THE ITALIAN OPERA.

Evening Star, Issue 3103, 29 January 1873, Page 3

THE ITALIAN OPERA.

Though the attendance last night was averagely good, it was by no means commensurate with the quality of the entertainment, sor undoubtedly “ Macbeth’ VJ is one of the finest of the company. Opinion is divided as to the merits of the work, some considering it Verdi’s chef d'ceuvrc, while others (including ourselves) willingly admit that it contains some splendid music, which, according to the required situation, is either weird-like or in that flowing, harmonious style which is peculiarly Verdi’s own, but is defective, because the composer has preferred to give some of the best points as recitatives, in which form they fail to excite the attention they would command were the melody in keeping with the scene, which is grave and sad. But there can be no question that the opera is faithfully interpreted by the two artistes on whom the full weight of the work rests. ' Little as have Macduff and Malcolm to do in the play, there is still less for them to do in the opera, in which the acting, apart from the witches’ scenes, is confined to Macbeth and Lady Macbeth. The latter is impersonated by Signora Zenoni, and the former by Signor (Joliva In no characters have these artistes appeared to greater adw.nti’,ge than they did last liigfct. Bo th were‘ in splendid yoitfe, and their singing and acting were alike perfect. The prima donna was especially good in the duett where she counsels Macbeth to commit the murder of Duncan, the (“ Vieni al trove,” being a brilliant piece of vocalisation) ; and in the brindisi in the third act; but she was positively grand in the somnambulistic scone in ffie final qct. Her entrance is marked by a pretty prelude with olaripnet qbligatp, finely played by Mr Howard, which was thoroughly appreciated ; apd then follows as fine a piece of acting and tender vocalisation as vo have heard, the scene concluding with a

highly dramatic exit. < The pent-up interest in the scene found vent in loud and long-continued applause, which was fully deserved. Signor Coliva’s Macbeth must be seen to be appreciated. It is essentially an artistic performance, and must be reckoned as the best thing he does. The Alias in the fourth act, “ Oh mio terror, and “Yadi inflamme” wore finely rendered; but it was in the final aria, “Pieta, respecta, amove,” that Signor Coliva was best heard, and that ho gave magnificently, fairly rousing the audience into ecstasies of admiration. Signor Coy was Macduff, and Signor Dondi, Banquo, and it is almost needless to say they contributed (as they invariably do) their share to the general success. There are some spirited choruses (principally by the witches), which were very effectively given ; and also a good deal of work for the instrumentalists, who, as might be expected of them, do the music full justice, Wc would only mention the finale of the second act, with its fine orchestral accompaniment, which is one of the gems of the opera, and last evening narrowly escaped an encore. The mechanical effects arc also good, and reflect credit upon Mr F. Smith. To-night “ Traviata ’ will be played ; on Thursday, “Norma,” with Signora Zenoni as chief priestess, and Signora Coy as Aldagisa, for the benefit of the Benevolent Institution; and on Friday, Macbeth will be repeated, when we would strongly advise those who last night did not see it to go to the Opera. ,