THE OPERA.

New Zealand Times, Volume XXIX, Issue 4137, 24 June 1874, Page 3

THE OPERA.

THE DAUGHTER OF THE KEGIMEXT. The course of n very successful season fittingly culminated last evening in a highly flattering tribute to the merits and the popularity of Miss May, for whose benefit the performance was given. The Theatre Royal was crammed, a statement the meaning of which will be best understood when it is mentioned that the doors were opened and closed long before the usual hour for admission, so great was the desire to testify the appreciation in which Miss May is held by the people of Wellington. The timely return of Sir James Pergussou from his sojourn in the North and”hi3 attendance at the opera, combined with that of Lady Fergusson and the vice-regal suite, wave an eclat to the occasion which would not have been otherwise attainable, but the climax to a scene which has not previously been equalled in Wellington was witnessed when His Excellency took his seat iu the circle, and the audience rose en masse upon catching the strain of the National Anthem, which was played by the orchestra upon His Excellency’s entry. The effect of this formal act of respect to the representative of royalty, was simply grand, for it must be remembered that the Theatre in its lower parts presented a perfect sea of faces, and the dress circle was thronged by ladies. This little flutter of excitement being over “The Daughter of the Regiment” was proceeded with. Brilliant as was Donizetti as a composer, this trifle of his afforded comparatively little scope for the display of Miss May’s abilities ; but it was of course understood that bavin" already given sufficient indication of her dramatic and lyric powers no great effort was requisite to increase her fame. In terse language, the reputation was acquired, the laurels awaited the reaper. The story of “ The Daughter of the Regiment” is an oft told tale with which nearly everyone is familiar, but none who has not seen Miss May knows what a captivating little creature the frivolous yet faithful vivandiere can be. The badinage and nonchalance meted out to each of the . “ five hundred fathers,” and the tender feeling of love entertained for the Tyrolean youth showed Miss May’s versatility to great advantage; but the ever-recurring strains of the “ rataplan ” and the sympathies which it struck between the veteran Sulpice (Mr. Rainford) and Marie, the vivandiere, excited the enthusiasm of the audience to to a pitch equalled only by the spirit which Miss May threw into the mercurial character of the martial Frenchwoman. Without detracting from the rest of the performance it may be said iu truth that the most charming morceau of the evening was the romanza “She Wore a Wreath of Hoses” introduced by Miss May into the Lesson Scene. As exemplifying the effect of simple unaffected style, the power of pathos and cultivated expression, no better piece could have been selected to display the sweetness of voice and tasteful singing of the ben-eficiare. As a standard composition the piece is a gem, but seldom is it given with such artistic execution as last evening. It is creditable too to the discriminating powers of the audience that their praise was lavished upon this effort. Bouquets fell iu showers, the applause was tumultuous, and Miss May, in recognition of such strong expressions of admiration, repeated a verse of the melody. From amongst the rest of the performers, Mr. Rainford stands out as deserving of great compliment for his capital delineation of the austere but good-natured old Sergeant. The serious and the humorous formed a happy blending which lost none of its contrast and point, and helped wonderfully to secure the successful reception of the opera. What little opening the part of Tonjo presents Mr. Hallam made the most of, but as a matter of fact the interest of the opera centres in the heroine, and leaves comparatively little for the tenor to do. Miss Lambert and Mr. Vernon held the subsidiary parts of the Marchioness and Hortenaius, and acquitted themselves in their usually creditable manner. “ Lischen and Pritzchcn,” a barren trifle of Offenbach’s, brought the performance to a close, and after the National Anthem and the departure of the Governor, the largest audience ever brought together in Wellington left the Theatre. DER KREITSCHCTZ, the heaviest opera yet produced by the company, and one embracing some cleverly-con-trived effects, will be repeated this evening, idle furore created by the incantation scene upon the first production of the opiera will no doub'ri result in another crowded house this evening".