THE OPERA.

Globe, Volume XXII, Issue 1848, 24 January 1880, Page 3

THE OPERA.

Any doubt t hat may have arisen in the minds of some as to the success that " Oarsmen" was to create was set at rest by laßt night's result. It needed but a small number .more to have made the dress circle a crush, and in tho stalls there was no seat to be had, shortly before the time of commencing. Numbers had to content themselves with standing room, and not much of that, to see anything of the performance. "Carmen" was given for the .first time at the Opera Comique at Paris on the 3rd March, 1875, just three months before the death of the composer. This work ■which turned the fortunes of her Majesty's Opera House last season, is the last •and is considered the greatest work of its master, and has obtained a higher popularity than has been secured by .any other lyric drama since the production of Gounod's " Faust." The libretto, founded on Merimee's fascinating novel "Carmen," is said to preserve the leading incidents faithfully, and it certainly presents a succession of interesting scenes, susceptible o£ varied musical treatment, which have been turned to account in a remarkable way, and which no one who hears the music will for one minute deny. Whether it contains much evidence of a creative genius few in Christchurch are in a position to judge, but the peculiarity of the music, which we believe contains features of the Spanish and Bohemian, may lead many into the belief of its originality. Be that as it may, there are few who have the opportunity of judging. It contains however many artistic points, and a great deal of eccentric harmony, to which upon this short acquaintance we have not quite reconciled ourselves Besides this there is an intense feeling of myßtery pervading the whole, relieved here and there by gradual emergence into light, only to be lcat again in the mysterious. For instance, in the terzetto ■"Now pretty cards," and in the finale to the third act at the duet between Michaela and Don Jcae, and in the Toreador's song, at the words " Toreador now guard thee" (we quote from the vocal score as publißhod by Metzler and Co., as but for the music it would bo difficult, and at times impossible, to follow, so different is the version as given last evening to the published text). This mysterious character alluded to never gets more than half way towards sublimity, but oonfineß itßelf generally to that mysterious position from which it could be wished it would oftener extricate itself. We venture the assertion, the most educated musical ear can give no very decided opinion ■as to its meritß upon a single hearing, but are of the opinion, formed of course upon this limited acquaintance, that its chief attraction lies in the plot and its accessories, which are of a highly sensational character. The part of Carmen, it is hardly necessary to say, is a difficult one to assume without bringing into prominence the sensuality cf the reckless <3ipsy, without lapsing into vulgarity and imparting to it a too realistic impersonation. That Madame Bobo Hersee fairly succeeded in this responsibility it is only juit to admit; •but that Bhe was equal to the demand upon her vocal powers it would be equally unwise to assert, not as a matter of execution, but rather in intonation, much of the music beiDg in a register where her forte does not lie. The vivacity and emo tional power displayed by her acting were sufficient to render her an attractivo repretative in that role. In the duet with Don •Jose, " Now I will dance," and again in the last act at " Escamillo, I love thee," Bhe won her chief success. Mies Bessie Boyal, who had a considerable share in the performance, as Michaela, sang in the the duet with Don Jose, and in the air "Yes, this is then the haunt " in Buch a manner aB to secure in the latter an encore, and displayed a voice of no great power but of sweetness when she did not force it. Mr Beaumont was a great success as Don Joso, his voice appearing remarkably clear, and which sustained that clearness throughout. His most successful efforts were in tho first act, where he receives a message from his mother, by tho hands of Michaela, in the air in the duct where Carmen dances, " Scorers thy flow 'ret," and in the duet and finale, in which last his efforts received an ur deniable fmark of recognition. Signor Verdi wa3 never in better form than in the role which ho assumed last evening, and tho Toreador's song gave him a splendid opportunity, which was not lott upon him, and which brought down tho applause which the occasion demanded. Hiß finish on Fat at the end of tho third act was a marvel of power fairly putting tho chorus in tho shade.' Mr Templeton as Zuniga did what was required of him without any overstrained effect, and the remainder of thoso who composed the cast contributed in a praiseworthy manner in their respective parts. Of tho concerted music tho quintette "All's propared " mav be said to have been rendered well, and is one thut required somo ability to effect it. The orchestra, under Signor Zelman, behaved with eredn to themselves, and played herecit. and air " Have no fears" and the prelude to the third act, which is one of tho most interesting pieces of the instrumental ion, with marked effect. " Carmen " i 3 to bo repeated to-night and until further notice, and it is expected that it will run for several nights.