ITALIAN OPERA: CHORAL HALL.

Daily Southern Cross, Volume XXVIII, Issue 4755, 20 November 1872, Page 2

ITALIAN OPERA: CHORAL HALL.

[Fob so short a notice, the opera Season ifopened last night with a very fair audience, and undoubtedly to a very brilliant performance. The opera is to the cultivated amateur in music what a floriculfcural exhibition is to the lover of Nature's choicest offerings when cultivated -by art. In the one the ear is charmed with exquisitely* modulated sounds ; in the other the eye is delighted with the perfection of hue, and tint, and colour. The intellect must be refined and free from all grossness to properly appreciate either. .. There are those to whom the tendereat aria, .-however magnificently rendered, has no greater charm- than the most vulgar of the ornate compositions of the singing .saloon, and there are those who can distinguish no difference' in the exotic beauties of a camellia and a field .buttercup. Not for the one or the other does the lyric artiste or the scientific florist give his whole soul to the favourite pursuit. The coming of the opera' season had been long looked for by that very large section of our citizens who can delight in and appreciate exquisite vocalisation, or the efforts >of thoroughly-accomplished and highlyskilled musicians. We had both last even- , ing, and the ovation which was paid to the performance of the company and the orchestra could not but "have." been gratifying in the extreme to the artistes who had made such successful efforts to earn* that reward "so dear to all public performers — the honest and unaffected commendations of an audience. The Choral Hall, for lyrical representation, fulfils ' its pretensions. It was built as an offering to Euterpe — not to Thalia,, nor to Terpsichore, nor to Melpomene. And so," for the purpose it was intended, it is admirably fitted. The lowest note of the feeblest can be heard to the inner .doors of the Hall j ■ the fullest does not surcharge, it with its rolume. The. coup d'ceil last evening was very striking. The hall is artistically lighted.' There is neither glare nor shadow. The illumination is perfect, inasmuch as it is equally distributed. The ( building being quite new, there are neither flaws nor defects 'to conceal ; while, the ornamentation, which is simple and chaste, is brought out in pleasing relief. By-and-by perhaps the seats will be cushioned. A gentleman who has paid a guinea admission for himself and a lady for a night's entertainment has a fair right to look for such a small luxury. The stage is small, but the mechanist and the, scene painter, have made the most of it which their united skill could suggest. The audience appeared to be quite at its ease. _ There was no crush, and there was a free entry to and exit from each seat without 'causing inconvenience to sitters. The "Lucia di Xammermoor" brought prominently , forward for public favour two very favourite artistes in the parts of Lucia, impersonated by Signora Coy (prima soprana), and Edgardo by her highly gifted husband, Signer Coy (primo tenore). The signora's voice is as full, clear, and brilliant aa of yore. Nothing faded or worn, and surprising in its range, registering from F below the line to the upper E fiat, her notes came out sweet, silvery, and with a freshness which drew down the audience upon her from gallery to stalls. But it is not only for the magnificence of her voice that this lady claims the admiration of her audience. Her dramatic powers are of a very high order. Not equal to Signora Zenoni, as we know, nor to Madame Bosisio, as we afa told, but they are such as will admit of a very favourable comparison with most of the lyric artistes we have witnessed in these colonies. Her interpretation of the Lucia is very intelligent, and her rendering at once forcible and delicate. The interest of the play culminates early in. the first act, and consequently the sustaining powers required to carry the part to its denouement are very great and exhausting. The duet which closes the first act between Lucia and Edgardo, commencing with " Verrano ate sull 'aura" (Ah ! on the breezes to thee shall fly), was given with a depth of pathos and feeling that told upon her hearers with such effect as only a great artiste could have been capable of producing. The rendering when the curtain fell upon the ejaculation " E amor" was received with repeated rounds of applause, and it was long before the last echoes died upon the ear. Tn the scene towards the close of the second act, between Edgardo and Lucia, the Signora was impressive throughout. The "Dio lo salva," in the parting interview, was exceedingly fine. And again, after Lucia in her frenzy has stabbed her husband in the nuptial chamber on the night of her marriage, the scena is wonderfullyl wrought out. Her utter misery is depicted with so much intenseness that the mind almost feels a relief when she disappears from the stage. But it is not so much in isolated passages that the full power of this artiste is discovered as in her general rendering, and the manner in which .she succeeds in every stage of the drama sustaining to the fullest, the {tragic interest which invests the part. Of Signor Coy as Edgardo we can scarcely speak in sufficient terms of commendation. His voice is full, resonant, and with a clear ring and enunciation which only a few tenors possess. He is, however,' not always equal. His imperative is not continuous but occasional; and the same may be pronounced of his acting: ' When with Lucia were the two voices blend he is superb. Always good he is never so good as then, , The passages between Edgardo and Lucia were excellently rendered, and very effective. Signor Coliva'a voice has > lost none of its magnificent timbre. As Enrico, he had many opportunities permitted him of showing how richly sonorous it is, and the great range he can give tv it. This was shown in the fine aria commencing, "Cruda, funesta mania, tv m' hai svegliato in petto !" (Fury — remorsless, terrible — thou in my breast has * wakened). > And in hia entreaty td Lucia to throw off her love for Edgardo and wed with Arturo, he was* equally powerful. sustains to the full hii former reputation, and we trust the .time, will be long before he comes to outlive it. He .is unquestionably one of the] finest barytones that ever visited this hemisphere. Signor Benso, as Arturo, was not rethink quite in' his place. It is an impersonation for which Signor Coy was wont to* be cast, and between the two no comparison can be'dfajyn,, >t(i Dondi as Eaimondo ably, sustained the ( jnoVyery arduous part, and .we note 'no ! change , in his. voice since, we last heard him. X "His powers as an actor, which are very great, -here iound no scope. Signor* Tournerie as Anna had but little to do; but wha^' she did was done with much care and painstaking., # The opera.may be pronounced a great success. It did not demand the full strength of the company, .and -its' interest . is, entirely^onafadned the" three leading ' characters, which* speaks sufficiently of theu* great,- powers in bearing the weight, of a' long' and 1 difficult opera. r The' concluding qaa'rt^te of .' thb "act between Signori iCokva»dGdy,bDondv~and Signora Coy will not readily Be forgotten;by those who were present last' night.. "' It received,;,*^ ifc dejservejd, a* perfect ovation. We are reminded not to omit mention of the excellent- arrangements- iifr-^h© refreshment .saloon and .promenade under., the management 'of 1 Mr.' kvey, -of'tHe $asoiu(P'Hotel. The bar is* very tastefully lfitted up. ~ The refreshments provided 'lre excellent of their k jnd,, and there 'are a sufficient - number of attendants to supply the wants of customers 1 withtfutfany undue detention. — This evening Do*nizejffi T s ojier'ii, (o1 ( o1 '^liilcreziallforgia 1 n will ,^6, «pt%iented^ liufr . wi& ? jrhiß* cast, we^ar* tumble'tb'say, "„ /, /.. l -., ' '' ' ' ""