ITALIAN OPERA.

Evening Star, Volume IX, Issue 2793, 30 January 1872, Page 2

ITALIAN OPERA.

A house inconvemeiTfify crowded in every part was brought together last evening to witness the production of “Sappho,” which it was understood was to be given with unusual effect. In this respect, we are constrained to say, the management hardly fulfilled its promise, and general disappointment was the result. It may be that the works of Paciui are little known, except to musical connoisseurs, or that the music of this, the greatest of the Italian maestro’s works, is so severe and classical, that it will take time to give lovers of opera in the Colonies a relish for *his productions. From either of these causes there were not a few of the audience whose unaquaintauce with the opera had led them to expect too great things, which the resources of the company were incapable of supplying. It is very evident that to produce “Sappho” with anything like success requires accessories which the troupe do not possess, and which the Princess’s is incapable of furnishing. The first scene in the first act, and particularly the temple scene in the third, to have proper effect given to them, require a depth of stage which is altogether wanting; and the absence of a sufficient number of choristers rendered the omission of a good deal of of the music necessary. Still, for reasons which we urged on a previous occasion, some allowances are to be made on account of the difficulties the management have to contend with in presenting a new opera almost nightly. Some of the music was very well sung; but, on the other hand, some of the beso pieces did'not go so nicely as might have been expected. The gem of the opera is undoubtedly the duett “Di quai soavi lagrime,” in the first act, between Sappho and Climene ; but, owing to some clashing between the vpices and the orchestra, its success was greatly marred. Signora 3enoni was, however, very effective in her singing in the second and last acts. Her aria “Premio d’amor,” in which while in a state of frenzy she sings the nuptial hymn for Faon and Climene to a supposed harp accompaniment, her voice was heard to advantage Signora Polli was Climene, and with the exception we have referred to, sang the whole of the music allotted to her with care ahd” feeling. Sjignoj; Coliva, who sustained the character of Ajeda’ndro, was the only male singer who appeared to take in. teresl in his part; he both acted and sang well; his aria “Di sua voce,” in which he denounces Sappho, and the finale and stretta “ Sappho qui siamo in Luecade,” being most creditable efforts. In the course of the opera, Mr Howard played a clarionette solo with his accustomed skill; while the bassoon obligato of Mr M‘Coy, and the flute accompaniment of Mr Royal to Sappho’s song in the last act, deservedly secured a round of applause for the executants. Some new scenery, painted by Mr Varley, did not escape notice. To night, Ferran’s comic opera of ‘ Pipele,’ with Signor Grandi as the rag-picker—his great character—will be produced; on Wednesday, “.Norma” will be repeated ; and on Thursday (by request), “ Lucia di Lammermoor, ”