THE ITALIAN OPERA.

Evening Star, Issue 3095, 20 January 1873, Page 3

THE ITALIAN OPERA.

“II Trovatore,” as produced on Saturday evening, was a decided improvement on the representation of the same opera last season. On the whole the principals wore in better voice; while the chorus was vastly superior, and by it: augmentation, was enabled to give a good deal that was before omitted, notably the nuns’ chorus, Wc should have liked to have noticed the performance at length, but our space will only permit of a brief reference to the leading points. Signora Bosisio. as Leonora, was somewhat tame in the first act, but as the o era proceeded warmed to her work, and in the final act was excellent her, vocalisation and acting alike being surprisingly good. The aria “ D’amor sull ali rosee” was sweetly sung; and the succeeding duet, the well-known “A cho la nioite,” hy the Signora and Signor Kosnati was a perfect gem, and was rapturously re-demamled. Her Leonora is by far the best thing she has yet done here. Signora Hil oldimakcs a capital Azucena (though she looks too youthful for Maurice's supposed mother), her fine mellow voice being admirably suited to the music, while her acting is in thorough keeping with the character. In the “Stride la Vampa,” and tho duet “Ai nostri Monti,” she was highly successful. Signor Rosnati was the troubadour, and despite apparent illness, exerte I himself to the utmost to give effectively the music of his part. With the exception of the ipL “Ah si hep miq,” in the concluding verses of which he was a little husky, he was really gooff, but made up for his failure in the third act hy his splendid reudituve of "Ah, die la morte.” The Donut de Lunaof Signor Coliva was perhaps the greatest success of the evening. Added to a highly artistic conception of the character, he was in splendid voice, and sang “(1 balen” in a manner that gained for him a unanimous encore ; nor was lie a whit less successful in the succeeding “ Ora per me fatale,” and the duets in which he took part. What littlo Signor Domli as Forrando, and Signora Tourneric as Inez, had to do was done wolf by each, and the choruses went pretty evenly. We should like to see some of the principals, and especially the chorus, pay more attention to their business and not indulge in so much hilaiity on the stage, which, in moments when they are supposed to he vpry serious, is, to say the lensf of it, not seemly. Some good scenery has been painted by Mr Nicholson ; and the whole of the opera was as well played and as enjoyable us the most of those we' have yet heart!,

“ L’Africaino" is a posthumous work of Meyerbeer, and therefore invested with an amount of interest which does not attach to works produced under the direction of their composers, The libretto, which is an adaptation of a story by Eugene Scribe, and also from tbe pen of that peloffrasud story-teller, exhibits jnany indications qf incompleteness. The opera was produced in Baris under circumstances Which ggve to it additional interest. Iff was bequest by tfio composer jo his daughter, ami its first representation realised to her about 10,000 francs. As a work of ait, both as respects tho literary conception and the musical treatment, it egc. mpanspc, U 1ll<»« : ‘ wider field than is the case with other masters, In Aubcr, Bellini, and Donizetti, the music is made auxiliary to dramatic! effect. Variety ami occasional melody were sought by these composers. Meyerbeer has followed the German school, and sought to invest solid volumes of sound with magnificent harmonies. To understand the effect in this opera, the “ Huguenots” and “ Lc ITophetc” must be kept in mind. The music in this instance is not the record of popular enthusiasm or triumphs, but in the strictest sense descriptive. The plot is extremely slender. Donna Inez is in love with Vasco de Gama, the commander of a sippulrnm but her hand is sought by ifon Pedro, who is also in the' naval service of Portugal Hon Diego, the lady’s father, favours the pretensions of the nobleman rather tfiap the adventurer. About rids period tfie tdfive iraffe was an institution, tho Spaniard in America ami the Portugese in Africa deporting the native popple, qf those plages tu subserve tir Illustrate the luxurious habits of the time. Vasco has a cargo of these people, amongst whom is the Zelika, Hie “Queen of Tribes," who, npiql) tq tfio chagrin of Noltisk i, her lord, falls violently iq love with Vasco, The ship of theadyentiirer returns to Lisbon, but Vasco finds that in order to save him from the Inquisition, Inez has married Don Pedro. The two gentlemen meet again at sea, but under circumstances which contrast their respective characters. A storm at sea arises, and Vasco, with a view to save Don Pedro's vessel, hears down upon her. The gratitude of the nobleman is shown by his putting Vasco in irons, and casting him off. The vessel drifts to the West Indies, and here the powers of the scenic artist are called in aid of musical effect. Those acquainted with Meyerbeer's music, and who have not heard this particular opera, may have a very accurate notion of what such a composer can make of a storm at sea, of the effulgent lassitude of a. torpid climate, m - the esthetic solitude of a broken ami rocky sea coast. ' Dramatic justice is done by calling in the aid of fate to repay the treachery of Don Pedro, who is in his turn, driven upon the same cqfisi, miff dir.appeips. T fig DfuipaTpez, uqw a widow, again meets Vascq, ipui all the glow qf the early passion is revived, Thft love qf Zjelika, the Afripafi Queen,’ bag qf course largely contributed to this happy result, ami tho denouement illustrates Uor magnanimity, rather than her dcs-

pair. She returns to her proper allegiance after the clue ceremonial of blessings upon the more happy pair of lovers, and turns to other hopes for contentment. This composition cannot be compared for breadth of effect with either of the two great works by the same composer, which we have above mentioned, but it abounds with the grandest and most beautiful harmonies.