THE OPERA.

New Zealand Times, Volume XXXIII, Issue 5234, 1 January 1878, Page 3

THE OPERA.

“11, TROVATORE.” The large and enthusiastic audience which welcomed the first appearance of the Royal Italian Opera Company must have been most gratifying and encouraging both to the energetic agent. Signor Nobile, the management, and also to the performers themselves. Notwithstanding that “II Trovatore” has been played more often than most other operas, it generally secures a large audience. The plot of the opera, as will be seen .from the following, affords such immense scope for dramatic effect, especially in the part of Azucena, the Gipsy’s daughter ;— Revenge is the mainspring of the action of “ II Trovatore.” An old gipsy woman is seized and burnt alive for having bewitched the Count di Luna’s infant son. Azucena, the daughter of the gipsy, to be revenged, steals the Count’s son and burns him, as she fancies, on the same pile with her mother. She is horrified, however, at finding she has thrown her own child by mistake into the flames.’ The desire for vengeance becomes the sole object of her life The Count’s child is brought up as her own under the name of Manrico. As he advances in years, he distinguishes himself in the wars, and carries off the prize at a tournament, where he is crowned by Leonora, with whom he falls in love, and who loves him in return. The reigning Count di Luna, elder brother of the stolen child, is also in love with Leonora, who rejects him for Manrico, which fires the Count’s jealousy. A report of Manrico’s death reaches Leonora, who resolves to pass her days in a convent. The Count attempts to carry her off, when Manrico interposes and prevents him. The castle in which the lovers find shelter is stormed by the Count and taken, and Manrico, being made prisoner, is condemned to die. Azucena is apprehended, and, being recognised as the gipsy who burnt the Count’s brother, is adjudged to be burnt alive. In exchange for her lover’s pardon, Leonora promises her hand to the Count, but, to prevent the marriage, takes poison. She flies to the prison to liberate Manrico, who, suspecting the terms by which his freedom is secured, rejects her offer. Too late he discovers she has sacrificed herself for him. The Count, infuriated by the deceit practised upon him, orders Manrico to instant execution, and leads Azucena to behold her son’s decapitation. His exultation is converted into horror when told that the victim is his own brother, and the gipsy is avenged for her mother’s murder. The scene is laid in Biscay and Arragon. It is unnecessary to say that Signora Gnadagnini was the great centre of attraction, and that her performance of Leonoro gave the utmost satisfaction —indeed it was a most excellent performance throughout. The first opportunity in which the fine quality of Signora Guadnini’a voice could be heard was in the aria, “Tacea La Notte,” which was given with splendid effect, and rendered with much expression. Closely following came an aria of an entirely different character (allegro "ui-ito), “Di tale amor die dirai,” which was rendered with great brilliancy and verve, and seemed to suit her voice quite as well as the previous andante ; but why these two arias were sun" in a key a semitone lower than intended by the composer seems inexplicable ; but her greatest triumph was gained in the fourth act, her conception and rendering of the rOle of Leonora during the “miserere" scene being an immense improvement on previous representations in this city. It is no doubt a most trying ordeal for any actress to go through, and more so when every care is used not to burlesque the piece. It may still bo in tho memory of many of our readers that within the last ten years an actress of Kuropoan celebrity fairly convulsed the audience with her rendering of this same scene ; it is therefore additionally gratifying to be able to accord our warmest encomiums on the present occasion. Signora Venosta, as Azucena, most determinedly, disputed the laurels.of the evening with the prima donna, and, in our opinion, not without a very largo amount of success. When our readers who were unable to be present and judge for themselves are informed that she is by far the best contralto that has been heard in the character in New Zealand, it will be with regret that they only read the account of the performance, which was a masterpiece of the lyric drama as rendered by a very groat artist. As with Signora Ristori, the great tragedienne the smallest trifles of stage business were considered worthy of the greatest study, so it appears to be with S gnora Venosta. Her wonderful expression of countenance, her action, and indeed her whole bearing entirely dispelled the idea that it was

mere acting that was being witnessed, so great is her delineation of the character. Signor Paladini, as Mahrico, by means of his spfendid voice, had won the good opinions of the audience even before his appearance ou the stage, his “ Deserto sal la terra ”, ringing out with great purity of tone. In the aria “Ah si ben meo” the audience had a rare treat, and fully appreciated the same, if rounds of hearty applause are in any way to be accepted as a fair criterion of popular favor. It was before mentioned Signora Guadagnini was unquestionably a most artistic Leonora, and Signor Paladini extremely good as' Manrico. The “miserere” scene therefore may be accepted as a musical treat of no mean order. Signor Gambetti, who enacted the part of the Count, has a full and pleasing baritone voice, and in addition is an extremely good actor, if a correct opinion can be formed on witnessing only the performance of the Count. The great “ gushing ” days are now nearly over ; but yet, with the fear of being charged with this offence before us, it is quite impossible to conclude this short account of the performance without once again referring to Signora Yenoata, her rendering of the aria “ Stride la vampire,” and her part in the duet, “ Si la stanchezza," with Signor Paladini, were both extremely good, her splendid acting in the latter part of the opera fairly creating a furore. She is by far the grandest Azucena ever yet seen in the colonies. The chorus on the present occasion was not so good as might have been expected, notably in the “miserere” chorus ; nevertheless circumstances which we are unacquainted with probably amply account for any deficiency on this score. The orchestra, under the able baton of M. Carron, played their part most satisfactorily. The original operatic orchestra has been strengthened by some of our beat local talant, who render considerable assistance. Mr. Harcourt Lee presided at the piano most efficiently, but we must say that his great charm (when here last with the Madame Goddard company) of making the piano a subservient instrument seems entirely to have disappeared. Solos for the different orchestral instruments, such as violin, violincella, and wind instruments, ought not to be jingled out (we find no other word so expressive) on such an instrument as the piano, which deprives the orchestra of its most beauteous effects. Mr. Lee ufill do well to remember this. This evening will be produced Rossini’s opera bouffe “II Barbiere di Sivig. lia.” As this opera has not been as frequently before a Wellington audience as others, we intended to give a short outline of the plot, but our limited apace compels us to hold it over.