THEATRE ROYAL.

Daily Telegraph (Napier), Issue 3653, 30 March 1883, Page 3

THEATRE ROYAL.

MAHITANA. A large audience assembled at the Theatre . Royal last night to witness tho production ' of Wallace's beautiful opera "Alaritana" by Air Simonson's company, and it must be confessed that the excellent style in which the piece was played in nearly every detail was an agreeable surprise to not a few. The various members of the company seem to improve with each successive appearance, and as all work together with a right goodwill not much ground is left for complaint. Last night's performance, as a whole, may be said to have been the best of the season so far. The orchestra, as usual, gave most valuable assistance, and the numerous accompaniments were played in exceptionally fine style. Aliss Martina Simonscn, who has established herself a firm favorite here with theatre-goers, was warmly greeted on making her appearance in the rule of Alaritana. Her dressing of the character, especially in the third act, was in good taste, while in her simple gipsy costume in the first scene she looked charming. The part was well suited to her attainments as a vocalist and an actress; indeed one could scarcely have desired a more capable representation of the character. From first to last she had tho sympathies

of the audience at her command. The share of the music that fell to her, it is almost needless to say, was rendered in a maimer that elicited the heartiest tokens of approbation. '' The Harp iv the Air was an admirable piece of vocalism, but the gem of the opera was undoubtedly Aliss Simonsen's exqiusite interpretation of the lovely and pathetic song " Scenes that are Brightest." Those who heard her in this will not, we should think, soon for-

get it. She was also highly successful in the duet "Sainted Mother" With Aliss j.. Saville, in which the two voices blended most harmoniously together. Aliss Frances S;-,viHe found _ coiigrer.ial part in the character of Lazarillo, and again won public favor for her careful and spirited acting. This yoiuig lady has greatly improved since her last visit to Napier, and gives good promise of future distinction in her profession. She sang with great feeling the aria "Alas those Chimes." her lower notes being very fine. Air Brennir's Don Ciesar de BaJ.au was a good piece of acting, but, as on former occasions, his limited vocal range was against him, and as a consequence the character lost a great deal of its effectiveness. Any deficiency in this respect was, however, apparently overlooked by the audience,'who warmly applauded his efforts from time to time. Air Weutworth sustained the role of the King of Spain, and did the part more justice that any other he has as yet appeared in. His siugiug throughout was capable, and in the eavatiua " Hear me, gentle Alaritana," he acquitted himself very well indeed. The greatest share of praise, so far as concerns tho acting of the gentlemen performers, is, however, due to Mr Lissaut, who gave a finished representation of Don Jose. Ho also sang his > music with good dramatic effect, although he was occasionally at fault in taking a, somewhat sudden leave of portions of the lines, thereby spoiling the context. It almost invariably happens that the assistance of the prompter is required oftener than it should be both by l this gentleman and Air Brennir. The stage appointments and dresses last night were in keeping with the piece, and the •horuses as a rule were steady. The Augelus chorus was well executed, but lacked volume owing to the small number of performers who took part in it. BOCCACCIO. To-night the company will appear in Yon Suppe's new comic opera "Boccaccio, or the Prince of Palermo," which, will be presented with entirely new scenery and effects specially prqeured for this production. MadameSimonsenwillappearmthe.<7fa>We, and Miss Leonora as Fiametta. As this is a piece in which the company are said to -. excel, and is moreover new to a Napier audience, we may expect to see a crowded house to-night to witness the first production here. The opera itself is known to havo been received with much favour by the musical public of Germany—the composer's native land—and it has since attained equal popularity in England and in the Australian colonies. The character of the music is in keeping with th£ changing theme—at one time lightly webd and fantastic, at another rich and imagining the longing and pathos of love and sentiment ; now apt in the conveyance of extravagant comicality, or, again, free in flic expression in concerted phrases of the hurly-burly of contention. There is much in "Boccaccio" that is pretty, as also there is much that is entertaining, because of its comical incongruity. Coming now to the stage proper, it should first be mentioned that the scene is laid in

, Italy. Boccaccio, a student of Florence, A and a clever satirist, occupies his time in lampooning the city fathers for their drunkenness and, stupidity, aud partly in flirting 'with their pretty daughters. £vi -apart, a© ias tf tUo

same time fallen deeply in love with Fiametta, the foster-daughter of a grocer. Fiametta returns his passion; but Boccaccio pursues his suit under difficulties, his life being imperilled by the citizens of Florence who are enraged at his satires, and conspire to put him to death. Among the infuriates, Lambertuccio, Fiametta's foster father, takes prominent part. Ludicrous passages occur owing to the Florentines, m their hot pursuit after Boccaccio, mistaking innocent men for the satirist, who escapes with no severer mortification than that of seeing his books confiscated and burnt. Matters receive a fresh turn, and become seriously complicated, owing to the discovery being made that Fiametta is in reality the daughter of the Duke of Tuscany who has sontTher from home at an early ago, and allowed her to bo brought up iv ignorance of her parentage and as if she were lowly born. As the duke now wishes to dispose of his daughter's hand in marriage to the Prince of Palermo, he sends for her to the ducal palace, to the consternation of herself and lover. Boccaccio follows her to court, and learning that the Prince does not care a straw for Fiametta, and has consented to the marriage simply to oblige his father— detains him until by means of a satire on flirtation the Prince has enjoyed, he induces him to break olf the proposed alliance. Thus is removed the chief bar to the prospective happiness of the two lovers, aud then the curtain falls. The music is said to be bright and sparkling, and the dresses pretty. This necessarily brief outline contains', of course, only the mainspring of the story, but the many side issues are both amusing and ingeniously contrived. The adaptation performed by Air Simonscn is translated from the German by Air Dexter Smith, and differs from that now being played in Australia by the AVallace-Dun-uing troupe.