THE ITALIAN OPERA.

New Zealand Times, Volume XXXIII, Issue 5237, 5 January 1878, Page 3

THE ITALIAN OPERA.

UN BAILO IN JIASOHERA Was performed last night at the Theatre Royal to a very good house, and was splendidly re-, presented. Nearly the whole strength of the company was called into action, and each of the leading singers was in capital voice. The dresses employed were very elegant, those donned by .the leading characters in the masquerade scene being especially grand. The principal interest centres around Amelia. Signora Guadagnini’s rendering of this difficult part • was very fine indeed. None but an accomplished dramatic vocalist could have sustained the r3le as she did. In “ Cantabili ” her voice is sympathetically penetrating, and in the execution of the most elaborate aria di .bravura she seems quite to enjoy the opportunities of surmounting the difficulties placed before her. It is hard to select, out of so much that w.is exquisitely sung, any particular passage or air for special mention. We would have been content to have listened to a great deal more sung in the same artistic finished manner. The air, “Ma'dall’ arido,” in which Amelia, in accordance with the advice of the sorceiess, repairs at midnight to. the desolate glen to gather’ the potent herbs that are to obliterate the image of her heart, and the duet with Ricardo, “ Non sai tu,” were her greatest triumphs. The applause was immense after each of the above efforts, as-indeed it was throughout the opera, and it was loud and frequent, and, it is gratifying to add, thoroughly deserved. Both as a singer and as an actress Signora Guadagnini undoubtedly takes high rank. Signora Vita dressed and acted the part of Oscar the Page capitally. Her pretty’girlish figure was admirably adapted to the page’s part, while her exquisite voice, so clear and rich, did full justice to the music of the part. The ballad in the early part of the opera, and the coquettish song “ Saper vorresti” at the commencement of the masquerade scene, were most charmingly rendered, Signora Vita being loudly encored at the conclusion of the latter song. Signora Venosta did full justice to the part of the Sorceress, not a very heavy part, and fully maintained her reputation as an accomplished vocalist. In the impersonation of the Sibyl she had a r6ie quite suited to her, and she entered into the spirit of the' part with the abandon of an artiste to whom the profession is congenial to her tastes and feelings. In the incantation scene she was warmly applauded, and the air .“ Ro dell’ abbisso ” was a great treat indeed. Signor Paladini, as Ricardo, sang uncommonly well. He was in first rate voice, and had ample opportunity of exhibiting its richness and power, and especially in. the upper notes. The canzonetta followed by an effectively sung chorus. “E’scherzo di foliia” wasgiveninabold spirited manner, and was encored by a perfect .storm of applause. In the duet in the third act , with Gamelia he deservedly shared the laurels with the pn’ma donna. Signor ,6arabettl, as Renato, was most effective. The compass of his voice is large and ideh, and wo must congratulate him on having achieved a pronounced success in his grand- aria “ Alla vita che t’ arride,” in the early part of the opera, as well as the lovely mournful air, “Eri tn,” with its difficult recitative, which was indeed a perfect gem, and elicited hearty and well-merited applause. Signori Cesari and Tessada did full justice to their respectively small parts through the concerted music. We were greatly pleased with the animated and clover manner in which the opera was performed, no hitch being perceptible in any part. We would point out to the management the desirability of reproducing this opera, as well as the favorite, “ II Trovatoro.” • FAUST. To-night the favorite opera of “Faust” will be produced. Into the plot of this opera the presence and power of infernal agencies is called into use. Faust, grown old and learned in the black mysterious art of magic, sells bis soul to the devil in return for a few fleeting years of youth and power. The fiend, knowing the decided weakness of unfortunate man—knowing that “ beauty leads us with a single hair”— conjures up before Faust ’ the vision of the lovely Margarita. Through the devil’s instrumentality, first the heart, and at last the very honor of this gentle innocent girl are robbed to gratify the cruel desires of a fiend-led fool, and the more cruel nature of his infernal aider and abettor. Valentine, Margarita’s brother, who has left his sister for the wars, returns only to hear her fair fame sullied and his visions of happiness dashed to the ground. With fatal impetuosity he seeks his sister’s seducer, but the devil is too much for the gallant Valentine. Faust, who has basely betrayed the holy affections of a virtuous girl, completes the chapter of his infamy by becoming the murderer of her brother. Valentine, with his last breath, curses his sister for the shame and the untimely death she has brought upon him. Margarita, maddened with remorse and shame, kills her child. For this she is condemned to death. While in the prison awaiting her final hour, Faust, whom she still

. dearly loves,, despite-, the, cruel wrongs, he has inflicted upon her,; comesy attended by his evil spirit, to see her, to crave her forgiveness. A struggle takes place,.between the.good.and, the bad spirits, a struggle for the possession-of thesouls of : Margarita aud Faust. In the end,the good spirits prevail. : Faust repents, and, is blessed upon his death-bed by the forgiving Margarita, whose soul after death is seen soaring to heaven in the company of angels. The charm is. dissolved, , the devil . crestfallen r ‘ vanishes into thin air,” while Faust goes back to the world “ a sadder and a wiser man.” Margarita is Signora Guadagniui’s greatest performance in opera, and she lias been pronounced to excel in the execution of the music of this really beautiful, musical creation of Gounod’s. By the Melbourne Press the Signora is spoken of in the highest terms. of praise. The Argus critic says : —“ Of Signora Guadagnini we are glad to speak in terms of praise. Her appearance aud manner are thoroughly well adapted to the part. Her voice is equal to all that is demanded of it, even to the cumulative strain which taxes the power of the best singers in the great finale of the last act. Her first entry was good, and so was her final exit, and the audience were prompt to acknowledge throughout the evening how well they .were pleased with all that she did for their entertainment In

the ‘Jewel song’ the singer was free to devote herself without hindrance to such a display of her vocal powers as won the hearty admiration of her hearers. From this point the soprano voice became merged with others in the great quartette and in the tender duet, ‘Tardi si fa Addio,’ in both of which Signora Guadagnini sang with true intonation and fine artistic feeling. We do not on this occasion follow her step by step through each scene. She is a clear-minded, capable, and nost pleasing representative of the part of the heroine. Signora Venosta, as Siebel, was fitted with a part in which she has good opportunity for the display of those engaging qualities which have already in other performances made her such a favorite with the public. She plays the frank and tender-hearted boy with a very natural grace, and treats her hearers to the full extent of the music written, and added to the original part by giving them in its proper place the charming air, ‘Tutto il Create,’ a liberality on her part which deserves the thanks of the audience. . . . In singing ‘Salve Dimora,’ Signor Paladiui takes the upper C in falsetto voice, aud this can be done with beautiful effect when the effort has been thoroughly well practised. It is such practice that we recommend to him now, and then we can assure him of a Bu'ccessful result.”