THE OPERA.

New Zealand Times, Volume XXIX, Issue 4219, 28 September 1874, Page 3

THE OPERA.

MABTHA. Flotow's opera comique of " Martha" was reproduced at the Theatre Royal on Saturday night, to a fair house, and notwithstanding the excellent manner in which it was played on Thursday evening, the acting and singing on the later occasion showed an improvement, the only portion which did not appear to such advantage as on the first representation being the grouping in the Richmond Fair scene. Nevertheless, the very excellent manner in whtph this pretty' and effective scone is managed by Mr.. "Willis and his assistants, backed up by the other members of the company, is worthy of special commendation. Everyone who has heard "Martha" must appreciate it for its'music alone. Perhapain no opera now produced on the stage by Knglish artists, certainly in nono by the company under notice, does such sweet and charming music abound. There is not a line in it that can escape the attention and admiration of a listener possessed of taste, and the beautiful and familiar airs -which are entrusted to the abilities of such an artiste as Miss May fire in themselves an indulgence which rarely falls to the lot of an audience in one opera. As Martha, the clever prima donna took advantage, to the fullest extent, of the opportunity afforded to display that sweetness of voice and immense fund of humor, interspersed at times with much pathos, which a natural gift and highly finished education have bestowed upon her. Miss May's acting of the part was exceedingly ; clever and brilliant, her expression such that i anyone could read the feelings so well pouri trayed in her features and action, and what adds greatly to the effect, and is a very material point, often neglected by some, she dresses, without any exaggeration,'simply to perfection. In her song, " The Last Rose of Summer," this lady fairly held her audience entranced, and all through each verse the falling of a pin could have been heard. The usual shower of bouquets followed its completion, and the audience loudly demanded an encore; but by action she begged to be excused, as she fairly might, for she most good-natnredly.on almost every occasion responded to the requests of the public, who do not seem to consider the magnitude of the task they so readily impose. The same may refer to Mr. Hallam's' efforts. In the song " She Wore a Wreath of Roses" Miss May was not so successful in the first two verses, but the last was rendered in a manner that fairly brought down the house. Mr. Hallam appears altogether a different person from that we saw as the tenor lust season. His voice is richer and clearer, his spirits wonderfully improved, and, as a consequence, ho sings and acts: as another being ; but, although his voice is remarkably sweet and pleasant to the ear, it is painfully evident at times that its strength is scarcely equal to the completion of an opera, for the strain on it caused by previous efforts are almost always apparent towards the close; this, however, only secures the sympathies of his hearers, more especially as he uses his vocal powers with much judgment, and never attempts to exceed them. His acting as Lionel was capital, and he sang " When first I saw that form," which was (substituted for " Ah, how fair," verysweetlyindeed. Theduet "From the time of earliest childhood" between Messrs. Hallam and Templeton was given in a very feeling and masterly manner by both gentlemen, aud met with great applause. Mr. Templeton, as Plunkett, used his fine baritone voice with much taste and effect, particularly in the duets and quartette, and in the "Porter song" he gav» the solo, capitally. Miss Lambert, as Nancy, sang nicely and acted very spiritedly ; indeed the bye-play between herself and Mr. Templeton in the duet commencing " Well, w'nai iio'vr •" OOuiu uOt linVc- been improved by either. In the Huntress' song also Miss Lambert was very successful. As nearly all the opera is in the hands of the four artists mentioned, it is only necessary to say of the other members of the company that- Messrs. Yemen' and Levison, as " Sir Tristan" and the Sheriff respectively, made up well, and acted with effect ; and that the choruses were well sung. In the Richmond Fair scene the showman with Punch and Judy was not at all well up in his business, and the time that the leading characters were changing their dresses to attend the fair dragged, very " wearily. Both the singing and acting in all the quartetts were very much admired, and met with much well-merited applause; and one in particular, the " Notturno," at the close of the second act, was very sweetly rendered. The concerted piece, " Heaven may grant to you great pardon," also deserves special mention. Altogether, the performance of "Mar- ] tha," as we have already said, was in every respect highly creditable to the Company. FAUST. . To-night the grand opera' of " Faust " will be produced, and as it is pronounced to be Gounod's masterpiece, it should draw a crowded house. The plot is highly sensational and rompntic, and its representation cannot fail to transfix the attention, and enlist the sympathies of an audience. Most opera-goers are familiar with the pieces but as there will probably be many present to-night who have not seen it played, and the librettos by some mistake have not arrived from Melbourne, a brief sketch of the plot may be acceptable. Faust (Mr. Hallam), a student in Germany, after a life of meditation and research, becomes disgusted with human knowledge, and with his own inability to unravel the mysteries of nature. .He, summons to his aid an evil spirit, who appears under ,the form of Mepliistopheles (Mr. ..Rainford). By the latter'a supernatural. power, Faust is at once restored to youth, with most of its illusions and passions, and at the same time is endowed with both personal beauty and splendid attire. Mephistopheles, through a vision, reveals to him. the' lovely village maiden, Marguerite (Miss May), with whom'Faust immediately falls in love. Ho wishes to become acquainted with her, and his desire is soon afterwards gratified. Marguerite, noted both for her loveliness and her virtue, has been'left by her brother, Valentine (Mr. Templeton) who is a soldier, under the care of Dame Martha, a good though not very vigilant personage. The maiden at first rejects the stranger's advances; but Faust, aided by the demoniacal influence of Mephistopheles (who is anxious to destroy another human soul) urges his suit iyitU such ardour that Marguerite's resistance is at length overcome. Her brother when he returns from the wars learns what has occurred; he challenges the seducer of his sister, and, through the intervention of Mephistopheles, is slain in the encounter which follows. The unhappy sister, horror stricken at the calamity of which she is the cause, giveaway to despair; her reason becomes affected, and in a fit' of frenzy she lulls her child. She is thrown into prison for this crime. Faust, with the aid of Mephistopheles, obtains access to' her cell. They both eagerly urge her to fly, but; holier feelings have gained ascendancy in her heart; and she spurns their proffered assistance, and places her reliance in repentance and prayer. Overcome by sorrow and remorse, and with an earnest appeal for forgiveness on her lips, she unhappy girl expires. Mephistopheles then triumphs at the catastrophe he has succeeded in bringing about, but a chorus of celestial voices is heard, proclaiming pardon for the repentant sinner, and the evil spirit, foiled and overcome, crouches suppliantly as the accents of divine love and forgiveness are heard, while the spirit of Marguerite, borne by angels, ib wafted upwards to its heavenly home. As Marguerite and Faust respectively, Miss May and Mr. Hallam are sure to do ample justice to the piece, whilst in the character of Valentine Mr. Templeton is presented with the best opportunity he has met with here of displaying the ability we are convinced ho possesses, and we shall be much disappointed if he does not make a success of it and secure the hearty' approval of the audience. The representation of Mephistopheles requires a large amount of dramatic power, and on its proper acting the success of the opera greatly depends ; it is to bo hoped, therefore, that Mr. Rainford will abandon the too pleasant and easy manner he sometimes displays, and throw into the part all that effective action and feeling which his appearance and voice should so well enable him to render successfully.