THE ITALIAN OPERA.

Evening Star, Issue 3098, 23 January 1873, Page 3

THE ITALIAN OPERA.

I,os Huguenots ” was produced last evening at the Queen’s Theatre, and, as might have been expected, the house was' tilled, 'pho plot is based upon ‘one of t|ie darkest 'pages in Muropeau history -the massacre of the Huguenots. It is not very complicated, nor is that needful in Opera. All that is requisite is well contrived,, with exciting situations calculated to awaken passion, thus giving to a composer the opportunity of introducing the most effective music. In “ Lew Huguenots,” Meyerbeer has availed himself of these advantages. The early

scenes represent pleasure, and pleasant efforts. Marguerite di Valois is anxious to be an angel of peace, and to heal the religious feud between the Protestants and Catholics, and, in order to do this, projects a marriage between one of her maids of honor, a Catholic, and Sir Raoul diNaugis. This might have succeeded, had nothing intervened to prevent the match, but obstacles inter) ose ; she is married by her father’s command to another, and the feud between Homan Catholic and Protestant becomes heightened into tierce hate, until at length it resolves itself into that fanaticism on one side, that led, in the name of religion, to the massacre of the Huguenots. Marguerite di Yalois was represented by .Signora Coy, whose chief efforts were required in the first two acts of the opera. Site sang the arias and recitatives incident to the character with much sweetness, but they, like most of the music in the earlier part of the opera, lead up gradually to the more exciting scenes. The chi' f weight of the piece fell to the lot of Signora Bosisio, as Valentina, and in the fourth act, in which, being made aware of the foul conspiracy, she strives to detain Raoul that his life may be saved, she threw such energy of passion into the part that, in their' enthusiasm of admiration, the audience literally showered bouquets upon the stage. Signora Iliboldi as Urbano, page to Marguerite, sang with great taste and feeling, and was compelled to yield to the determined call for an encore in the aria ‘‘No, no, no,” in the second act. Of the male characters, Signori Rosnati as Sir Raoul, Ooliva as St. Bris, Tournerie as Count di Nevens, and Dondi as Marcel were the principal. We need not burden our report with minute criticism, nor could we say with any degree of truth which of the efforts of each deseivcd the highest praise. Excellent singing was combined with most effective acting, and left little to be desired. The orchestra vied with the vocalists to give effect to the piece. Meyerbeer’s compositions, in fact, have special reference to developing instrumental effects. The opera was well put on the stage, and the dressing was appropriate and elegant.

This evening is set apart for Signoia Zenoni’s benefit, when Donizetti’s opera of ‘‘La Favorita” will be produced for a first time, and selections given from “II Barbiere de Seviglia,” Signor Tournerie giving “ Largo al factotum,” in which he is inimitable. We have only room for a very brief sketch of “ La Favorita,” as follows Fernand, a Spanish monk, is enamoured of Leonora, the King’s mistress, whom he first met at her devotions in the monastery, where ho is domiciled, and whose transcendent beauty fills him with such worldly thoughts that he determines to forsake the cloister, and seek the object of his passion. He soon discovers her through the instrumentality of her duenna, who contrives an interview between them, when Leonora tells him how fondly she loves him, but in the same breath bids him leave her and efface her image from his mind, and evidences her affection for him by showing how she has gained him preferment in the King’s service. Fired by an honorable ambition to make himself worthy of her, he proceeds to the wars, and there proves himself to he such a consummate warrior that lie defeats the Turks, and is regarded as the saviour of his country, and, returning to it, has honors heaped upon him ; but these he refuses, his only desire being the hand of Leonora, which the king bestows on him, and as the marriage is about to be celebrated, creates her a marchioness, and the bridegroom a marquis. Then arrives on the scene the priest Balthazar, Bernard's companion in the cloister, who reveals to the latter the true character ol his newly-made wife. In the scene which follows this denouement Fernand bitterly inveighs against the deception that has beep practised on him, resigns his honors, ami in anger utters such treasonable things that he is consigned to death by the King. Leonora takes the veil, and in the monastery where she passes the rest of her days, Fernando is brought before execution. The lovers meet, the old passion is revived, and they exchange vows of constancy. Leonora dies broken-hearted, and Fernand only survives a few hours.