THE ITALIAN OPERA.

Evening Star, Issue 3099, 24 January 1873, Page 3

THE ITALIAN OPERA.

Donizetti’s “La Favorita” was produced last evening, for the first time in this Colony, the occasion being the benefit of Signora Zenoni. Despite the inclement weather, there was a full attendance, the circle being especially well attended. We have not room for a detailed notice of the opera, which went remarkably well. There runs through it a rich, flowing vein of melody, though many would fail to recognise its many,, beauties on a first representation. The hmeficiarc sustained the role of the favorite, and, it seemed to us, sang and acted better than ever. Her vocalisation in the third and final acts was remarkably fine; the aria, “Dear Fernand,” being given with great tenderness; and was loudly applauded, while she was equally successful in the solo “This heart is breaking.” Signor Coy was the lover, and Signor Coliva the King. The former sang the pretty aria, “Gentle spirit,” with so much feeling and tenderness, as to secure for him a unanimous encore. As might be expected of Signori Coliva and Dondi (the latter playing the priest Balthazar), what they had to do was well done; while in the concerted pieces their fine voices were heard to advantage. The opera concluded, selections were given from the “ Barber of Seville,” Signor Tournerie singing “ Largo al factotum,” and Signor Dondi “ La Calunia,” with their customary success. The absence from the ranks of the company of an artiste who could supply Signor Grandi’s place is much felt, as the selections which have been given from opera bouffe have only served to kindle a desire to see more of that class of music, seeing that the company is so well able to perform it, and that (if rumor speaks correctly) in Signora Bosisio will be found a charming exponent of comic opera, who possesses the double advantage of being able to introduce in English some of our sweetest ballads.

“ La Traviata ” is the prototype of the species of drama to which “ Formosa,’ and others more or less popular belong. It is an adaptation of a novel entitled, “ The Lady of the Camellias,” by Dumas fils. It was produced in England for the first time at Her Majesty's Theatre, Mademoiselle Ficcoloinini impersonating the heroine. The “ acclimatisation,” as it was called, of this embodiment of French ethics, was the signal for an outburst of moral indignation. It was followed by whole columns of controversy relating to the influence of the modern Aspasias. It was all at once discovered that there was no English Pericles who took their counsel, and Belgravia was comforted. It was ultimately found convenient to praise the music, and leave the heroine to her fate. The music, like all Verdi’s compositions, became instantly popular, Violetta Traviata lias prepared a banquet, to which all her admirers are biaden. These would appear to be of all ranks and ages. Her apartments are the most elegant in Paris. The lady who had reduced love to a trade would exalt it to a profession, and she finds in Alfred a reciprocity of gushing enthusiasm. From the first she is attended by “ The Doctor,” for the first symptoms of pulmonary disease have been developed. She flies with Alfred to a country house, where she is solicited by his father to renounce her lover, but in vain. There is some very affecting acting and singing between Alfred and Gennont. The scene changes to a masque in the palace of Mademoiselle Flora, a lady friend, which is a very brilliant affair. Here again, all the parties assemble. There is a certain Baron, whose attention to Violetta has awakened Alfred’s jealousy, and a hostile meeting is arranged. This of course throws everything into confusion. The lady has expended the whole of her estate, house, jewels, furniture, carriages, upon her lover. He throws her portrait at her feet, and she faints. The excitement has brought on a paroxysm of her disorder, and his cruelty is rebuked even by his father. The lady is next discovered in her bed-chamber, the doctor being in attendance. From this to the close, the effect is pyocluced by a more or less faithful represents Homo f the insidious disorder from which the lady is suffering. The denouement is obvious. There has been no music of modern times comparable to that of Verdi for giving effect to mere sentimentalism. It were little use to speculate as to continuance of the present popular estimate of it. The music of this opera is from first to last of the kind which the admirers of the lyric drama cafl “ delicious.”