THE DE MURSKA CONCERTS.

Evening Star, Issue 4110, 29 April 1876, Page 3

THE DE MURSKA CONCERTS.

It is not necessary to inquire into tho cause, but the fact is clearly established, that the De Murska fever is on the increase. And it is equally clear that, it has spread'itaelf for beyond Dunedin and its suburbs, for the large audience which packed the Queen's last, night included many who reside at considerable distances from town. We had thought that on one or two occasions before, during the present mouth, the theatre’s seating capabilities bad been well tested, but a far greater strain was put upon them last night than we can remember having been the case since tho house was opened. Long before the commencement of the concert, every available seat in the pit and stalls was taken; forms were brought into requisition only to be rushed; yet the number of “wallflowers’* did not appear to decrease, It is needless to say the circle was crowded, as it was generally known that tho seats there had all been secured before Madame’s illness. It says much for the arrangements in front, which were under the personal superintendence of Messrs Do Vivo and Medcnlfe, that the greatest portion of theandierce were

able to be seated so as to allow the cone art to begin within a few minutes of the advertised time. The concert itself was a pronounced success. In the first part Madame gave the aria, “Ah non credea,” and the brilliant finale, “ Ah non guinge," from Sonnambuia, in a manner that has not been equalled in these parts, and in the second part she mada two appearances. Doppler's Hungarian pastoral fulfils admirably the purpose for which it was written—viz., to illustrate the great flexibility of madame’a voice. It abounds with difficulties, yet they are surmounted with the utmost ease. The close of the song is sweetly pretty, and the final notes, though soft enough for an echo, could be heard distinctly

in any part of the building. Each effort was rewarded by vehement applause; but this last one fairly took the house by storm, and vociferous cheers took the place of the customary hand-clapping and stamping of feet. In the one case, “ Cornin' through the rye,” and in the other, “ Mandolinita,” were given as encores. Signor Susiui was not in such good voice as on his first appearance, it being observable occasionally that he too was suffering from cold. He opened the concert with a selection from the “ Sicilian Vespers”; and in the grand duo from “ Belisarius " with Signor Rosnati, sang with immense spirit, the allegro passage being particularly fine, and of course it had to be repeated. But it is in selections from comic opera that Signor Susim evidently revels. “ Non piu Andrai,” from “Le Nozzi di Figaro,” was immensely taking; and it is difficult to say which was the more phased—the audience with the singer, or tho singer with his audience. We should think, however, that tho audience had the best of it: as they insisted upon an encore. And here we would remark that the encore business is getting to he a nuisance. It seems as if an audience think there is no limit to the good nature of a singer, and that his or her powers cannot

be taxed too severely. For example, last night Signor Susini had got through two difficult arias, and with only a short interval was to appear in a third; but this was not thought worth considering by those who so persistently howled and stamped, after the Signor had bowed his acknowledgments for the fourth time. He afterwards took part with Madame in a duo from “ Crispin e Comare, ’* into which he infused such humor that one titer hearing him cannot help regretting that we in Dunedin axe obliged to be content with such fragments. Signor Eosnati is in better voice than ho has ever been on a previous visit here, and in consequence, he is heard to the Greatest advantage. The aria from Luisa Miller he concluded with a ringing high note, the clearness of which surprised us; in the duet with Signor Susini be was very effective, and the barcarolo from “ Un Ballo” was so nicely sung as to deserve fuller recognition than it received. Lastly, there are Signor Giatnmona and Mr Hill, whose flute playing and piano solos are not the least enjoyable or successful features of the concerts. The third concert takes place on Monday, when a fine programme will be put forward. Madame will sing Bishop's “ Lo, here the Gentle Lark," and be accompanied on the flute by Signor Giatnonna; together with the shadow song from “ Dinorah," which is admitted to be one of her greatest achievmeats.