THE OPERA.

New Zealand Times, Volume XXIX, Issue 4126, 11 June 1874, Page 3

THE OPERA.

ERA DIAVOI.O. It might almost have been supposed, from the character of the weather yesterday, that a relative of the Italian gentleman of the mountains who bore the name of Fra Diavolo, had interfered to prevent his appearance on the stage of the Theatre Eoyal last night or anybody seeing him if he did. From an early hour of the morning the wind blew and the rain fell, so that— A cliilil might nmlerstan’ The De’il had business on Ills han’. A strong south-east wind arose at an early hour in the morning. All day long it blew fiercely (and cold, with heavy and continuous rain ; but about six o’clock the wind and rain subsided, and though the ground was damp under foot, the lovers of.music were not to be denied. The unexpectedly large audience well filled tho Theatre Eoyal, and the company achieved another triumph. We gave an abstract of the plot yesterday, and ventured to anticipate that “Era Diavolo” would be well performed, all the leading members of the company having parts for which they were excellently suited. That anticipation was fully realised. We shall not, on this occasion, follow the progress of tho "opera, but content ourselves with saying that Miss Alice May, as usual, succeeded in winning tho most genuine applause. Her performance all through, and especially so in the second act, was admirable. Miss Lambert’s Lady Allcash was also effective. Mr. Hallam, as Era Diavolo, had a testing part to play, but suffered from a very severe cold which greatly marred his efforts; while, as wo expected, Mr. Templeton, in the character of Beppo, achieved a decided success. Mr. Vernon was amusing as Lord Allcash, and Mr. Eainford, Mr. Lester, and the other members of the company, acquitted themselves with credit. The by-play of Beppo and Giacomo, in fact, was really “good fooling.” Tins evening the favorite opera of LA SONNAMBULA will be produced. In it, as Amina, Malibran made her reputation, It was one of Grisi’s most favorite impersonations, and since its first production on the lyric stage its popularity has not waned. The names of Templeton and Mario, in the part of Elvino, are also associated indissolubly with this opera. It is scarcely necessary to remind the reader that in this work occur those favorite compositions “ All is lost now,” “ Still so gently o’er me stealing,” “Yes, for thee,” “Take now this ring,” etc., while some of the choruses are wonderfully good.