ITALIAN OPERA.

Evening Star, Volume IX, Issue 2787, 23 January 1872, Page 2

ITALIAN OPERA.

Bellini’s opera, “Sounambula,” was played last night, and we are glad to say to a wellfilled house. Boxes, stalls, and pit were all crowded; and we may, without hesitation, affirm that everyone was delighted. Bellini, forsaking the old fashion of a long overture, dispenses with it, and after a few appropriate bars, introduces his subject. The opening chorus of rejoicing was effectively given, after which Amina’s rival Lisa, Signora Cortesi, sang “ Tutto £ giojo ” with great feeling and correct expression. Very little is required of this lady, who is supposed to be the marplot of the piece; but all was done with care, and true appreciation of the character. Signora Tamburini Coy represented Amina, and took tke audience \>y surprise. Were we called upon to name which of the beautiful arias that fell to her lot was best given, we should find selection somewhat difficult. She seemed equally at home in sustained and florid passages, and imparted to each air the sentiment of the libretto. Inspired by the bright prospect of happy marriage, depressed by disappointed hope, or despairing through blighted lore, her voice gave utterance to each emotion, and carried the sympathy of the audience with her. Her duets with Dame Teresa (Signora Tournerie) and with Elvino, Signor Coy, were perfect in their execution, and in exquisite taste. We have always considered the part of Amina most trying to a singer. Not only is there a continued demand upon the voice, but especially towards the close of the piece, airs are pitched so high as to tend to induce fatigue. Very few voices are equal to the exertion, but Signora Coy sang “ Oh love for mo thy power,” at the commencement, and “Ah do not mingle one human feeling ” at the close of the piece, with uudiminished effect. Some of her cadenzas were finely given, and, as a matter of course, being ad libitum, were so rendered as to convey the ideal of the artist herself. Signor Coy, as Elvino, sang and acted with power and feeling. Hi* rendering of the beautiful air, “ Still so gently,” will not soon be forgotten by those who heard it. The test of true musical power is however in concerted pieces, and this was prominently brought out in his duets with Signora Coy, in which the most difficult chromatic passages, however rapid, were given by both with the precision of a musical instrument. We should have been glad had Bellini left a little more for the Count to do, for Signor Dondi would have been heartily welcomed. “ As I view those scenes so charming ” was sang so charmingly as to make one wish to hear him sing it again and again, although we do not know that he was less affective in the recitatives and arias that fall to hi# lot. Dame Teresa (Signora Tournerie) and Allessio (Signor Favas) were less prominently brought forward, but could not have been dispensed with, nor do we think they could have had their places more effectively filled. Uur notice of this admirable performance would be imperfect were we to omit to mention the good service rendered by the orchestra. Much of the effect of an opera depends upon them and upon their conductor. They require quickness, precision, and facility of execution in order to afford to the vocalists necessary liberty in interpreting the text. They have to give support, to catch the spirit of the singer, and to cover defects if needful. We imagine few are aware of their importance to the success of an opera who have not had some little experience in the matter. We do not know that we ever heard accompaniments more correctly played, and when it falls to their lot to do a little work on their own account, it is a treat to listen to them, so neat and tasteful is their execution. It is almost un<

necessary to say that enthusiastic calls before the curtain, and showers of bouquets thrown on the stage, evinced the delight of the audienc?. Donezelti’s favorite opera Lucrezia Borgia will form this evening’s entertainment, tne part of Lucrezia being allotted to Signora Leuoni, whose impersonation thereof has been pronounced by the press of Melbourne, Sydney, Auckland, and Christchurch, to be her greatest success :—A brief sketch of the plot is thus given Lucr zia Borgia, wife of Alfonso, Duke of Ferrara, entertaining suspicions that a youth of unknown parentage, named Gennaro, is her son, seeks him at Venice, where, on seeing him, her suspicions are confirmed. At the interview they are surprised by some of Gennaro’s companions, who proclaim the lady to be the infamous Lucrezia Borgia, and she determines on revenge. Gennaro and his friends as attaches to an embassy, afterwards repair to Ferrara, Taunted as being one of Lucrezia’s lovers, Gennaro strikes the initial letter from the word “Borgia,” inscribed on the ducal palace. He, is apprehended and lodged in the palace dungeons. The Duchess, enraged at the insult, and not suspecting the perpetrator to be Gennaro, urged her husband to punish the culprit with death. Believing Gennaro to be his wife’s pamour, the Duke grants her request, and Gennaro is ushered into their presence The Duchess is horror-stricken, but the Duke sternly bids her choose the mode of death—the dagger or poison. She prefers the latter, and presents Gennaro with the fatal draught. At the same time she compels him to swallow an antidote, and counsels him to fly from Ferrara. He is about to comply, but is induced by his friend Orsini to remain in order to be present at a fete. At night, as they are carousing, Lucrezia appears and informs them that they are all poisoned. Genna r o then starts forward, and Lucreiia, after dismissing the others to their death, conjures him again to have recourse to the antidote. In his rage he is about to plunge a knife into her breast, when she tells him that he is a “Borgia.” Gennaro refuses the antidote and dies, first learning that Lucrezia is his mother.