THE ITALIAN OPERA.

Evening Star, Issue 3108, 4 February 1873, Page 3

THE ITALIAN OPERA.

Apolloni’s opera of L’ Ebreo, or the Jew, was produced last evening, for the first time in the Colonies, to by far the best house of the new season; all parts of the theatre being well attended, and this, the latest effort of the company, may be safely termed its greatest success. There is much in the opera that pleases ; the music is light.and flowing—at times too much so to be in keeping with the scone—and the situations are numerous, startling, and novel. It is dressed and put on the stage in a manner highly creditable to the management, who do not appear to have spared expense ; and the performers were thovppghly well up ip their parts, which is saying a good deal for a first performance. The opening scene represents the royal palace of the Alhambra—the -scene of the opera being laid in Granada—with its arcades, lion’s court, central fountain playing, ami many lamps, the artistic arrangement of which, and the excellence of the picture called forth loud applause. The unravelling of the plot commences with the Jew, Issachcr, meditating how he shall put the city into the hands of the Christians who arc besieging it, while the Moorish King is being regaled with music by dancifig girls. In the second act, the lovers, who are the Jew’s only daughter, Leila (personated by Signora Zenoni, who was not only in capital voice, but dressed the character admirably) and the Moorish Prince (Signor Hosnati, who in the earlier scenes seemed to have regained hia voice, but it was only momentary, for the unfortunate hoarseness from which he has been suffering lately soon made itself felt), exchange vows of attachment in a duett of much sweetness : but are broken in upon by the enraged father, who carries her off as a hostage to the King of Arragon. The scene of the third act is laid in the Royal tent in the Spanish camp ; and the stage represents a veritable tent, minus camp furniture. Issacher is brought before the inquisitors and condemned ti? the stake. The parting from Ids daughter is one of the best things of tRe Opera, The music is reklly grand ; and Hignora Zenoni, and Signori Coliva and 'Doiuli' do it full justice. Then follows the catastrophe, which is the burning of the camp by Issacher, who is discovered as the pavilion tumbles clown shaking a torch at his persecutors, whose tents are shown on fire ; and here the mechanist makes a very effective display, on which the curtain was raised a second time hist night. The fourth act, with its martini music, does not call for much notice ; but in the fifth and concluding one, some exquisitely pretty music falls to the lot of Signora Zenoni—notably the touching ’ air - in which she gives Expression to her l°v« £°i which ww

so well rendered that the audience would have fain heard it repeated. At the end of each act, Signora Zononi and Signor Coliva received mciited calls before the curtain, and at the conclusion of the opera a similar compliment was paid to the other principal artistes. The choruses went very evenly, with the exception of that given in the wings in the final act, which was very unsteady. Signor Coliva is too conscientious an actor to wilfully blunder, but he blundered in the vault sce,.e. It would be well for him to remember that the praying, does not kneel; nor should Ins followers, if they are supposed to be of the same faith, do so. It was intimated during the evening that if certain conditions were complied with the opera would be repeated. To-night, Lucia de Lammermoor will be played. Arrangements have been made by which the op - ra is placed within the reach of all, and at the million prices which are announced, there ought to be no difficulty in filling the house, which after all would only be a recognition of the enterprise of those whose who have taken the risk. Not only are advantages offered to the Port pcoi'le for visiting the opera, but persons residing in the suburbs will find their convenience has been consulted.