THE OPERA.

Evening Star, Issue 6807, 22 January 1886, Page 2

THE OPERA.

The reappearance of an opera company here has been for some time looked forward < to with pleasurable anticipations by musiclovers as a welcome change from the class of entertainment to which we have been treated of late, and when in addition to this general feeling is added the fact that the company which, according to arrangement, commenced a season at the Princess’s Theatre last evening was heralded by very favorable reports of its popularity in other places visited by them, there is little cause for surprise that a large audience assembled to witness the opening performance. The company has been organised by Messrs Majeroni and Wilson, and while among its ranks we find some new faces that will speedily become favorites here, there arc also some old friends who will be heartily welcome, not only on account of former acquaintanceship, but also because of their genuine powers to please and amuse. The work which was selected for the first night of the season is “ Bobadil,” a comic opera composed by Mr Luscombe Scarelle, a former resident of Christchurch. This gentleman some little time back composed a work intended as a sequel to “ Pinafore,” and, proceeding Home, produced it in London, where, however, it proved an utter failure. Nothing daunted by the crushing reception accorded him, Mr Searclle produced “Kstrella,” a more ambitious composition, which, however, took the popular fancy completely, and has been played with considerable success in many parts of England and America. Next came “ Bobadil,” with which we have now to deal. As wc have already published a long description of the plot, it is only necessary to say that it is founded on a story in the “ Arabian Nights’ Entertainments,” and that the scene is of course laid in the East. The libretto is not particularly brilliant, and the dialogue frequently approaches vulgarity ; but there are redeeming points in occasional dashes of smartness, which prevent the work from dragging. Of the music we can speak in more generally satisfactory terms, though its quality is scarcely consistent all through, for now and then some common-place passages obtrude themselves, whicli rather low'er the tone of the whole work. Mr Scarelle himself conducts the orchestra, and, as he has a body of excellent musicians under his command, wc may assume that every justice is done to the opera from an orchestral point of view. The overture is bright and sparkling, and was last evening played with great dash and precision. Before proceeding to comment further on the more prominent musical features of the opera, it may bo well to give the cast, which was as follows : —Princess Zorayda, Miss Gracie i'laistcd ; Lulu, Miss Fanny Liddiard; Ilaroun, Miss Julia Kenton ; Piccalil, Miss Stanhope ; the Sultan of the East, Air Lithgow James ; Bobadil, Mr Charles Harding ; Armenian Money-lender, Mr J. A. South; Hchacabae, Mr Edwin Lester ; the Widow Hauuifcr, Alisa. Harris ; odicer of the Guard, Mr W. P. Morrison; AmgiadjMrM. Winter; Soliman, Mr Stuart. Miss i’laistod, who is a stranger here, is a ■ banded acquisition to the colonial ranks of opera-boullb artistes. She is a charming little actress, full of archness and vivacity, and, in addition to these very appreciable qualifications, can sing very pleasingly, though she is too much addicted to the use of the tremolo for one to imagine that her voice is capable of sustained effort. Miss Liddiard is a great favorite here as elsewhere, and on her entry on the stage last evening she received a hearty greeting. She was in as good voice as ever, and, as usual, dressed most tastefully. Her acting, in comparison with Miss Plaisted’s, sullercd from want of animation ; but her part of Lulu perhaps called forlcss demonstrativeness than that of the mischief-loving Princess Zorayda. Mr Harding was received with a burst of applause on his appearance in the part of Bobadil, and the universally good opinion of him which has been entertained since his first visit here some years ago was materially strengthened on finding as the opera progressed that he has vastly improved in both singing and acting. Some of the choicest airs in the opera fell to Mr Harding’s lot, and he sang them exceedingly well. The bass singer of the company is Mr James, and he has a powerful and particularly mellow voice that tells particularly well—and especially good service does he render in the concerted pieces. Mr James is evidently a good actor also, though his part of the Sultan does not give much scope for anything very high-class in that line. Miss Kenton has a good appearance, and sings the music of liavoun much move satisfactorily than is usual with the representatives of such minor parts. Mr South caused considerable amusement by bis representation of the Money-lender; but Mr Lester—intentionally or otherwise—made Schacabac iar too much of a “ nigger minstrel ” to be congenial with the other characters. The moat striking music in the early portion of the opera is Lulu’s pretty air “ Come, give your soul to pleasure,” which with its accompanying chorus was very well rendered, but the audience being at the first somewhat apathetic, it failed to receive an encore. The Sultan’s song “ Mon may be a Monarch ” is a dashing air that went exceedingly well, and then follows a quaint duet “ When you were horn ” between Bobadil and Zorayda. The septet and chorus “This great resemblance ” is not particularly original, but it was satisfactorily given; and the same may be said of Lulu’s drinking song and chorus “ Tho scent of the rose.” The Money-lender next sings a patter song “ I’m a man,” which has nothing particularly striking about it, but a sweet little thing is the unaccompanied quintet “ May all your dreams,” which leads on to a well-workcd-up Jinalc to the first act. In act 2 there is a happilyeonecived “Laughing chorus,” which is follow ed by a spirited and elicetive declamatory song “ A Monarch I,” allotted to Bobadil. This latter was the first piece to receive the honor of an encore; but the audience were at this point beginning to warm up, and applause and encores came continuously thenceforward. Zorayda’* air “To thee I give” was enthusiastically rcdemandod, though this mark of appreciation was in great measure owing to Miss Plaistcd’s naive acting. The Chinese trio “ Far away ” was also accorded an encore, for what reason it is difficult to divine, for i£ is neither original nor attractive. The duet “ There is a love ” between Zorayda and Bobadil is n tuneful number, c-' < i though in parts a little commonplace Mlct the unac-

companied ((mulct “Am I sleeping ?” is also melodious, and, as was the case in tlio lirat act, introduces a well-conceived //We. Aot ft opens with r, pretty duet, i( Deay Maid " b.lwccii llayor.n and Lulu, and tjiiq is speedily followed by Bobaclll’c up}o “ \ sat upon a peasant thronewhich |ij admirably desoriptive oj il-,e dotpqmleufc state qflphui tfi whiwi tha ijoro of tp,e story' has been VDduof.d by h|a vovcrijal i.f fortunp. Tim grand f;nuk to tlm wj(ola Work contains a. sprighUy duet "Tiwfi onco lived & King" between Lulu and mu! the operft. is therewith brought to a highly BftMftfaotery conclusion, The Bcenmy and appointments throughout are excellent, and incidental to the work are a wcll-cxeoutod "March of Amaaens” and a beautifully danced pas siul by Signora Emilia Pasta. Tk6 ahorus arc well up to their work, and the opera went without the slightest hitch fi»m start to finish. "Bobadil” will bo repeated till further notice.