ITALIAN OPERA.

Evening Star, Issue 3086, 9 January 1873, Page 2

ITALIAN OPERA.

Some thirty years- ago, a galaxy of the brightest talent that could well be brought together appeared on the lyric stage in London. It is a question whether, either b afore or since, a star combination of equal brilliancy and excellency ever bid for popular favor in the operatic world. Those were, the palmiest days of Italian opera in the old country, when such artistes as Grisi, Persiani, Viardot, and Malibran among women, and Kubini, Mario, Tamburini, and Lablache among men, personated the principal characters, and charmed and delighted the rank and fashion of the great metropolis by their inimitable acting and unrivalled singing. During the following decade the taste for Italian music wonderfully progressed ; and in 1851 we find the Italian lyric drama occupying the boards of two theatres —the Queen’s and Covent Garden. Not only among the aristocracy, but among all classes of society, the spread of musical taste was marked and rapid, and an ardent desire shown to become bettet acquainted with the greatest works of the greatest masters. For the days of the great artis es above named vocal and histrionic tab nt of the highest class contributed most t> the excellence of operatic entertainments, the band and chorus being i egarded as of comparatively secondary moment; but of late years the orchestra has come to play a much more important part. This elevation of the orchestra in the lyric drama was mainly due to the productions of the Germ-m school of composers, headed by Meyerbeer and Beethoven, whose varied transitions and rich instrumental coloring gave to the orchestra a prominence never before accorded to it. But to the average audience the charm is not in the composer but in the performer. The majority of opera goers frequent the theatre more to see the acting and the spectacular display, and to criticise and applaud the soloists, than to approve the genius of the composers who transmit their meaning through the aid of strings, reeds, and brass. German and Italian audiences are tlie » oat critical keenly susceptible to the beauty and harmony evolved in the world of sweet sounds. Italy has been truly called the land of song, and ibis statement is no unmeaning, sentimental platitude* The best singers the world has ever known have hailed from its sunny clime, and all her sons, peasants as tfell as nobles, are endowed with more or less musical feeling. Very little, however, has been done to elevate and direct a taste which is all but universal; and it is a well known fact that music, as a science, has, up till very recently, been wholly uncultivated in Italy. The musical proficiency of the Germans is worldrenowned. Music, with them, seems to be * part of the daily routioe of wo* The works of

the great masters are studied and practised by people moving in the moit lowly and humble spheres, while nearly every small town has its amateur musical society, where the masterpieces of genius are perseveringly and spiritedly rehearsed. Music has a hold upou the hearts of the people, and is cultivated without any pros{jective thoughts of display. Much has been oarnt from the Germans, and music among English-speaking communities is coming to be regarded not as a mere superficial accomplishment, but as i study which, conscientiously and perseveringly pursued, elevates and enlarges the imagination, and induces clearness and precision of thought. Opera was introduced to these Colonies some years ago by tiro spirited and energetic entrepencur Mr Lyster, who in now in Sydney with the English portion of the company, the other half of which, under M. Cagli’s direction, will arrive here to-morrow. The various opera companies which have performed in the Colonies have been accorded a fair amount of patronage and support, and where merit has been shown there has been no lack of approval. Madame Lucy Escott and Mr Henry Squires will long he Temombered as clever artistes ami pleasing vocalists. The company, which is to open on Monday night for a short season, performed in May and June last in Melbourne, wi th great success, the principal artistes meeting with an enthusiastic reception. The newprima donna, Signora Bosisio, made her debut as Leonora in “II Trovatore,” and “ achieved a most genuine and unequivocal success.” She is described as hawing a most graceful figure, a pleasing manner, an expressive face, and a sweet, syiapathetic, and feeling voice. Signora Biboldi, another debutante, is favorably noticed, her acting as the Gipsy being spoken of as the best since, the memorable triumph achieved by Madame .'Escott some years ago. The musical dilector, Signor Zelraan, is also an accomplish ed musician. Altogether the people of Dunedin hav# a riuh musical treat in store for them.