Herbert’s melodies, creates a work that, despite its flaws, resonates with warmth and nostalgia for a theatrical tradition that deserves to be celebrated.
