THE OPERA.

Globe, Volume XXII, Issue 1843, 19 January 1880, Page 3

THE OPERA.

An abundant proof was given on Saturday night, when the first week of the season was brought to a close, that " Fauet " still retains its hold upon the public taste. Many lost much in not hearing the strains of the introduction, especially of the first part, which are exquisitely delicate, and were played with an equal degree of delicacy. It seems a matter of fnshion with some to delay their arrival until the first scene, losing sight of the fact that, although the introduction or overture may be of very little interest to them, there are those who regard it as an integral part, and who feel that they are deprived of that measure of enjoyment which their seat entitles them to. The task of setting to musio the libretto of " Faust " was a bold undertaking, and terrified even Beethoven, and the reason G-ounod has succeeded so well is because he has limited himself principally to tho worldly love story and the general terrestrial attractions of the drama. The opera abounds in originality, and has many beautiful specimens of instrumentation and recitative. In the former the combinations in the following pieces are beautiful in design — The introduction, as before mentioned, and the first act, the cavatina " Salve dimora," the duet " Tardi si fa," besides many others which might be named. The choruses mostly are not remarkable for anything except noise. In the performance on Saturday night there was much room for praise and some for blame; but it must be remembered that tho opera presonts difficulties that are not treated with contempt, and are only overcome by the first artists of the day, and the prodigality of an English

Istago. Signora Coy in Marguerite was, as usual, the artiste, never overdrawing the part, I but always laboring to impart to it that conscientious interpretation which must result in success. In all she had to do there was to be found that grace, ease, and apparent artlessnees which fully account for the estimation in which she is held. In the air in the caßket scone, "Ah e strano," which she gave with great effect, she displayed her powera in the ahako on E, leading up to B in alt, and in the terzetto " O del ciol," where Eaust and Mephistopheles are urging her to fly, she achieved her greatest success. Signora Venoßta, as Siebel, by tho power she has in dramatic effect, proved her undoubted capacity for the part she assumed, and she secured a well-deserved encore. The opening scene, in the air "In lor Soltan," found Signor Coy in magnificent voice, and but for its freshness and vigor, it was difficult to believe that the " old man " was an impersonation. In the first act we believe he could not have been surpassed. In the cavatina " Qual turb amento," his high O at the words "la fanciulla" was given with perfect purity, and at the same time with strength. In the duett "Marguerite," where he urges his suit with success, he brought down an enthusiastic demonstration from the audience. Exception must be taken to the transformation scene, which waß not neatly executed. In saying that the part of Mephistopheles was not a perfect success, it must not be understood to mean that Signor Verdi was all that could be expected from any but the most consummate artist. His presence was undoubtedly good ; but the necessary stage adjuncts were not forthcoming to invest it with that supernatural nature which called for all the powers of a Herr Formes. The part of Valentine, although retrieved by his dying scene, was not one which would create any permanent effecjt, and only a fair amount of praise is due in the cavatina " Dio possente." Of the concerted pieces, " B'hai tu poter " and " Dcponiam il brando," little can be said in their favor, but the chorus, "Oh ! Gloria," was well given, though with far too much noise throughout. The taEk of piloting the orchestra through the many intricicies with which " Faust" abounds, was no easy task, and the highest praise is due to Signor Zelman for the skilful manner in which he brought it through ; but generally there was a tendency to carry its expression beyond its propel limits. This tendency was remarkable in She valso and choruß, "Comeallor," and the finale to the third act; but the effect was not such as to prevont such a demonstration ot approval s» is seldom witnessed in a Ohristchurch theatre. It is difficult to understand the reason for the furore which this work has occasioned, as it does not revel in those airs which are composed upon the liberal allowance of half an idea, but rather in orchestral effect and dramatic coloring, capable of being appreciated only by those whose judgment lifts them above the superficial and common-place. To-night the " Rose of Castillo " is announced for performance.