THE OPERA.

Globe, Volume XXII, Issue 1853, 30 January 1880, Page 3

THE OPERA.

The production of Verdi's " Aida" has been looked forward to with no small degree of interest, and laet night has proved that it may be ranked as one of the most successful operas of the season. No pains appear to havo been spared to render the mise en scene 39 attractive as possible. This work, written ■for the edification of the Khedive of Egypt, was brought out in England on 22nd_June, 1876, with great success, and still maintains its position by the gorgeous spectacle which in its oriental magnificence it represents. It differs from its composer's other works in such & degree that few would recogrije in it the hand of the master who wrote " II Trovatore," &.O. It does not abound in lengthened airs or recitatives, but moves on alternating between •hort broken phraßes of quaint strains and dance music for the proceesione. The music illustrates the spectacle, but gives to the principals engaged but a brief pleasurable sensation throughout, each having about an equal share in its representation. The plot, it may be notiasd, is of an extremely gloomy oharacter, but is relieved by its many spectacular effects. Many of the situations are highly dramn'ip, and the muaic sympathises with the different events as they occur ; as in the duett " Amtre, amore," for Aida of Amre-is) and Amreris (the King's daughter), the duett ire which Aida beseeches Badames (the Kir g's favorite General) to fly to Egypt, and the duett in the dungeon, which, are all replete with tenderness. Mueh of the muaio in the Kir g's palace and in the temple is highly effective, Radames' love *onf, "Celeste Aids," tha duett "Porse,

L'aretano amoro," and the trio " Vioni O di'ejta." The music for Aida taxes tho best powrß of an artiste, and requires not only a good memory but a perfect confidence to guide it in a part that receives so little assistance in the leads. In this role Signora Coy gave a deep significance and energy to the different shades of feeling. In the first act the love song of Radames, "Celeste Aida," was given by Signor Coy with great feeling. The duet " Forse L'arcano amore," and tho really fine trio " Vieni, O diletta," for Aida, Amneris, and Radames, were grandly given by Signoras Coy and Venoßta and Signor Coy. The chorus "Su del nilo," which is a bold piece of music, was not quite what it should be in tone. In this scene Mr Johnston as the King has most to do. A little more energy and real power would make a deal more of this character. In the second act the rise of the curtain discovers the apartments of Amneris, in which are seated the little Moorish Blaves, whoße grotesque dancing, with the peculiarly appropriate music by the orchestra, has a strange fascination about it, and is by no means the least artistic thing we know in opera. A " pas de seul" was introduced last evening, which presumably is incidental to the opera ; but, whether it be so or not, it appears an incongruity, more especially after the dance by the Moorish slaves. The scene in which Amneris taunts Aida with her love for Radames contains tho duett "Amore, amore," which wa-> excellently given. This scene also gives Signor Venoßta a good opportunity which was not lost upon her, for displaying that dramatic intensity for which she is justly oonspicuous. The sestetto in the finale and the display on tho stage were both worthy of praise. This scene was strengthened by the addition of an amateur band in the procession, the effect produced by which would be improved by a better clarionet or the Bame a little more in tune. In tho third act Aida finga the air " Ooille azzuri," which has a tasteful aooompaniment, and was as tastefully played, the conclusion of it being noticed for its peculiar rushing accompaniment by the strings. Now occurs a great scene between Aida and Amanastro (King of Ethiopia), and father of Aida, who has been taken captive by the victorious Egyptians, in which is the duett " Ravedrai le forreste," where he urges her to prevail on Radames to disclose the route the army is to take. In this Signor Verdi produced a marked effect, and his acting, and that of Aida, at the close of the scene, where he curses ht r for her timidity, was a fine display of dramatic power. The duett where Radames urges Aida to fly to the desert, as also the trio where he is arrested as a traitor, having been overheard by Amneris and Ramphis, were complete successes. The fourth act finds Amneris pacing up and don n outside the prison, blaming herself for having been the cause of Radames' unfortunate position. A chorus of priests from the inside is heard, who try Radames and condemn him to be entombed alive, and Amneris is discovered among the priestesses waiting, unconscious that Aida has entered the living tomb to Radames. Mr Templeton, who took the part of Ramphis, the chief priest, was fairly successful in that character. In the opening scene he appeared at his bestTaking the performance as a whole, it was better put on the stage than many of the lighter operas, and it is all the more worthy of credit, on account of the difficulties there are to contend with, and the character of the music, of which the highest praiee that can perhaps be bestowed on it is say that it contains nothing that is at all likely to become common.

The orchestra, under Signor Zelman, may be said to have been in excellent trim, and gave the different instrumental peculiarities, particularly in the introduction, where the first violins (divisi) have it all to themselves for several bars, with great neatness. " Aida " is to be repeated to-night.