ITALIAN OPERA.

Evening Star, Volume IX, Issue 2790, 26 January 1872, Page 2

ITALIAN OPERA.

Last evening Bellini's f Norm?/ ” was played to the best house of the season. Boxes, stalls, and pit were crowded, and the manner in which this, in our opinion Bellini’s chef d’puv.-e was played, was equally creditable to the company and delightful 1 to the listeners, Carried bach by the plot

almost beyond the historic period when the cabalistic form of Stonehenge was part cf Druid mysticism, in the opera of “ Noima ” we have abundant room for the evolution of that soul of music, imagination. Bellini has availed himse f of this to introduce novel situations; and the interpretation of his work by Signoras Zenoni, Cortesi, and Tournerie, assisted by Signora Eosnati, Benso, •»nd Dondi, identified them with the genius of the composer. We do not remember to have seen the same abandon thrown into the character of the prophetess that marked Signora Zenoni’s representation of it. Her action, attitudes, energy, expression of countenance, and song were all appropriate. Words could not better convey her emotions than the tones of her voice varying from the majesty of the enthusiastic herione to the softness and kindness of the friend and mother. We need not attempt to cull the brightest flowers from so brilliant a bed. From Casta Diva to the soul-harrowing scene culminating in the throwing over her the ominous black veil that marked her a livin sacrifice, in which the whole pathos and passion of the plot may be said to be concentrated, her acting and singing, seemed bat a gradual uufolding of beauties. In her highest efforts she was well sustained by ignora Cortesi, to whom the part of Adalgisa was allotted. There is a charming contrast between, the two characters that tends to give prominence to both, and this distinction was well sustained. Adalgisa, the tempted, susceptible, and gentle, but firm, forms a pleasing picture beside the commanding and majestic priestess. Signora Cortesi sang with great taste and feeling, and where needed, withlbrilliancy ; and the duets between her and Signora Zenoni were especially admirable in the oneness of sentiment by which they were animated. If we say less of Signora Tournerie, it is not that she less distinguished herself by her care in adapting herself to the part she 'played, but that less was required of her. What we have said of the ladies may be said of the gentlemen. Signor Eosnati, as Pollio, and Signor Dondi as Oroveso, appeared in very different characters, Pollio, agitated by a variety of passions—love, remorse, despair, repentance—was fitly represented both in song and action; and the stern high priest, Oroveso, now relenting in his humanity and now steeling himself in his cruel superstition, was appropriately and admirably portrayed. The character of Flavius, the monitor of tho profligate Pollio, was well conceived and ably sustained by Signor Benso. The interest of the audience in the piece became intensified as it progressed, and as each lovely air, duet, or trio excited their sympathies, they testified their approval by bursts of applause and showers of bouquets.

Subjoined is a sketch of the plot of Donzetti’s opera “ Lucia diLammermoor,” which will be produced this evening, Lord Henry Ashton, a Scottish nobleman, in order to restore his dilapidated fortunes, wishes to unite his sister Lucy to Lord Arthur Bucklaw. Lucy is, however, secretly iu love with Sir Edgar Ravens wood—whose family has for many years been at fued with with that of Ashton—and is loved by him in return. Edgar goes on a state mission to France, but before his departure he and Lucy exchange vows of bethrothal DuringEdgar’s stay on the continent his letters to Lucy are Intercepted, and by means of a document forged by Henry, Lucy is led tfj bgligve tfiat Edgar is false, and consents to‘marry Bucklaw. Edgar returns, and appears at Ravenswood in the midst of the marriage ceremony, on seeing the c.ntract signed with Lucy’s name, he tears from her finger the ring that he gave her at parting, curses her, and calls clown the vengeance of Heaven on her race. Lucy goes mad, kills her husband in the bridal chamber, and dies, and Edgar, hearing of her death, stabs himself.