AMUSEMENTS.

Press, Volume XX, Issue 2300, 14 December 1872, Page 2

AMUSEMENTS.

I THE OPERA. i ,; LUCREZIA BORGIA." The opera of " Lucrezia Borgia" is founded upon Victor Hugo's drama of "Lncrece Borgia," and illustrates with vivid fidelity a terrible tale of jealousy and revenge. The music with which Donizetti's genius has. clothed the libretto is throughout of a high character, being intensely dramatic, and in«? terpreting to the auditor the various phases ■ of the development of a passion, the existence of which in the colder climes of the North would hardly be possible. Again we have to regret that the attendance was by no means commensurate with the merits alike of the opera selected for representation and the artists engaged in the interpretation of the music—a result which can hardly be anything but unsatisfactory to the directors, who have at considerable expense introduced opera amongst us. But; while we say this, ;we must, on the part of the patrons of the .opera, enter our protest against the mutilation which nightly goes on. On the occasion of the production of "Lncia diliam- : mermoor," the challenge." scene was omitted, togetherwith one or two arias, and last night several omissions .took, place, notably the aria by 1 Gennaro, " Qui non ascolto." • "This opera afforded an opportunity for the-re-appearance in the role of the heroine, of ; Signora Zenoni, who was warmly received on entrance. Bignora Zenoni's fine voice has. improved since last year, her tones. being fuller and more mellow. . As a tragic actress Signora Zenoni deservedly takes high rank, her impersonations being marked! with ,a i natural ease and grace, coupled with a 1 'thorough conception of the part, which at once secures the appreciation of the audience. The versatility of this charming actress also is exceedingly great, and this point jn her impersonation was brought out with much force in her finished portraiture of the infamous but ill-fated Ducheee.i Iα the cayatina, " Tranquillo ci posa," which opens the scena with Gennafo, the despair and anguish of the '■' proud woman whose heart yearns, for the love of one faithful heart, where her crimes have only inspired fear;and hatred, was finely depicted, while the music was given with much artistic taste and. finish. So also, in the beautiful air " Com' c bello," in which the proud duchess pours out the whole tide of maternal affection on the unconscious Gennaro, the actress was completely* lost, and the character stood oat With toe distinctness of a finished portrait. Signora Zenoni's rendering of the music of this touching piece was faultless, and deserved the warm plaudits which greeted her. In the duet with Gennaro "Che yegg , io," in which Gennaro repeats the story of his life and produces the letter of his mother, the singing of Signora Zenoni was excellent, and the finale which concludes the duet .was given with a brilliancy of execution which evinced talent of high order. But her hiatrionic talent was more markedly displayed in the following scenes, notably in the stretta commencing '♦ Alaffio Orsini," in which one after another, the kindred of her victims come forward and heap reproaches on her. The wild, despairing look, the anguish at being thus insulted before Gennaro," finally culminating in her observing the horror evinced by tSennaro on hearing her name, and his subsequent denunciation of her, being all vividly pourtrayed both in her countenance and by her acting, with terrible reality. So also in the scene with the Duke, where with all her passionate nature fully aroused by the open insult, ehe claims at hie hand vengeance, the change to deep remorse and horror, when ahe finds that she has consigned her son to death, were finely given ; and throughout the difficult concerted pieces with the Duke, commencing with "Vi chiedo o signore," in which ehe hege for mercy in vaio, the whole of the music waa given with a richness and purity of tone that evoked loud applause. Then, too, in the scena with Gennaro, commencing °In felice," in wniob, disregarding the reproacbe* heaped upon her, but only eolicitou* to MT6 bw MB Iron tbe whjch awaits

him and in the concludin X portion of which jhe., braves the ang-sr of th l>ukft and eoVSrs the retreat of U f ;nnaro h majestic action drew down the loud t.1n,',.?-. of the audience. The finale,"" M^ 11 ? modi," which closee the opera, was nl given wiiU great pow,:r, and we can coneA" tulate signora Zeuoni on ■> — \ triumph in the part. ° grtat Sign.ira Riboldi sustained the charactor lof Mailoo Oreini exceeding well. This lad iv addition to a voice of great comparand sweetness, possesses personal attraction Q t no mean oder, and her rendering of tho stetta " Maffeo Orsitii," aud the wellkuown song, "11 segreto," proves her to be a thorough artiste, and wo predict she will bocome a great favorite with our opera goers " Signor Rosnati was the Genuaro, and for tho tirst portion of the opera seemed robe suffering/from hoarseness, us his vocalisation was anything but clear, but, in the later parts he sung excellently. We may select for especial commendation, his singing j n ' the aria—" Di pescatore," and in the trio '• Delia Ditcheßs a ai pieeghi," both of whioh were excellently given indeed, with the «. ception of the opening portion, Signor Roauati sung splendidly throughout. To Signor Dondi was entrusted the role of the Duke, and he sustained it in a manuer deserving the highest commendation. From first to last the music allotted to him was sung with care and precision, and hie acting in the scene with the Duchess and Gennaro where under the guise of pretended friendship he gratifies his vengeance and jealona hate, he was exceedingly successful. m tt whole performance of the part was a fine exposition of the tragic art. A word of praise ia due to Signori Benao and Favae, who sustained the characters of Rustighello and Gubetta respectively, and also to the chorus, the music allotted to them being sung carefully and well. To-nigbt Bellini's opera of " I Puritani" will be given.