THE OPERA.

Otago Daily Times, Issue 851, 13 September 1864, Page 5

THE OPERA.

The music-loving portion of the Dunedin public have reason to be "more than satisfied with the variety of compositions which Mr Lyster has placed oh the stage. The Repertoire of the Lyster Company is very extensive, and it is really astonishing to what a degree of proficiency the members have attained in almost every modern opera of any acknowledged merit. Last evening Meyerbeer's grand masterpiece—and decidedly his most successful production, the opera of the "Hugenots," was placed on the stage and performed throughout with an amount of ability we scarcely expected to find. The versatility of Madame Escott's dramatic genius has been proved in a remarkable manner during the short time she has appeared before an Otago audience. Grave or gay—in tragedy or comedy—Madame Escott always shows a conscientious and truthful conception of the character allotted to her. In the vast range of parts which that lady is compelled to sing it is not to be expected that all are equally well' treated, but it is right to record the opinion'that few performers in the iyric drama could do such equal justice to such a variety of characters as she has to assume. As Norma, Madame Escott was not successful, the music and the character not being of the class suited to her. But the character of Valentine in the Huguenots is emiuently a part which Madame Escott can fill worthily, and r indeed we may say with complete success;—as was proved last night by the repeated bursts of hearty applause which followed her performance of some portions of the opera. In fact, we may regard her Valentine as one of her greatest triumphs—a triumph which could have been largely increased by the stage appliances which such a work as the Huguenots demands, but which it is needless to say were not at command.

The plot of the opera is tolerably familiar to musical people, and in fact to most playgoers. The story is in connection with the massacre of Saint Bartholomew, and the interest of the drama centres in a Protestant nobleman, Raoul de Nangis, and in Valentine de St. Bris, one of the maids of honor of Marguerite de Valois. Raoul visits Paris, accompanied by an old servant, Marcel, also a staunch Protestant. Raoul makes the -acquaintance of St. Bris, the father of Valentine, and De Nevers,to whom she is betrothed He afterwards encounters Valentine, and conceives an affection for her, which is secretly reciprocated by Valentine. Valentine visits Nevers to persuade him to relinquish her hand. Raoul is a witness of the interview, and unworthy suspicions of Valentine arise in his mind,andso strongly, that afterwards, when the hand of Valentine is offered to him, he rejects it, to the great anger of her father and other lords who are present. Valentine marries Nevers, but still cherishes her love for Raoul. They meet at the house of Valentine's father, the father and friends approach the chamber, and Raoul is hidden in a secret place behind the tapestry. St. Bris apd his companions have met to discuss the projected wholesale massacre of Protestants. Their plans are debated andthe proscribed mentioned. Raoul, in his place of concealment, overhears the plot. The swords of the assassins are blessed by monks. After the departure of the conspirators, Raoul rushes out from his hiding place with the intention of proceeding to the assistance of his friends. Valentine implores him to remain, and in most passionate language declares her love for him and anxiety for his safety. He consents, and the two resolve to die together if need be. But suddenly the sound of conflict in the streets is heard, and Raoul, aroused from his love trance, rushes to the help of his friends. Valentine implores him to remain, and clasping her arms round him, endeavours to prevent his exit. In her deep and passionate grief she faints, and Raoul, commending her to the care of Heaven, jumps through the open window into the street. The massacre proceeds, and Raoul und _ his faithful retainer Marcel take refuge in a church. Then Valentine finds Raoul, and, after vainly striving to induce him to erabrace the Catholic religion to save his life, she declares herself ready to share his danger, and becomes a Protestant. Old Marcel joins the hands of the lovers (for 'Valentine's husband had been killed in the tumult), and is in the act of blessing them when, by a volley from a party of assassins, all three are killed. The part of Valentine was taken by Madame Escott, and that of Raoul by Mr Squires. Mr Wharton was the Count St. Bris, and Mr Fred Lyster was the Count de Nevers. Mr Kitts" played Marcel. Of Madame Escott's performance, we can only say that it was a triumphant success. In the fourth Act, where she strives to prevent Raoul joining in the struggle, Madame Escott fairly brought down the house. Ifc was agenuino triumph richly earned by the impassioned acting and eloquent vocalisation which marked the whole of the scene. The

duet was magnificently done, and never dm the genius of Meyerbeer show itseL more strongly than in the pathetic and expressive music in which the lovers declare their love. Mr Squires fairly shared *he honors which the audience bestowed on this part of the performance, and both he ana Madame Escott were called before the curtain. Mr Wharton is not a bad St. Bris, hut he lacked energy. Mr Fred. Lyster did his best as De Nevers, and Mr Kitts made a tolerable Marcel. The Opera went flatly up to the fourth act, when the magnificent acting of Mdme. Escott sent the enthusiasm of the audience to the highest pitch. The orchestra rendered the exquisite music in a manner that left no room for fault; aud the choruses were given spiritedly and effectively. This evening, "IPuritani" and " Don Pasquale" will be performed.