THE OPERA.

Evening Star, Issue 3728, 3 February 1875, Page 2

THE OPERA.

It is not an easy task to satisfy all who proless to be musical critics, for some adopt one standard or excellence, and every thing that does not conform to that is pronounced “ bad” • some would have another, and those who do not adopt it share similar condemnation, it is an old joke of J oe Miller's that a negro found it impossible to play an English tune on a Spanish fiddle, and in a similar spirit some connoisseurs imagine Italian operas cannot be tolerable with an English libretto. We had thought this theory long exploded, or confined to those who are distinguished in society by a sufficient smattering of Italian pronunciation to give an English version of its a owe! sounds ; but, like other aristocratic weeits, it has taken root in the Colonies. We nave no uoubt representatives of every theory were present to witness “II Trovatore” last evening, but with rave exceptions, but one opinion was exprcs.se 1 the opera, as a whine, went excellently. The dressing , was good and appropriate, the singing v.as throughout good, the scenery and decorations were artistic and elegant, and the acting was very much above the average of operatic performances even at Home. One or uwo little hitches occured, attributable probably to a lapse of memory, but they were so skilfully covered as to be hardly noticeable. Miss AUce May proved herself last evening to be equal to the_ highest effort iu what is usually considered the most difficult branch of the di it mat ic art. Her representation of Leonora, apart iroHi tho exquisite manner in which she sang the incidental music, was a natural exposition of intense passion. Devotion to her lover earned to self-sacrifice for his sake, and all the varied emotions evoked by the persecutions to which he was subjected, were finely p..urtrayed; yet even in the wildest passages tacrc was a just expression of tho sentiment in r' Uat T!v °J th ? musio - So intimate a blendim, of the two branches of imitative art bV e !tM w YTT (l P is not t0 be sained py study, but depends on quick perception, wbi■p?, 11Cing T 1 a *i l,sllly . sensit ive organisation, wlueh enables the artist to identifylierself for the moment with the feelings expressed. Experience and cultivation of voice are no doubt needed, and when attained, they aid towards f be alm °st looked upon as intuitive Sei fc ? 1 expression. Miss Howe improves mghtty both as a vocalist and actress. She had a difficult part to play as Azucena, but she succeeded admirably. It requires nice discrimination, occasional energetic bursts of passion, with sudden changes s into tenderi va i'yiug . feeling was well expressed, and her rendering of the music secured frequent and well deserved applause. Mr Hailarn s Mannco was well conceived, and tastefully worked out. We never heard his voice to so great advantage. His “Ah che la morte was most splendidly sung, aud many other passages, both iu recitative and air, were gu en witipgreat sweetness. Mr Templeton was very effective as Count dt Luna, and received an eiichmuastic encore in “The tempest of the Jleart. \\ e liked his second rendering better than the nrst. The subordinate characters were well sustained, ami the chorus were well up in their parts. The “ Anvil Chorus ” was accurately given. Repeated calls before the curtain and loud applause testified to the approbation of the audience. This evening the “ Bohemian Cirl” is to be given, when Mr Rainford will appear as Count Ainheim. Ive are glad that he has resumed Jus connection with the company, which will be much, strengthened, by his splendid voice. Jialte s pretty opera, “ The Rose of Castile,” is announced for to-morrow evening. The plot and most of the airs are too well known to need description.