THE ITALIAN OPERA.

Evening Star, Issue 3091, 15 January 1873, Page 3

THE ITALIAN OPERA .

Wc are are inclined to think that, had the musical portion of the public had the faintest conception of the rich musical treat that was to he obtained at the Opera last night, there would scarcely have been a vacant scat in the house. Still, the attendance in all parts was large ; and a more enthusiastic audience there could not be ; and certainly there was good cause for it being so, as never before in Dunedin has an opera been put better on the stage thay was “ Lucia di Lammcrmoor ” AU w ore perfection alike soloisjs, choristers, and instrumentalists. The character of the heroine was sustained by Signora Tambour ini Coy, who, on her reappearance, was welcomed most cordially. Her Lucia may he said to be one of her greatest efforts. While one is charmed with her splendid vocalisation, there is always present a realisation of the character. The actress you know not; it is the character in all its naturalness that you sco before yon ; and therein lies the Signora’s success, and, as she w’as in admirable voice, the music from first to last was rendered in a manner that will not be easily forgotten. From the opening cavatina and recitative to the mad scene, it was but a succession of triumphs for the Signora, culminating in a perfect ovation when she rendered with extreme taste and feeling the air “Ogni piacer,” with all its difficult runs given with precision and distinctness. Hardly less successful was'the aria “Spargi d’amora,” which is the last solo that falls to the character. We have before had occasion to speak in high praise of the Signora’s powers as an actress, and it need only he said now that they were again fully shown in the mad scene, the conception of which is only excelled by the perfectness of its realisation. Signor (toy was Fidgardo, and he too was in good voice. With Signori Goliva (who was warmly received on his Hrst appearance) and Dondi, he shared with the Signora the honors of the night. The vocalisation of each left nothing to he desired ; while in the concerted pieces Signor Dondi was heard to advantage. Signor Coy was highly successful in the well-known duett, “Ahver- , rano;” in the aria “Fra poco,” but his best effort was the aria “ Tu chi a Dio” in the final dentil scone. Equally good were Signor Coliva’s i aria, “ Cruda funesta; and the cahelleta, “La pradati hi suo,” and Signor Dondi’s scena, “Dalle stanz6 ove Lucia,” all of which were heartily applauded. In such goneial terms of praise have we already written, that we Hud .ourselves Ut a los's to-'describe the beautiful sestette in the second act, “ G'hi mi frema.” Indeed, it' is only by hearing it that a proper idea can be formed of the

beauty of the music and the admirable manner in which the voices taking part in it blend. Last night it created a perfect furore, and nothing would content the delighted audience but its repetition, which was given. The choruses throughout were good, as were also the instrumental accompaniments, particularly Mr Royal’s two flute obligatos. Time after time were Signora Coy and the principal artistes called before the curtain ; and in making her final bow the Signora was fairly deluged with bouquets. So thoroughly did the opera appear to have been enjoyed, and so thoroughly do we believe that its repetition would be a draw, that we hope to see it again played during the company's stay. To-night the popular “ Faust ” will be given, and in it Signora Bosisio will make her bow to a Dunedin audience.