THE OPERA.

New Zealand Times, Volume XXXIII, Issue 5235, 3 January 1878, Page 2

THE OPERA.

IL BAEBIERE DI SEVIGI.IA. The performance of Rossini’s “XI Barbiere" by the Roval Italian Opera Company, introduced four fresh artists to the Wellington opera goers. Signora Caranti Viti, Signori Caraero, Cesari, and X’essada, artists in an entirely different line of business, and yet not the slightest degree behind iheir predecessors in their several accomplishments. Signora Vita, as the Rosina of the opera, made her debut, and must be complimented on her unqualified success. Her voice is well suited to the light style of music in which Rossini delights to revel, as was evinced by her piquant rendering of “Una Voce.’’ The high qualifications of this prima donna abundantly prove that this company is not compose 1 of one single artist alone, but that it contains others who have already become popular favorites in Wellington. Signora Vita well deserved the hearty applause with which she was received. Her voice was in excellent condition, and at the same time her acting infused a spirit into all she undertook. The cavatina “Une Voce” was a perfect gem; but the introduced song, “ Casta Diva,” was her most decided success. It was tumultuously encored ; indeed it might have been given even for the third time in satisfac ion of the demand for it. It was composed by Signor Visetti for Adelina Patti, and may well be accepted as a masterpiece of vocal music. The rondo finale “ Zitti Zitti ” must also be mentioned on account of its rare excellence. Signora Venosta made her second appearance in the small part of Bertha, and must have been much gratified by the welcome she received spontaneously from all parts of the house on her appearance on the stage. Her performance of Azucena on the previous evening has firmly established her as a favorite here. Signor Oaraero, who also made his first bow to a Wellington audience as the C mat Almaviva, has a fine flexible tenor voice of a very superior quality indeed. The timbre is much ■the same as Signor Coy’s (Cagli opera troupe), and the voice itself appears to he fully under command. His acting is also good. Signor Tessada’s Dottore Bartolo was simply inimitable. It was an undoubted hit, thoroughly conveying the humor of the plot to the audience. His introduction of a few English expressions caused immense laughter ; in fact, we are not quite sure that a Maor" “ coo-ey” was not once heard. Signor Cesari’s Don Basilio was a worthy companion to the funny and fu=sy old doctor. His voice is a fine manly bass voice, of grand rower and qual'ty, his La calnmnia well merging the applause it received. We anxiously look forward to Signor Cesario’s Mephistophiles, which is bound to be much above the average merit as a performance of that character. The Figaro of Signor Gam-b-tti confirmed tho good opinion which was formed of him the previous evening when he played the Count di Lima in “Trovatore.” His “Largo al-factotum” was immense. In addition to his excellent singing. Signor Gambetti’s Figaro afforded him an opportunitv of displaying his skill as an actor in opera bouffe, which was as complimentary to him as was his acting in the tragic opera of the previous evening. The orchestra acquitted themselves extremely well, the overture narrowly escaping an encore. LUCREZTA BORGIA. Last evening the Italian Onera Company produced .Dnnniz' tti’s opera “Luor.zia Borgia.” Signora Guad ignini's Lucrezia was a fine performance in every way ; indeed for level excellence in acting and singing we have not heard in-Wellington a better representative. Her singing of “ Come-e-b«l!o ” was charming throughout, showing careful study and a thorough musical knowledge of the part. In the duet wh ch follows, “ Cie! die veggio,” she was also good ; and the great scene with the Duke was rendered witli much dramatic power. In the trio which concludes the act, “ Della Duchessa,” Signora Guadagnini’a pure ringing notes came out with great force, and created quite a wild scene of applause. The finale was sung witli much tenderness, and her hearers felt at their ease about her ability to sing perfectly well and faithfully all that is written for the part, and as they watch each situation in which she is the chief actress they can but acknowledge the intelligence which makes plain to their understanding the passion which animates her, and admire the well-trained artistic means which, with all the appearance of spontaneity, she brings to bear upon its development. Also through the concerted music she sings excellently well, and at the s-ime time her delineation of the character was such as to deserve the highest possible praise. Signora Venosta, as Maffeo Orsini, acquitted herself, as she always does, extremely well, “ II segretto” bringing down the house- she was encored to the echo. Signor Camero was the Gennaro, and sang throughout with much success. In the aria “ Di piscatorl” he was heard to much advantage. This aria is -so replete with charming melody that it affords ample scope for so flexible a voice as that of Signor Camero. 'fhe same might be said of his rendering of his part in the trio “ Della Duchessa,” in which he was at his Lest. The part was well and carefully rendered throughout. We must compliment Signor Camero on having accomplished a complete success. Signor Cesari was the Duke, and portrayed the different situations of the character very artistically. The cavatina, “Vieni la mia vendetta,” and the grand trio with Signora Gnadagnini and Signor Camero, were his happiest efforts. Signor Tessada appeared in an entirely new line of business, as compared with his previous appearances, but had only a small part, in which there was but little scope for display. However, whatever he had to do he did well. His success is therefore the more to be commanded. The orchestra played splendidly throughout the evening. Before concluding these remarks on the performance, we wish to make a suggestion to the Theatre Royal and Public Hail i 'ompany. It is this—ttie advisability of enabling the prompter to occupy his proper place in front of the con-

doctor. This might very easily be effected by cutting a small trap near the footlights, so that the prompter might be in a good position to render assistance to the performers without being visible to the audience., , Nothing in our opinion is more likely to confuse au actor than to be prompted by ah enthusiastic'prompter in a tone loud enough to be heard all over the theatre. It is manifestly unfair to aIL