THE ITALIAN OPERA

Evening Star, Issue 3092, 16 January 1873, Page 3

THE ITALIAN OPERA

Last evening, the Opera Company gave Gounod’s “Faust,” in which tho part of Marguerite was allotted to Signora Eimchctta Bosisio, Martha to Signora Tourncrio, Siebel to Signora Riholdi, Faust to Signor Coy, Valentino to Signor Tourncrio, and Alephiatophcles to Signor Domli. We may fairly say that out of London wo never saw the opera more splendidly played. The scenery was up, ropriate and well managed, and great oaro was given to stage effects. These accessories, though not absolutely essential to the musical success of a performance, add much to tho charm of an even-

ing’s amusement. They plac# the audience m rapport with the performers, through the feeling that the scene is consistent with the theme. There is consequently no violence done to the imagination, for all the arrangements tend to illustrate the piece. This unity of puqiose is csjiecially needed where diablerie is introduced, as in Faust.” We are carried hack to an age of superstition—to the period when it was a common belief that demons could invest men with supernatural gifts—to an age of visions when a.Mephistopheles found amusement in compassing the destruction of the innocent and unsuspecting. Signor Dondi’s representation of the mischievous fiend was a master-piece of acting and vocalisation. His splendid voice, correct intonation, and ap> ropriate expression, evinced his correct conception of the character. Nor do we know that Signor Coy’s Faust was less artistic. His fine tenor suited the rejuvenated philosopher, when, as if by magic he threw off the habiliments and decrepitude of age, and stepped forth with youthful step to work out his unholy compact. Hignora Rosisio was warmly welcomed on her first appearance a» Marguerite. Her fine figure and classic features suited the ideal of the character, and to. add to the charm of a rich mezzo-soprano voice, she is an actress of more than ordinary power. There was an intensity of passion seldom equalled thrown into some of the scenes with Faust, tempered by an expression of trusting innocence that realised the ideal of the wronged and injured victim. Signor Tournerie’s Valentine was a masterly performance. Signora Tournerie, as Martha, and Signora Riboldi, as Siebel, though not so prominently brought forward as the principal characters, gave effective and necessary support to them. The chorus was throughout good, and was deservedly encored in “ Oh, Gloria Oenta d’Allorbut perhaps the most thrilling effect was produced in the few bars commencing “ Che il Signore,” chanted over the dead "Valentine. It was a masterpiece of vocalisation—every voice subdued, every chord correctly and evenly given, solemnly, and with deep pathos. We had marked several passages for special commendation. but where all was well done, minute criticism is out of place. The closing scene, the apotheosis of Marguerite, was one of the most beautifully arranged pictures we have seen. It would form a fine study for a painter. In the course of the evening the actors were frequently called before the curtain, and Signora Rosisio was greeted with a shower of boquots on appearing to acknowledge the well deserved expression of admiration at the success of her efforts. This evening “Un Ballo in Maschera” will be given.