THE ITALIAN OPERA.

Evening Star, Issue 3090, 14 January 1873, Page 3

THE ITALIAN OPERA.

YESTERDAY’S NEWS.

The commencement of an operatic season and the opening of a theatre were circumstances that might reasonably have been expected to draw a crowded audience, but no such happy result attended the “double event” which occurred last evening. Still the new Queen’s Theatre was opened under favorable circumstances, and the first night of the opera brought together an audience which may be fairly said to have been very numerous. The lower portions of the house, the pit especially, were more than well filled : but the circle, more fr-mi its immense size in proportion to the house than in regard to the number of its occupants, presented a rather hare appearance. Indeed, it will be found, under present arrangements, a matter of extreme difficulty to make the circle look well, for there is more sitting room than is required on average occasions, while on the sides, and near to the proscenium, are se.ats from which hardly any view can be obtained ; and these, of course, are next to valueless. Something should, therefore, bo at once done towards carrying the so-called omnibus-boxes back 5 as, by so doing, the defect would in a great measure be obviated. The ventilation, lighting, and, on the whole, the acoustic properties of the Hall are excellent. With regard to the latter, it is still noticeable that there is a slight echo, which it is intended to remove by hanging curtains from the posts in the circle. The scenery is also good, and nearly the whole of it, with the act-drop and decorations, is the work of Mr 11. Nicholson, on whom it reflects credit. In the opening scene of the opera last night, a fine view of the Rialto—the work of Mr W. J. Wilson, of Sydney, was shown, and elicited a round of applause. In the second act a hitch occurred, which caused fully half-an-hour’s delay, and not a little amusement. Just as the Duke D’Este enters with an attendant, the gas commenced to play some curious pranks, and ultimately went oqt altogether. Something was wrong with the meter; but the combined efforts of gasmen, mechanists, and directors could not make it right. Mr Beaumont, the stage manager, having relieved the audience from any cause for alarm, the latter called upon the orchestra to “play up;” and candles having been provided, Mr Zelman and his assistants good-humoredly complied with the request. By the time the overture was played, the gas was again on, and the opera proceeded uninterruptedly to tfi© end. Precisely at eight o’clock the curtain rose, the band playing and the company singing the first verso of the National Anthem. “ I.qcrezia Borgia ” was substituted for “ Faust.” the part of the Duke beiug allotted to Signor Dondi. that of Gennaro to Signor Rosnati, and Orsini was represented by Signora Riboldi. The other prominent characters were sustained by Signor Favas, who took the part of Gubetta ; Signor Benso, who appeared as Rnstighello ; and Signora Zononi as Lucrezia Borgia. The plot of the piece is so well known that it would be supererogation to describe it. The chief points of interest are the ability of those who took part in the performance, and the effectiveness of the building as a place of public amusement. So far as its acoustic pro. perties are concerned, we have no hesitation in saying that they are good. We have never heard music in any room in Dunedin, with the single exception of the Congregational Church in Moray place, in which it was so effective aa in the Queen’s Theatre, when the

I orchestra is properly arranged. The sound seems to travel without effort on the part of the singer, and consequently less fatigue _is experienced, and more effect can be given to music. Last evening this was specially marked in the rendering of the beautiful airs with which “Lucrezia Borgia” abounds. Signora Zenoni sang with great power and feeling, and was well supported by Signor Roannti as Gennaro. The trio in the scena in the second act in which the Duke compels Lucrezia t-> give the cup of poison to Gennaro was so finely rendered as to secure an encore. Signora Riboldi is gifted with a contralto voice of more than ordinary compass and sweetness. As Maffeo Orsini she had not a very prominent part, but it is so far essential to the success of the piece that it requires to be effectually sustained. In this she succeeded well, and was successful in securing the sympathies of the audience. Signor Dondi has never been heard to so great advantage in Dunedin as last evening-nothing we can say cun add to his reputa ion. Whatever part he undertakes he docs well. The last time the troupe were here their weak point was the chorus. This has been remedied, and the concerted pieces were given with such precision and effect as to elicit frequent bursts of approbation, i astly. we must say a word or two about the orchestra, which is full and efficient. It is evident that each performer is master of his instrument and of the music he is called upon to interpret. Wc scarcely know a more difficult task than fell to their lot last evening. When the gas went out the audience in the pit, tired of waiting in the dark, demanded music, and 1 art of the overture to “ Guillaume Tell” was playeil from memory. Mr Creed Royal’s solo on the flute was finely given, and the different parts were taken up in perfect harmony, if not exactly as written by the composer. The accompaniments to the opera were beautifully played throughout, and, taken as a whole, in spite of the interruptions, which invariably tend to discompose both audience and performers, the first opera of the season was a decided success.

Subjoined is a sketch of the plot of Donizetti’s “Lucia di Luminermo .r,” which is to be produced this evening, with Signora Coy in her favorite character of the heroine. Lord Henry Ashton, a Scottish nobleman, in order to restore his dilapidated fortunes, wishes to unite his sister Lucy to Lord Arthur Bucklaw, Lucy is, however, secretly in love with Sir Edgar Ravenswood, whose family has for many years been at feud with that of Ashton, and is loved by him in return. Edgar goes on a state mission to France, but before his departure he and Lucy exchange vows of betrothal. During Edgar’s stay on the Continent, his letters to Lucy are intercepted, and by means of a document forged by Kerry, Lucy is led to b lieve that Edgar is false, and consents to marry Bucklaw. _ Edga? returns, and appears at Ravenswood in the midst of the marriage ceremony. On seeing the contract signed with Lucy’s name, he tears from her finger the ring that he gave her at parcing, curses her, and calls down the vengeance of Heaven on her race. Lucy goes mad. kills her husband in the bridal chamber and dies, and Edgar, hearing of her death, stabs himself.