"LUCREZIA BORGIA."

Press, Volume XIX, Issue 2708, 4 January 1872, Page 2

"LUCREZIA BORGIA."

Perhaps no more romantic theme than the career of Lucrezia Borgia could have been selected as the subject of a tragic opera. The genius of Donizetti has wedded it to immortal music as effective in its intensity as the etory itself ; and the facile pen of Victor Hugo has furnished -a drama that is constantly being played by. tragic actresses of the strongly emotional school.

The story of the Borgias presents a remarkable picture of tha state of Italy in the dark ages, and three .centuries have < cot obliterated the remembrance of their crimes, the infamous career ol the pontiff Alexander VI. and that of his children Lucreria and her brother Cresar Borgia, give a lurid glimpse of the utter corruption that eharaofcerxßed the manners and morals of the period, and has famished a theme for the poet, the dramatist, and the composer. Donizetti has chosen for this opera that period in the history of Lucrezia when wearied of her crimes, and wedded to the Duke of Ferrara, she is anxious to atone for her past infamies- The opening act of the opera is laid in Venice, where Gennaro, a young soldier of fortune, is stationed. Gennaro is ignorant of his parentage, having been brought up by a poor fisherman, and unaware that.he is the son of the terrible Lucrezia, whom, in common with his boon companionßj he holds in detestation. Lucrezia, through her spy Gubetta. has ascertained that Gennaro is in Venice, whither she has arrived to satisfy her maternal longings by an interview with him, "but at its close they are surprised by Maffeo Orsino, the companion in arms and sworn brother of Gennaro, and a party of young Venetian nobles. They recognise Lucrezia, and in spite of her entreaties not to expose her before Gennaro, they severally denounce her as the authoress of a series of monstrous crimes. Gennaro, oa hearing her name pronounced, shrinks from her in horror, and the first act terminates on the despair of Lucrezia, The remainder of the action of the opera takes place in Ferrara, whither Gennaro and his friend Maffeo Orsino had been dispatched in the suite of the Venetian Embassy. During a nocturnal revel they find themselves' before the Ducal palace, which bears upon its front the armorial- escutcheon " Borgia." In a spirit .of bravado Gennaro strikes off the initial letter, leaving it to read " Orgia." . On learning the outrage, $nd in ignorance of its perpetrator, Lucrezia through her husband's agency caused Gennaro to be arrested, and extorts from the Duke a promise that death shall be the punishment of the daring reveller. The Duke Alphonso, who is jealous of Gennaro, promises compliance and the culprit is brought before him, when Lucrezia to her consternation recognises her eon. Vainly she implores the Duke's.mercy ; he is inexorable, and finally gives her the choice of the manner of Gennaro's death, the sword or poison. LuGrezia chooses the latter, and Gennaro, cajoled' by the pretended clemency of the Duke, quaffs a goblet of poisoned wine to his health. The Duke leaves them together, and after a passionate scene, at -the- earnest entreaty of Lucrezia, Gennaro swallows an antidote she gfrtt $8; 994 ..the Pufce returning find*

including (unknown to her) Gennaro.La revenge for their denunciation of her before her son in Venice, she causes them through Gubetta to driuk the fatal Borgian wine, end when too late finds that she has poisoned Gennaro. When the doomed guests are she in an agony of despair reveals herself to Gennaro, the opera ends with the death of Gennaro and Lucreria. In the character of Lucrezia. Signora Margherita Zenonidisplayed both as a cantatrice and actress aniiitv of the very highest order. Her vocalization was perfect, and at times her acting rose to positive grandeur. The tendernees of the mother, and the vindictiveness of Xhe outraged woman were pourtrayed witn equal skill, and proved, as in "H Trovatore" indicated, that Signora Zenoni is a consummate artiste, startimgiy natural and effective. One of the most successful points in her almost perfect performance, .was her rendering of the lovely air " Come c bello," when she apostrophises Germaro sleepiner. Her termination ot tne first act,- imploring the forbearance of her enemies, and the magnificent picture she struck evoked a shower of bouquets and a unanimous call from the delighted audience. The gems of the second act were the' duet " Oh a te' bada," between Lucrezia and Alphonsb, arid the trio "Guai se ti sfugge nn moto," sang by Lucrezia, Gennara, and the Duke. The duet "Infelice" at the close of the second act between Gennaro and Lucrezia was, for dramatic fervour and perfect vocalisation, a rare treat, and again was the fair vocalist rewarded with another call, and a second floral tribute. Increasing in ntensity as the opera proceeded, Signora Zenoni, in the famous " M' odi ah m' odi," capped her previous triumphs, and in her dying scene presented the most finished tragic embodiment ever witnessed in Christchurch. The prima donna's efforts were most ably seconded by the rest of the company. In the character of Maffeo Oreino, Signora Luigia Polli, whom we do not see often enough, had a fine opportunity for displaying her rich contralto voice, and both in " I pescatore ignobile " in the first act, and the famous Brindisi'Tl secreto" in the last, sang and acted with equal spirit. Signor Feranti Kosnati played Gennaro, and sang the music admirably, particularly in the duet with Lucrezia, " Ama tua madre." His share in the highly wrought scenes with the duchess, and the effective duet that terminates the second act were thoroughly artistic. As Gubetta, Signor Grandi had not a great deal to do, but he eang and acted well, and in his hands the subtle spj and secret poisoner stood out in ghastly relief. The Duke Alphonso, impersonated by Signor Dondi, was imposing and majestic, and quite sustained his reputation. His recitative was admirably articulate ; and in the concerted pieces his massive voice was a splendid adjunct to the general effect. The choruses were well sung, and; as usual, the orchestral accompaniments were everything that could be desired.