ITALIAN OPERA.

Evening Star, Volume IX, Issue 2789, 25 January 1872, Page 2

ITALIAN OPERA.

A musical comedy—for such is the “ Martha ” of Flotow—replete with elegant and sparkling music, even' in tbe choruses, only brought together a moderate audience at the theatre last ev ning. No part of tbe house was attended in tbe manner it should have been ; for all things considered, the opera was well played. We must express our regret that the attendance should have been so limited ; consideration of the talents of the company now performing should prompt all lovers of music to patronise them liberally. Why, we have seen a better house than that of last evening, to hear the indifferent singing and miserable antics of a negro minstrel troupe. The inhabitants of Dunedin are so rarely afforded the opportunity of hearing high class music of the character given by Cagli and Pompei’s company, that the wonder is that the theatre is not crowded every night, seeing that a new opera is played each evening. It may not be out of place here to consider if the management cannot, without much extra trouble or expense, contribute ta prevent this state of things : we think can. The music is admitted ou all hands to be uucxceptionally good ; the fault is that we get too little of it. The company is a large one; and we sec no reason why the experiment to be made on Saturday evening of producing two operas, or of reproducing after the piece de resistance of the evening an act of an opera previously played, should not he the rule and not the exception. Two hours and a quarter is too short for an opera to play, and we have heard that opinion frequently expressed. T-» • l <> t I ll M «

Recurring to “Martha,” we have to repeat that it was well played throughout. There were however deficiencies of a graver ch aractt r that have been shown in any previous production of the company. There was the absent 5 of tlie minor characters necessary to fill the fair scene, in consequence some of the music had lb be sung by males ; and $ very imperfect realisation of the fair scene; itself. Perhaps too a little more regard on the part of tlie principal ma!e performers to accuracy of dress would not be out of place, Now as to the singing, The t o/e of Martha was sustained by Signora Tamburini Coy, and in better bands it could not have been placed. Whether as the maid of honor or the country girl in search of employment, she was equally successful; while in her acting throughout she showed that she properly understood the niceties of the character. Despite her attempt to appear accustomed to service, there were indications to the contrary, that she was not to the manner born; that she had lived as one who had commanded, and not to be commanded. This is Fiotow’s creation; and such was Signora Coy’s representation. There was a proper appreciation of this superiority in the scene in which Martha refuses to comply with Lionel’s request, that she should take bis bat and cloak; and in the spinning-wheel scene. The music of these latter scenes, especially the quartette “ Di verdelo a piacere.” was splendidly sung; and the quartette had to be repeated. The song of the act “Qui sola, vergiu rosa” (“The Last Rose of Summer”) was very sweetly sung by Signora Coy, and in the manner a ballad ought to be sung, with all possible tenderness and feeling. Each strain of this plaintive song was finely brought out • and the suitable action of the Signora in playing with the leaves of the flower offered her by Lionel as an encouragement of his hopes, could not fail to be noticed. No wonder that the audience insisted on a repetition of the aria, which was obligingly given. Again as a duet, and in the last act the same air was splendidly sung by the Signora; while the whole of her recitatives left nothing to be desired. Signora Polli made an excellent Nancy, and contributed in no small degree to the success of the opera. With such a recent acquaintanceship as Azucena, it was hard to believe jb was the same lady who eould depict such

terrible things as are recounted in the “ Stride la vampa,” who was playing Lady Harriet’s maid with the verve and archness necessary to the part. Her fine contralto voice was heard to advantage in her opening duet with Lady Harriet, “Mesta Ognor the aria, “ Essa mesta il mio cor.” in which she discovers she is in love, was deliciously given; while her byplay in the dancing scene in the first act, and in the last where she seals the contract to become Plunkett’s wife, not with a kiss, but with a ringing slap, was capital. As Lionel we think signor Coy appeared to better advantage than as El vino. He was effective in all Ins scenes, sang in the duett “ Qui sola, vergin rosa,” with great feeling, and in the last act gave the aria “ M’appuri tutto amor” with much tenderness, and was deservedly encored. Signor Tournerie was at home as the jovial farmer, Pluuke t. His best efforts were in the duett with Lionel, ‘’Quante voci,” aud the portar song, “ El segnale della caccia.” Signor Giandi had not much to do as a soloist, but in the first act he was very comical ; and his fine voice was heard to advantage in the concerted pieces, all of which were capitally sung—the quartette “ Siam guventi,” the nocturne “ Tho ragg'unnta seigurata,” being especially good. But the greatest success was the final duett, starting with “ The Last Eose,” and concluding with “ Gia I’April fa rittona,” which is a perfect gem as a concerted piece. In the last act Mr Lowaid played as a solo on the clarionette an arrangement composed by Signor Zelman of the air “ M’appuri,” which with its numerous and pleasing variations was faultlessly given. The audience were delighted, and demanded its repetition. The overture also was finely played.

The following is in brief the argument of “Norma,” which will be produced this evening. Gaul, at that time was a sacred Province of Rome, is under the government of a pro Consul Poliio. Pollio has become enamoured of the Arch Druid Oroveso—she, forgetful of her vows, has united herself to the pro-consul, and has become the mother of two children. His passion satiated, Pollio wearied of the high priestess, conceives a love for Adalgisa, a young virgin and priestess of the temple of Irminsul. Yielding to the anient solicitations of her lover, Adalgisa consents to Hy with him, but at the last moment, overcome by remorse at the misery she has caus.d Norma, she re calls all to her, and Pollio is overwhelmed with a torrent of reproaches from the outraged high priestess. In the second act we find Norma overcome by her despair, on the point of sacrifising her children, but better thoughts prevailing, she determines to immolate herself, leaving her offspring to the care of Adalgisa. Adalgisa, touched with remorse, promises to persuade Pollio to return to his allegiance, hut her efforts are unavailing, as Pollio is irrevocably devoted to her. At this juncture lie is discovered in the virgin’s sanctuary of the temple, and is seized by the Druids. In re-enge for his perfidy Norma denounces a fait bless priestess to them, intending to sacrildce Adalgisa to her vengeance, but at the last moment she relents, and on the name of the delinquent being demanded she says it is herself. The nature of her crime isjj demanded, and she avows herself a mother. Death is the penalty, the funeral pile is prepared, and as she is about to ascend it Pollio is seized with pangs of remorse and voluntarily shares her dreadful fate.

Such is an outline of the opera, and the sublime music composed by Bellini is worthy of the sublimity of the subject. As the high priestess, Signora Zenoni will have a fine opportunity of displaying her great tragic powers and splendid vocalisation.