ITALIAN OPERA.

Evening Star, Volume IX, Issue 2786, 22 January 1872, Page 2

ITALIAN OPERA.

“ II Barbiere di Seviglia” was played by the Opera Company on Saturday evening. Although this is generally considered a comic opera, it is really a pretty love romance, leaving room for every variety of style. Love, avarice, jealousy, doubt, anger and craft enter into the details of the piece, and find their appropriate expression as interpreted by the genius of Rossini. The characters are few, and on Saturday evening each was well sustained. We need not rcr peat the outline of the plot. That we described on Saturday night. All we have to do now is to offer a few remarks on the manner in which it was worked out by those to whom the representation of the various characters was entrusted. /' nd first, as to the overture. Most of our readers have heard it played, but few have been fortunate enough before now, to have had opportunity of listening to it when each of the parts is in a master’s hands. It is not then a mere unmeaning theme, sometimes confused by the inefficiency of one or two performers, or murdered through want of expression. Played by the orchestra now at the theatre, each note, each chord is heard; each effect is properly brought out. Every player looks more to the effect as a whole, than to his own peculiar merits standing in strong relief above the rest. To hear an overture as it should be played, the Opera must be visited, and although the circumstances of the Colonies will not admit of every instrument for which Rossini wrote being introduced into an orchestra, their absence is scarcely felt through the thorough efficiency of those present. It would be tedious to comment minutely on each incident of the piece. Signor Coy (Count Almaviva), has a sweet tenor voice, flexible, and capable of great expression. The quick-witted barber (Figaro), was represented by Signor Tournerir, a fine baritone of great compass, and even register ; Signor Dondi was (Don Bazillio), whose acting and singing were admirable; Doctor Bartolo, the ''designing meicenary guardian was played by Signor Graudi, a first class actor and good bass; Signora Tournerie enacted Bertha, and Signora Cortesi, Rosin a. The first lady has a soprano voice and the latter a mezzo soprano, very flexible and sweet, hut of no very great compass. From some cause, probably incomplete scenic aiTangements, a few scenes were omitted, but those that were played were so skilfully dovetailed into each other, thau their omission was of small moment. The choruses were admirably given throughout. Each part was taken up with precision and accurately rendered. Although the recitatives are necessary to unfolding the plot, the beautiful airs to which they lead are usually the most enjoyed by an audience. Of these the duett between the Count £pid Figaro, “ All’ idea dequel mi tatto,” was admirably given ; Rosina’s “ Una voce poco fa ” was one of her best efforts, and of the trio “ Zitti, Zitti,” in which Korina, the Count, and Figaro take part, the audience insisted on a recal. The genuine pleasure of the auditors expressed itself iu several calls before the curtain, and at the conclusion of the piece, by a shower of bouquets, well deserved tributes to the talent of Rosina and her able supporters.

This evening: Bellini’s opera of “LaSounambula ” will be presented, the character of Amina being sustained by Signora Tamburiui Coy. The following is a brief sketch of the plot: —An orphan girl, who has been brought up in a village in Switzerland, is on the eve of marriage with a young fa v mer. The contract has been signed, and every preparation made for the nuptials, when a stranger arrives in the village, on his way to the neighbouring chateau. He is recognised as the lord of the manor, who has long been absent, and the villagers go in the morning to the inn where he has stopped for the night, in order to pay their respects to him. On entering his apartment they find the bride elect fast asleep upon his bed. The bridegroom, who arrives at same time is stricken with horror. The young girl on awakening is surprised at finding herself in a strange room. in vain she protests that she is innocent; no person believes her. The villagers cry shame upon her, and her lover spurns her with execrations. In vain the stranger asserts that she came into his room while in a state of somnambulism. He is only laughed to scorn, and the young girl departs overwhelmed with grief. Some time afterwards, however, her innocence is made clear. The young fanner, having thrown off his allegiance to one whom he believes to be utterly unworthy of his love, is on his way to church to espouse an old sweetheart, when on passing the house in which his late fiancee resides he is surprised at seeing a young girl issue from a window in the roof, and walk along the parapet. That girl is his rejected mistress. She walks safely along a narrow blank' laid kcross a midstream, and descending a ruinous i}ight of steps, reaches

the ground. Still in her walking sleep, she utters exclamations —bet ok ing earnest love to him, who believing her to be guilty, has left her, She awakes and finds herself surrounded by friends, who are now as fir'ly convinced of her innocence as they were formerly of her guilt. Her lover kneels before her, a reconciliation ensues, and the curtain falls. .