ITALIAN OPERA.

Evening Star, Volume IX, Issue 2792, 29 January 1872, Page 2

ITALIAN OPERA.

j The management put forth on Saturday evening what was undoubtedly “ the best bill of the season, ” but various causes operated against there being such a good house as might have been reasonably expected. Still the attendance was very good, the lower parts of the house being well filled ; there were, however, too many vacant seats in the circle. “Lucrezia Borgia’' was reproduced with a success fully equal to that which attended its representation on Tuesday evening. The principal singers were in good voice—Signor Rosnati, in particular, having almost recovered from the hoarseness he ry® 3 laboring under the two nights before ; and the choruses were given with evenness and precisian. The trio between Lucrezia, the Luke, and Genuaro, which is the feature of the second act, was splendidly sung, and had to be repeated. Lucrezia was followed by the comic opera of “ Don Pasquale,” in which Signor Grandi fully sustained his reputation of being the best buffo singer ever heard in the Colony. In the second and third acts he was preeminently amusing ; and his byplay in the scene where he makes love to and again where that lady gives him a practical taste of her temper, excellent. Every little point that could be made to tell was taken advantage of by the Signor—even the insignificant episode of the presentation of the toys which the Don makes to his lady love as a token of his affection was given a prominence to which it would only receive at the hands of a clever artist. Those who witnessed Signor Grandi’s performance on Saturday night, will, we feel sure, not lose the opportunity of seeing him in what is admitted to be his greatest effort—Pipele, in the opera of that name, which will be produced to-morrow evening. Signora Cortesi made a most bewitching Noriua, while the part of Dr Malate f $ found a most able representative in Sig.iov Tounerie. The music was so well sung throughout, that the only regret was that the lateness of the hour rendered the exclusion of a large portion of the score a matter of absolute necessit}'. The duett between the Don and tbe Doctor; Signor Tounerie’s song in the first act, “ Like some bright angel beautiful” ; and Signora Cortesi’s cavatina, “ I too the magic virtue know,” were the musical features of the opera ; the gem of which, however, was fie well-known serenade, in the garden scene in the last scene, which was deliciously sung by Signor Coy, and fully meiited the rapturous applause which' followed its conclu-.ion. The accompaniment was very nicely played by signor Zelmau.

On Tuesday will be produced “ Pipele. ” It may interest theatre-goers to know that in Melbourne, Sydney, and Auckland it has created a perfect furore, and has been repeated time alter time. At the present time the moremux of the opera have been published in Melbourne, anti the work baa run through two editions. The acting of Signor Grand! in it is said to be superb. The following is an outline of the plot : —TJje scene of the opera is laid ip Parjs,

Pipele, the porter, and hi; wife Madalena are an eccentric couple, who afford a great deal of amusement to their acquaii.tances. Then there is a rascally old notary, one Don Jacopo, who has fallen in love with a young workwoman named Rigoletta, who by no means reciprocates his passion, as she is enamoured of the notary’s clerk, Carlo. The old notary, to rid himself of his rival, accuses him on a false charge of robbery, and consigns him to prison. Carlo’s unlucky fate excites the commiseration of the friend Cabriore, one of Pipeli’s chief persecutors, and he determines to effect his release. For this purpose he enlists the services of the forgiving porter, who visits Carlo in prison and bears a note from Rigoletto to him. Carlo takes advantage of Pipele’s simplicity, and contrives to escape, leaving the porter locked in his place. Pipele s mobbed by the prisoners, who make him pay his footing, in which operation he gets gloriously drunk, but is at last released. In the meantime, in the interests of her lover, Rigoletta, in the disguise of a Creole, makes love to old Jacopo, and the fickle and amorous old rascal, becoming enamoured, gives her a paper affirming Carlo’s innocence, and consenting to his union with Rigoletta. During these events the porter’s wife, Madalena, is in a state of distraction at the loss of her husband, but her anxiety is removed at his re-appearance, and through thepotency of his recent libations he does not recognise her; an amusing imbroglio follows, until Pipele is convinced of his better half’s identity. The opera terminates with a general rejoicing, consequent on the union of Carlo and Rigoletta.