The beginning of grand opera in Chicago has been traced by Mr. Karleton Hackett, and his record of it furnishes interesting and rather amusing reading.[52] Chicago in 1850 had a population of about 28,000 people and a theatre built and managed by J. B. Rice. Mr. Rice was enterprising and an important result of his enterprise is noticed in the Chicago 'Journal' of July 27, 1850, as follows: 'Mr. Rice, ever ready to minister to the tastes of the public, has effected an engagement with an opera troupe of acknowledged reputation who will make their first appearance on Monday evening. Among them are Mr. Manners and Miss Brienti, names already familiar to many of our readers. This is a new feat in theatrical entertainments and one which should meet with distinguished favor.' Two nights later _La Sonnambula_ formally introduced Chicago to the 'new feat in theatrical entertainments.' As an example of musical criticism in its simplest terms we quote the following from the 'Journal': 'An excellent house welcomed the Opera Troupe to the Chicago boards last evening and _La Somnambula_ (!) was performed as announced. Whatever may be the taste of the theatre-going public in this city with regard to Operas, all must conceed (!) that the music was of a high order, and executed with admirable grace and skill. Miss Brienti's face is eloquent in her favor, to begin with, and her voice, now as soft as a vesper bell, now wild and shrill as a clarion, doubles and completes the charm. Messrs. Manvers and Quibel both possess voices of tone, power and cultivation, and with Miss Brienti and Miss Mathews make melody and harmony that Apollo would not hesitate to accompany upon his ocean-tuned harp.' The second performance of _La Sonnambula_ was interrupted by a fire which burned down Mr. Rice's theatre. The enterprising manager, however, erected a 'new and splendid establishment' which was opened early in 1851. Two years later Signor Poliani, 'acting in the name and on behalf of Mme. de Vries and Signor L. Arditi,' announced performances at the Chicago Theatre of 'the opera in three acts, _Lucia di Lammermoor_, the _chef d'œuvre_ of Donizetti, and the grand masterpiece of Bellini, _Norma_.' In addition to Mme. de Vries and Signori Pezzolini, Toffanelli and Colletti, there was 'a very effective chorus of ladies and gentlemen--the best in the United States of America and desirable even in Europe.' The orchestra, furthermore, was 'composed of solo performers, and all professors of the highest standing--over 40 in number, the whole under the magic direction of the most distinguished master and composer, Sig. L. Arditi, of European fame and well known as one of the greatest living composers.' One is not surprised to learn that this marvellous company made a great hit and remained in Chicago long enough to give _La Sonnambula_. It was succeeded by a troupe of 'acting monkeys, dogs, and goats.'