ITALIAN OPERA.

Evening Star, Volume IX, Issue 2785, 20 January 1872, Page 2

ITALIAN OPERA.

After an interval of fully six years, an opera season has been commenced in Dunedin. Last evening Cagli aud Pompei’s company made their first appearance ip this (Sity, the theatre being well filled by a fashionable audience.

The opera selected was the ever popular “ 11 Trovatore V—the most popular of Verdi’s works. It is founded on the tragedy of the same .name by Guttierez, a Spanish dramatist'; it was first produced in Rome in 1853, and two years later at Covent Garden Theatre, London. The plot of the opera is very romantic ; but it has the merit of being connected and intelligible. The mother of Azucena, &n old gipsy, has been burned as a witch by the father of the Count de Luna ; and Azucena, to revenge her mother’s death, steals the younger brother of the Count, and brings him up as her son, under the name of Manrico. He becomes a troubadour, and gains the love of Leonora, who is also beloved by the Count. The first act shows Manrico and the Count in pursuit of Leonora, and it ends with a challenge and a duel. In the second act, the gipsies are introduced, Manrico being wounded. He learns that Leonora is about to take the veil; and in the convent the rivals again meet, Manrico’s followers overcoming those of the Count, and Manrico bearing off Leonora. In the third act the lovers are about to be upited ; but Manrico learns that Azucena is ip the power of the Count, and condemned to be burned; and in his attempt to release her he is himself captured. The last act shows Leonora offering to marry the Count, as the condition of Manrico’s freedom, but poisoning herself to prevent the Count’s possession of her. The Count sends Manrico to the scaffold; and only after the death-blow has been struck does he learn from Azucena that be has sacrificed his long-lost bx’othcr. The role of Leonora was sustained by Signora Margareta Zenoni. Possessed of a soprano voice of considerable power and range, grpat flexibility, and highly cultivated, it was easy to see after her opening aria " Tacea la notte placidg,” phsp in her hands it would receive full justiceand this opinion was strengthened as the opera proceeded, This aria was rendered so well as to call forth an unanimous burst of applause, which was succeeded by the loudest demonstration of approval, when the prima donna gave the difficult aria, “ Di Tale Amor,” with its succession of piano passages and elaborate trills We shall not be guilty of exaggeration when we say this was one of the finest vocal efforts ever made in Dunedfn. In the next act Signora Zenoni favored the audience with a taste of her tragic power, pourtraying with considerable skill the feelings under which she is supposed to be laboring, in the concerted part between Leonora, the Count, and Manrico, commencing with “ Qual voce ! ” . The curtain fell on the last scene, in which Leonora’s lovers exchange passes with their swords, amid loud plaudits. The next act introduces the gipsy scene, in which Azucena figures prominently. The opening was well given by the chorus, which though few in number, possesses some well-trained voices;

and the famous “anvil chorus,” which-im-mediately succeeded, was inpur opinion only wanting in power, and a little care in managing the effects produced by; striking,.the anvils. That it was faithfully sung cannot be questioned. The opening notes of Signora Polli’s voice in the aria “ Stride le Tampa,” were sufficient indication of its quality. It is a contralto of muoh purity and richness ; and to this qualification she adds that of being possessed of considerable dramatic fire. The latter was amply shown by the manner in which she recited the story of her mother’s execution, her own attempted revenge, and its horrid termination—all the phases of the picture being terribly and faithfully depicted, Manrico’s aria in the same scene, “ Mai Eeggendo,” was capitally sung, and enthusiastically applauded, Signor Eosnati being compelled to come to the footlights and bow his acknowledgments. Equally suecsssful was the duett, “U * memento puo involanni,” and at its conclusion the singers had again to come forward and bow tbeir acknowledgments. The second scene of the same act may be said to open with the well-known aria “II Balen, ” by the Count de Luna, personated by Signor Filipa Coliva This gentleman has a baritone of unusual richness and power, and his singing and acting are unexceptionable. “11 Balen" ‘ appeared to be weakly sung; but any defects in it were amply repaid by the manner in which the Signor sang “ Oia per me fatale." In the third act, the aria and chorus, “ Sqilli echeggi la tromba,” were well rendered. In the scene with the Count which follows, Signora Polli both acted and sang well, giving all the music allotted to her with extreme care. The “ Deh relentate” was capitally sung, and deservf dly applauded. The next scene afforded Signor Eosnati,- as Manrico, excellent opportunities of showing the capabilities of his fine tenor voice, and none of them were lost sight of. The aria “Ah si ben mio” was a splendid effort; and “Di quella pira” was faultlessly given. The gems of the opera were in the opening scene of the last act, Signora Zenoni’s aria, “D’Amor sail ’ali rosee,” undoubtedly her best solo was a fitting prelude to “Ah che la morte,” which was sung in a manner rarely equalled, if ever excelled, in these paits. The prima donna and Signor Eosnati seemed to have put forth their best energies for this great effort, and were entirely successful; and how it was appreciated is best illustrated by the fact that the audience would not be content with the artistes bowing their acknowledgments, hut insisted on a reK‘ '.tion of the duett, which wasjeomplied with, nora’s aria, “Mira di a cerbe lagrime,” in which kneeling at the Count’s feet, she implores him to spare Manrico’s life, offering herself as the sacrifice, gave Signora Zenoni an opportunity of showing her ability as an actress, and her singing throughout the scene was very fine. Closely following this is the duett “ Vivra contende ” between Leonora and the Count; and this was magnificently sung, the audience being profuse in its plaudits. With this duett the primma donna may be fairly said to have brought to a close the succession of triumphs she enjoyed throughout the act. In the next scene—the prison scene—Signora Polli and Signor Eosnati achieved a triumph fpr their snlendid rendering of the favorite duett “ Aifpostri monti,” apd had once more to bow their acknowledgments. The last scene of the act does not call for any notice; and at the conclusion of the opera the curtain fell amid thunders of applause; the principal artists receiving a perfect ovation. In concluding our notice of the opera we have just to supply two important omissions. The small part of Ferrando does not give Si nor Dondi any chance of showing the capabilities of his fine bass voice ; but what little be had to do, was done well ; and his singing of the aria, “AhiettaZingara,” in the first act, indicated that he is prepared to give his hearers a treat in some part more suited to his abilities. The orchestra is under the able conductopshjp of Signor Alberto Zelmau, and it is only necessary'to say of it that eacji of its members is master of his instrument. 1 It iff composed as follows : —Loader and violin primo, Mr Levy (who will be remembered by many from his connection with the Lyster troupe); violinist, Herr Richty; violinist aecundo, Mr Wright (an old Dunedin favorite, if we mistake not); flute, Mr Creed Royal (also late of the Lyster troupe); clarionette, Mr Howard; bassoon, Mr T. M‘Coy ; contre-basso, Mr H. Loder. The scenic department is under the control of Mr F. Tarley. To-night Rossini’s comic opera of “II Barbiere di Seviglia ” will be produced. The plot is pretty well kupwn, bat to those who may not have witnessed it, it may he dps? crifced inafewwords. Count Alma viva (Signor Leandro Coy) has seen in Madrid, and fallen in love with Resina, ward to Dr Bartolo (Signor Simone Grandi), The action of the opera taking place in Seville, where Bartolo resides with his ward carefully secluded from the approach of lovers, the doctor intending to appropriate her and her fortune to himself,- she is followed by the enterprising Count, with the intent to rescue her from her guardian’s clutches, and make hep bio countess. The difficulty, however, is bow to obtain gn entrance to her guardian’s house. Ip this ailenjma h® enpouqters bis oH servant, whom lip had discharged in Madrid, in the person of Figaro (Signor Francisco Tournerie) who had subsequently been established as a barber in Seville by Dr Bartolo. Through the ingenuity of Figaro the Count, disguised first as an officer*, and afterwards as a Bachelor of Arts and music master, succeeds in obtaining an interview with his mistress, and arrange a plan to carry out their mutual matrimonial wishes. Figaro, in his capacity of barber to Dr Bartolo, plays a double game ; and while, apparently, in the latter’s interest, plots to carry out his old master’s wishes. He .continues to abstract the key of the doctor's house, and at night the Count enters attended by Don Bazziliq (Signor Enrico Dondi), who, in his vocation of notary, has drawn up two mg plage conti »:ts one between Dr Bartolo and his ward Eosina, and the other to unite the Count with another Rosina, whom Figaro asserts to be his Deice, By a little jndicious bribery, he is induced to irrevocably unite the Count to Rosina, and the opera terminates on the disgust of the disappointed guardian and the union of the lovers.