ITALIAN OPERA.

Evening Star, Volume IX, Issue 2791, 27 January 1872, Page 2

ITALIAN OPERA.

Those who hiul the good fortune to hear “hucia di Lawmeijuoor ” last evening, are

not likely to forget Signora Tamburini Coy’s representation of the Bride of Lammermoor. We have no hesitation in pronouncing it to be her greatest success np to the ..present time. It was a splendid impersonation—every phase of that difficult character being depicted with a thorough appreciation of the authoi’s conception. In the mad scene, which was very appropriately made an act of itself, the Signora’s acting was admirable ; indeed, it is impossible to say too much in pr.vse of it, while her singing in it and throughout the piece, was splendid. The effect of her acting can bo readily understood when we mention that during the continuance of the scene there was breathless silence, and at its con-

clusion the curtain fell to tumultuous applause, the Signora receiving quite a shower of bouquets when she came forward to bow her acknowledgments. The Signora’s best efforts were in the duett with Enrico “Si trama dirmi,” and the well known duett “ Verranno a te sull’aura,” which was a perfect gem. Signor Coy has not been seen to better advantage than as Edgardo. He was in excellent voice, and sang the whole of the music alloted to him with great taste. In the duett “ Verrano a te and in the scene with which the second act terminates, where Edgardo reproaches Lucia for her inconstancy, he was unusually effective. The dying scene in the last act was a fine piece of acting ; while his rendering of the aria “ Fra Poco,” could not fail to call forth loud demonstrations of approval. Nor was the final aria, “Tu chi a Dio,” less deserving of praise. But the greatest success was achieved by Signor Coliva as Enrico, who excelled anything before attempted by him. In the first act, the greater Eart of the music falls to his lot; but e was equal to the occasion, and sang it with taste and feeling, the aria “ Cmda funesta mania” being splendidly sung. We are sure that after last night’s performance people will regret if Signor Coliva is not more frequently heard than before. Signor Dondi had not much to do as Raimondo ; but that little was done well; and Signor Benso as Arturo was painstaking in all he was called upon to perform. His voice is not powerful; but he sings correctly and well. We had nearly omitted to mention two important features of the opera.—The quartette which immediately follows Edgardo’s entrance in the second act, and Mr Creed Royal’s flute accompaniement to Lucia’s last grand scena. The first was a magnificent piece of vocalisation; the blending of tbe voices was really tine, and the modulated passages were given with rare effect. A repetition of the quartette was voceferously demanded. Mr Royal’s accompaniment was rewarded with a hearty round of applause

Pacini's opera of ‘"Sappho,” or, Italianized, “Saffo,” will be presented on Monday. A sketch of the plot is as follows : —Sappho, the poetess of Lesbos, has, in an elegy on the fate of Antigonus, given deep offence to Aleandro, high priest of Apollo at Leucadia, by asserting that Antigonus, in being compelled to spring from the fatal rock of Leucadia into the sea, was the victim of a barbarous custom, and his death was a reproach to the sacred ministers of Greece. Aleandro, in revenge, persuades Faon, Sappho’s lover, that she is faithless and induces him to wed his own daughter Climene. The nuptiais are celebrated with great pomp in the Temple of Apollo, and Sappho who, not knowing that Faon is the bridegroom, has consented to sing the nuptial hymn, enterjp.“ As soon as'she learns that she has been deceived, she overwhelms Faon witK reproaches, and rushing tp the altar, overturns it. For this act of sacrilege she is solemnly cursed by Aleandro and the attendant priests. Smitten with horror at her daring impiety, Sappho is conducted Alcandro to the sacred college of the Haruspices. She requests them to inquire from the oracle what she must do to expiate her guilt. The inquiry is made, and the answer returned, that at dawn of day Sappho must throw herself from the fatal rock into the sea, The Haruspices take charge of Sappho to prepare her for the rite, and during the examination that ensues the fact transpires that she is Alcandro's daughter, who was lost in infancy. Aleandro, in an agony of repiQrge, begs to be allowed to offer up a burnt offering 39 % prppjtiation, but he is informed that it cannot be, Sappho, gapofted by the Haruspices, ascends to the summit of the promontory; Aleandro is on his knees in pi ayer ; Climene falls into the arms of her maidens : Faon would throw himself into the sea, but is restrained by the people, and the curtain decends.