The Opera.

New Zealand Mail, Issue 421, 6 March 1880, Page 8

The Opera.

“ LA FAVORITA.”

This opera, one of the best works of Donizetti, and one which may truly be characterised as “ grand,” was performed by the Opera Company on Thursday, Feb. 26, before a large* audience. From the introduction to the close the opera contains so much of melody and harmony that is beautiful, that it would occupy too much space if a full report of the various beauties were attempted iu this notice. Ihe most conspicuous only can be referred to en passant. The opera ©pens (after a long overture has been played) with a chorus, sung by the monks in the convent —Fernando on the point .of taking the vows, having fallen in love with Leonora, is expelled by Balthasar in the duet, “EFiaVero.” The scene then carries the audience to the island of Leon, where Leonora is residing, and a light melody “ Bel raggi luxenti,” sung by Inez (with chorus) introduces Fernando in search of Leonora, he having been brought to the island blindfolded. Leonora ay pears, and a duet,l “Ah mio bene,” tells of Fernando's love to her. She counsels him to leave her, obtains a commission for him, and whilst pressing her to allow him to remain he is interrupted by the arrival of the King, and hurried away. The second act opens with the scene in the gardens of Alcazar. The King and Don Ga-spar enter, and in the scena, “ Giardini dell’ Alcazar,” the King promises to reward Fernando for his courage in the fight. The solo, “Vien Leonora,” which follows, was sung by Mr. Verdi with fine effect, and elicited" loud applause. In this solo he tells of his love for Leonora. Then follows the duet “ Ah Leonora,” in which she reproaches the King for placing her in a false position as “La Favorita,” and he declares his attachment to her. The conclusion of this duet was beautifully rendered, the voices blending admirably. The last scene in the second act represents Balthazar rebuking the King, and the King’s defiance of the Priest. This was well performed in every respect, and was a very thrilling scene, particularly at that point where the Priest denounces Leonora. In the third act Fernando claims as his reward the hand of Leonora, which is granted by the King, who expels Leonora for deceiving him. The terzetto “ Leonora ” was a, beautiful peice of vocalisation, and Mr. Vf3rdi at its conclusion was re-ealled. In the famous air, “O mio Fernando,” Signora Venosta greatly distinguished herself by a remarkably pathetic rendering, and the approbation of the audience was unmistakably displayed at its conclusion.

The scene at the opening of the last act was very impressive, the organ in the convent, the grave digging outside, and the character of the music, combining to make the whole one of solemnity. The gem of this act is the song, “ Spirito Gentil,” which, by Signor Coy, was sung splendidly. In some parts of the performance might be observed a w-ant of knowledge of the parts by the chorus, and in some of the parts the performers were not so free as they might have been. Inez, we thought, might have been more perfect, still Miss Royal sang, what she did sing, with very great expression. To Signora Venosta, Signor Coy, and Mr. Verdi, too great praise cannot be awarded, while Mr. Templeton was exceedingly good as Balthazar. The accessories also were in accordance with the character of the opera, and the whole may be considered a fairly successful representation. The orchestra was kept well in hand by Signor Zelman, whose task was,, for various reasons, rendered more difficult than usual. “LA TR AVI AT A” This opera was performed on Feb. 27, and, with the exception of that of Sunday night, was patronised by the largest audience of the season. The title r6le was assumed by Signora Coy. Mrs. Fox impersonated Flora, Miss Bessie Royal took the part of Annina (servant to Violetta), Alfred and George Germonte were allotted to Signor Coy and Mr. Verdi respectively ; Mr. Howell acted as Doctor Gremil, the remaining characters being well represented. In style the music of “ La Traviata” is not unlike that of Donizetti’s “ La Favorita," being light, brilliant, and full of melody* yet intermingled with much of a dirge-like style, the various compositions being highly characteristic and descriptive of the libretto. The instrumentation is mostly of an independent character, but when full, and bi

unison with the vocal parts, presents the same solirlity for which the heavier operatic works of Verdi are so remarkable.

Wheu it is stated that all the principals last night were in excellent voice, and performed in their very best manner, it will be readily understood that the audience were extremely well satisfied ; the efforts of the performers were in fact fully appreciated and frequently applauded. Signora Coy was good in the popular air “ Libiamo,” shared in by Signor Coy and chorus, which was very peecisely sung. *' Ah fors 6 lui,” and “ Sempre libera,” were beautifully taken, more particularly the latter, the runs being remarkably well defined, and the notation correct. The finale to the second act (“ Alfredo ”), “ Addio del passato,” and the duets “ P&rigi-o-cara” and “Ah, gran Dio,” in all of which Signora Coy took part, were well and faithfully executed, while her closing scene “ Se una pudica ” was pathetically delivered, and her acting in this exceptionally good. Signor Coy’s “ tin de felice,” and all his work with Violetta and Germont, was magnificently sung. Mr. Verdi was best in his “Di provenza” (which is always popular), and in the concerted pieces his fine voice told with very great effect. The choruses were generally well taken, the gipsys’ and picadors’ standing out most conspicuously. In the latter chorus, however, the picadors must have irritated the leader of the orchestra by striking their staves out of time, which was unnecessarily accelerated. Without wishing to be too severe on the orohestra, which is generally very good indeed, we may remark that occasionally there was a little unsteadiness, and the stopping of the strings was sometimes not in tune. This was noticeable most at the commencement of the prelude to the first act, and again before the third act, where the same passage occurs in another key. “LILY OF KILL ARNE Y.” The last opera of the season was presented last Saturday evening to a house crowded in all parts. Such an audience should have induced "the performers to put forth every effort to secure approbation, and by so doing, leave behind them pleasing recollections of their last operatic performance in Wellington. Instead of this, it is, we regret to say, our duty to record the representation of the “Lily of Killarney ” as, without exception, the worst effort of 'the company, for, from beginning to <md the performance was excessively tame, and it is not surprising therefore that it failed to elicit much approbation. As regards the principals, with the exception of Madame Hersee and Miss Lambert, little can be said in their favor, while the ehorus, evidently alive to the many shortcomings, appeared to treat the whole thing as a capital joke. Mr. Beaumont was not in good voice at all, failing entirely on A flat, and to this must be attributed the omission of “ Eily Mavourneen,” much to the disappointment of the audience, as this is undoubtedly the tenor song of the opera. Mr. Templeton was extremely flat all through ; although in other respects he made a fair Danny Mann. It is very evident that the company do not hail from the Emerald Isle, as their impersonations were far from true to the Irish life and character. Madame Hersee sang extremely well, as in our opinion she has done all through the season (due allowance being made for her indisposition), and her representation of Eily O’Connor (saving the brogue) was very good. She received much applause for her “I’m Alone,” and is to be congratulated upon having received the largest bouquet we have yet seen presented to a performer in Wellington, exhibiting at a glance the appreciation which musicians have of the musical efforts of each other. Miss Lambert, who throughout the season has been a great favorite, was very successful as Anne Chute, and Mr. Howell made up well as Father Tom. The irrepressible Myles was ■impersonated by Mr. G. A. Johnson. On Sunday the company gave their farewell concert of sacred music. Again there was a crowded audience. The first part of the programme was Rossini’s “ Stabat Mater,” and the second part a selection from various composers. Excepting the omission of Mr. Templeton’s solo from the second part, the programme was faithfully carried out. Signora Coy, Signora Venosta, Signor Coy and Mr. Verdi werethe principalsin the “Stabat Mater,” and sang well, the chorus taking up the various points with great exactness. In the second part Madame Hersee warbled, “ 00, mighty pens,” exquisitely. Mr. Beaumont, apparently 'having recovered from his indisposition of the previous evening (for indisposed he must have been), sang “ In native worth ” beautifully : his ■final effort may be classed as his best, for he was in splendid voice. Miss Lambert sang “ Resignation,” which, accompanied on the organ, had a very soothing effect. The same may be said of Signor Cescbini’s solo on the doable bass, accompanied by piano and organ, and cleverly executed. Mr. Verdi sang “ Shadow of the cross ” splendidly ; and “ Lift thine eyes,” unaccompanied, was nicely rendered by Mrs. Fox, Miss Bessie Royal, and Miss Lambert. The “Hallelujah” chorus closed the concert. Whatever exceptions (luring the season we may have taken in regard to various points in the performances of "the Opera Company, and which it has been our duty to record, we are convinced that we shall be echoing the sentiments of all their supporters who were present last night when we svy that all shortcomings of previous performances were fully compensated for by the musical treat afforded by the company at their final concert, and they leave us with every good wish for their future success. The company sailed for Melbourne last Monday in the Te Anau.