ITALIAN OPERA.

Evening Star, Issue 2797, 3 February 1872, Page 2

ITALIAN OPERA.

To say there was a crowded audience at the theatre last evening to witness the production of “ Faust” does net convey an adequate idea of the state of the house. It was more than crowded; people were literally packed in every part; and many had to leave sooner than suffer the discomforts of having to stand during the entire performance, or of being crushed in a corner, with the temperature insufferably hot. So large or brilliant an audience has not been seen within the walls of the Princess’s for many years. “Faust,” as played last night, was excellent in all respects but one, yis. the choruses. Instead of being improved by the assistance which was volunteered by some of our local amateurs, the result was a contrary effect. Possibly had the management depended on its own resources, the Kermese and Soldiers choruses would have been evenly and fairly sung; but a number of voices placed behind the scenes, and subjected to no control whatever, only produced a clashing which was painful in the extreme. The soldiers’ chorus was particularly uneven and harsh. The interest in the opera may be said to centre in two characters—Margarita and Mephistopholes. The former was sustained by Signora Coy ; the arch-fiend was personated by Signor Dondi. Signora Coy thoroughly realises the conception of Goethe; the Margarita she presents to us is the modest, artless, simple girl, “who loved not wisely, but too well.” It is almost needless to say that she sang well, while her acting throughout was excellent. In the garden scene, in the second act, her acting was remarkable for its naturalness—there was a true picture of the simple girl playing |in coquettishness and innocent joy with the present of jewels she receives from an unknown lover. Equally deserving of praise was her acting in the cathedral scene, where torn by feelings of remorse and shame, she grovels on the groun I and attempts to withstand the fiend who pursues her. The scena and air, in which Margarita recounts the story of the King of Thule, who kept a golden goblet in memory of his lady love, and ornaments herself with Faust’s present, were capitally sung. The solo, “Oh thou who on thy throne,” at the conclusion of the fourth act, was undoubtedly the Signora’s best effort. Signor Dondi dressed and looked the character of Mephistopheles His singing left nothing to be desired ; whilst his acting is entitled to the highest praise. The scene with Valentine and the students was finely conceived and executed, Wjth genuipb 6bn-sciousne.-s depicted on his countenance of the inability of human means to do him harm, he goads on Valentine and his friends —with grotesque diablerie he performs the acts which frighten the gapmg listeners by whom he is surrounded ; and with devilish malice visible in every line of his face, he is forced to allow them to retire when the soldiers present to him the hilts of their swords, which represent in form the §acred emblem of man’s redemption. The finale of the thb.4 set, where Meplustoples, with a laugh of fiendish mockery, witnesses the success of his plot, will not be easily forgotten. MephistopWs son? in the second ant, “Clpar the way for the golden calf,” with its accompanying amusing action, was well given by Signor Dondi. Signor Coy was Faust, and sung with his accustomed taste and feeling, his voice, which last night appeared to be sweeter than we have yet heard it, being heard to advantage in the concerted pieces. Signora Folli has not much to do as Siebel, but her song “Gentle flower in the dew,” in the third act, was nicely sung. The important part of VAl'entffie yqs filled by Signor Coliva, whoso acfi'iSg anfi ip v the fourth act, where he denounces Faust, were so well appreciated as to gain fpr hjm a separate call before the curtain. Mr Varjey has painted some scenery for “Faust.” The vision of Margaret in tbe first act was spoiled by tbe bad way in which the line-light was managed ; but the apotheosis of Margaret iu the last scene was very good; though we mi sed the chorus of angels. To-night the second and fourt acts of “ Trovatore ” and “ Pipele” will be played.