ITALIAN OPERA.
Donezetti’s Lucrezia Borgia, which was produced last evening, brought together the best house of the season, as far as it has gone ; and those who were present were rewarded with such a musical treat as, we venture to affirm, has not been afforded in Dunedin before. As the heroine, Signora Margaret! Zenoni appeared to the greatest advantage, both as a cantatrice anil actress. It has been well said of her Lucrezia, that “it is no mere representation, but a living realisation of the most beautiful but most vile ■woman that ever lived.” The prima donna has made the character a study ; has thoroughly appreciated its lights and shadows; and while we never lose sight of the hated Duchess of Ferrari, there is faithfully depicted that redeeming trait in her character, her great love for her sou, which at the proper moment overcomes all feelings of hatred and revenge. Of her singing it need only be said that it was perfect ; her acting was very fine throughout—and at times grand. /Icr singing of the beautiful civatina “Come e bello,” in which she apostrophises Gennaro sleeping, was a fina piece of vocalisation ; and her success was continued throughout the last scene of the act, in which she entreats the forbearance of her enemies At the fall of the curtain the plaudits of the audience were loud, and continued till the fair prima donna bowed her acknowledgments. The second act was a succession of triumphs. The duet “Oh a te bada,” between Signora Zenoni and Alphonso, and the trio “Guai sc ti sfugge,” between Lucrezia, Gennaro, and the Duke, were admirably sung, and enthuriastically applauded, while the beautiful duct “ Infslice,” between Lucrezia and Gennaro, with which the act closes, was an effort in which the Signora and Signor Bomati put forth their whole powers. Its termination was the signal for rapturous applause, and a repetition was asked for, but declined In the last act the “M’odi ah m’odi” was splendidly given ; and in the dying scene the prima donna again displayed her tragic powers the interest in the scene never beino allowed to flag for a moment. She was most ai>ly seconded by the rest of the company Signora Polli was an excellent Orsini <-v d gave the famous brindisi “ II srereto ’’’with much spirit. Signor Rosnati was Geunaro, and sang all the music allotted to him with his usual care and feeling, being especially effective in the duett “ Ama toa madre,” and in the duet at the termination of the last act, when he justly shared the triumph of the prima donna. The of Gubetta does not give much scope for the person filling it to show his powers; but the little Signor Grandi had to do was done well. Last, but not least was the Duke Alphonso of Signor Dondi’ who portrayed the character to the life’ He was every inch a D’Este, and his “ Veim la mia vendetta,” was a magnificent effort. His fine voice was also heard to advantage in the concerted pieces. The choruses, as a whole, went well ; and the orchestral accompaniments were all that could be desired. At the fall of the curtain the principal performers received a call, Signora Zenoni coming in for a shower of bouquets We are glad to see that Lucrezia will be reproduced on Saturday, and strongly recommend all who have nob witnessed it not to neglect this opportunity of seeing the finest piece of lyric acting ever given on Dunedin stage. Flotow’s opera, “Martha," will be presented this evening. The following is a brief sketch of the plot“ Lady Harriet, a maid of honor in the Court of Queen Anne of England, in a frolic visits the servants’ fair at Richmond in disguise, in company with her maid Nancy, where they are seen by two ypung farmers—Liquet and Rlqnkett —who engage them as servants,"and bavin" taken earnest money, the lady and her maid are unwillingly compelled to accompany the young farmers home. Lionel is so fascinated by Lady Harriet, that, not knowing her rank, he asks her to become his wife; he is laughed at, and his offer rejected. A similar fate befalls Plunkett, who has made overtures to the maid. An opportunity offering, Lady Hariet and her maid fly the farm-honse, and although they are pursued, they succeed in making good their escape. Subsequently Lionel and Plunkett fall in with a party of huntresses, headed bv Nancy. The young farmers recognise and accost their former servants, but the ladies deuy all knowledge of thorn, The farmers are about to be arrested, but Lady Harriet, touched by Lionel’s wild grief, begs them off on the plea that being madmen they are unworthy of serious notice. Stung to the quick by this, Lionel recollects that bo holds a ring given to him by his dying father, with the injunction that if ever he is in distress to send it to the Queen. Lionel entrusts this ring to Plunkett, who takes it to Queen Anne, and by this means the discovery is made that Lionel is the Earl of Derby, and he is accordingly restored to his title aud estates. Lady Harriet, who, since the interview in the forest, has been cherishing a secret passion for Lionel, embraces the opportunity of being the first to communicate the good news to him ; but she is coldly received, for he cannot yet forget her scorn and contempt. He, however, loves her secretly, and his health suffers in consequence. A stratagem is res rted to in order to restore him. A portion of the lady’s park is transformed into an exact fac-simi e of the servants? fair at Richmond. Here Lady Harriet apd ' het nfaid "attend, clad in servants’ attire Hither, tpo, camp Lionel aqd Plunke.t, No sooner does Lionel see Lady Harriet in her : easant’s dress than all his former love returns. The lovers are united, and so also are Plunkett and Nancy, and a chorus of Joy aqd gladness terminates the opera,
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Evening Star, Volume IX, Issue 2788, 24 January 1872, Page 2
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1,001ITALIAN OPERA. Evening Star, Volume IX, Issue 2788, 24 January 1872, Page 2
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