SIMONSEN'S OPERA COMPANY.

Globe, Volume VII, Issue 725, 16 October 1876, Page 2

SIMONSEN'S OPERA COMPANY.

Offenbach’s opera bouffe ‘TheGrand Duchess’ was produced on Saturday evening. Madame Simonsen played the part of the Duchess with great spirit and effect. In the opening act she sang the songs “ I doat on the military" and “ The regimental song” capitally, and her acting, too, was exceedingly good, she entering most thoroughly into the fun of the opera. In the later acts she was also successful, singing “ Say to him” and “ The svng of the glass” well ; the first of these was~ rendered with much effect, and fully deserved the waii» applause she received. Miss Lambert made a very charming Wanda. During the previous visit of the company Miss Lambert appeared in the same character with much success, but on Saturday evening she geeraed even more thoroughly to go into jfcbg part, and the result was a really excellent performance. She sang with much archness in “ The Eegulation duet,” and in the other music allotted to her. The young ladies who sang the letter songs which occur at the opening ot the third act d’d so capitally, and received an enthusiastic encore. A pretty ballet was also danced well by the ladies of the corps de halle*. Mr Florence’s Fritz was tomewhat uneven in its rendering. He looked the oharactcr well, but seemed scarcely at home in the music, and did not sing loud enough. Indeed at times it was impossible to hear his voice above the accompaniment Mr Levison played General Boom exce Jently, without exaggerating the'cbaracter in ? pyway he yet brought out to the full its humor, and he sang the music well. Mr Steinbrch was good as Prince Paul, and sang the one (long

allotted to him, “ The Hamburg Journal,” very creditably. Mr Markham was exceedingly funny as Baron Puck. The production of “ Carlo Broschi ” is announced for to-night, The music being Auber’s is a sufficient guarantee of its excellence. The opera is founded on an incident during the reign of Ferdinand VI, King of Spain. Casilda, sister of Carlo Broschi, a young musician, has attracted the attention of Don Raphael D’Estenga, a student. The King hearing her sing in the park becomes enamoured of her; she is carried to the palace, and Don Baphael, in despair at losing her, calls for Asmodeus, the demon, at the sorcerers’ tree. Carlo Broschi, who is concealed behind the tree, in order to protect his sister, personates the demon, and promises to assist Don Raphael in all his undertakings, on the understanding that he is to receive as his share, half of all benefits derived from his assistance. Casilda having escaped from the palace, it is announced that she is dead, and the King possessed by the idea that he is the cause of her death, is plunged into a state of melancholy—akin to madness—leaving the power of the State entirely in the hands of Fra Antonio, the Grand Inquisitor, who, in order to increase his power, plots to effect the separation of the King and Isabella, his Queen, Carlo Broschi, having ingratiated himself with the Queen, obtains for Don Raphael a post in the army, and he, by his bravery, obtains the highest honor, and also succeeds in all his undertakings ; Carlo claiming his share according to compact. Gil Vargas, a tutor, doubting the reality of the demon, denounces him to the Inquisitor, and through the instrumentality of Fra Antonio, both Carlos Broschi and Don Raphael are condemned to be burnt. At this moment Carlo implores mercy for himself and Raphael, and they are pardoned by the King. Carlo, having gained the royal favor, gives proof of the treachery of Fra Antonio by intercepting his correspondence with foreign Courts. The King rewards Carlo by giving the royal consent to the marriage of Raphael and Casilda, to effect which Carlo has been plotting. The opera abounds in ludicrous situations, caused by Carlo appearing at most unexpected .times to claim his share from Don Raphael D’Bstenga.