ROYAL ITALIAN OPERA "LUCREZIA BORGIA."

New Zealand Herald, Volume XV, Issue 5063, 7 February 1878, Page 2

ROYAL ITALIAN OPERA "LUCREZIA BORGIA."

The music of this opera is familiar to the English ear, and the plot is also well-known from its frequent representation on English boards as a dramatic version of a tragedy by Victor Hugo, upon which the opera-libretto by Felice Komaui is founded. It was produced in London in 1539, for the benefit of Madame Grisi, and the first appearance of Mario before the English public. The terrible denouement of the tragedy, in which Genuaro murders t.ucrezia is fore-shortened, and the atrocious accusations which somewhat vulgarise the original work, while they strengthen the tragic element, are omitted in the opera. But for lyric effect there is an abundance of umteria.l left to sustain the most passionate intensity and excite the imagination. This opera of Douizotti is another instance of a ivork surviving adverse criticism. It can uot, however, be. denied that, when powerfully cast and efiiciently represented, its success has been more conspicuous than any other work by the same composer. It was both powerfully cast aud magnificently sung last night. 11 Daeo di Ferrara, Siguor G. (Jcsari (basso), Geunaro, Signer E. L'amero (tenor), Gubetta, Signor Tessada (basso), Kustighello, Signor Bsrzoni (baritone), Pctruccio, Signor Favas (tenor), Liverbtto, Mr. Kamsden (baritone), Vitellozo, Mr. Lester (tenor), MalHo Orsini, Signora VeuO3ta (contralto), Lucrczia, Signora Guadagnini ( soprauo ). The first scene testified that special care had been taken to accompany the music with appropriate sceuic effect. The curtain rose upon a good representation of the Itialto of Venice, the lighted windows of the palazzi gleaming in the canal beneath, Luerezia landing from her gondola upon the terrace of the Palazzo Barbarigo, the Duke following also in a gondola, and witnessing the first interview between the Duchess and Gennaro. The appearance of each of these, the leading characters of the opera, was the signal for general applause. Siguora Venosta"coming in at the head of the chorus of Sbirri, was also very cordially greeted, tha applause being renewed upon her singing the ballad which follows. Signora Guadagnini was in splendid voice, aud from the cavatina "Come bello quale iueanto" to the er.d of the opera she was listened to with rapt attention, alternated by loud plaudits. Iu her acting was observable the same nownr and force which have secured for her so high a pla::e iu public favour. Signor Camero was also in good voice, and his rendering of the air " 'Ji pescatore" was warmly applauded. 1 he finale to the first act appeared to have awakened the interest of the full house to a high pitch of interest in the progress of the opera. The cabinet scene, and the famous terzetto, '•Guai se to sfuage un moto,' : were

nianuitieeut examples of the highest histrionic aud lyric effect. Wo con readily excuse any defect in the chorus when the leading voicea are of such quality, and the hitui arb manifested is of such an exalted and praiseworthy kind. Perhaps the most effective performance the " 11 by Madame Vennsta, who repeated it in compliance wit'i an enthusiastic and persistent recall. The scene 1» tween Lucrezia and Gc-nno.ri, which discloses their real relationship, and is followfd by the iknoumcid, is fiill of power r.nd pathos.

It will be seen from the above that the excellence of these perfornces appears to be progressing as the season advances. The opera last evening wns somewhat abri,':,vd. to bring it within the limits of ii'ne allotted to such performances iu this city, and perhaps for the reason that the chorus was scarcely adequate to one; or two of the more important passages—the "Chorus of Monks," for instance, which was rendered by the bassea and baritones behind tho scenes. Taken as a whole, the performance was one of the most perfect we have seen or heard iu this place, and tho audience throughout were demon.'crative in their acknowledgments of its success. The opora announced for this evening is '' Faust," and to-morrow " Aida," the new opera by Verdi.