THE OPERA.

New Zealand Times, Volume XXXIII, Issue 5240, 9 January 1878, Page 2

THE OPERA.

PIPELE. The production of Ferrari’s sparkling opera “Pipele” yesterday evening succeeded in drawing a crowded and enthusiastic audience. This is not to be wondered at when the character of the work is considered and the. means it affords for the display of the particular line of business for which each of the artists cast for the' piece is already so favorably known in this city. In the opinion of a few perhaps Signor Tessada’s English interpellations may have been considered as taking rather a, liberty with the text. Still we hold that in opera bouffe (if this opera may be so called) there is almost an unlimited license, indeed it rests entirely with the judgment and good taste of the performer. It is therefore quite unnecessary to say that Signor Tessada's performance was in every way thoroughly enjoyable, extremely entertaining, and wholly free from anything like vulgar buffoonery. An additional charm about this opera is that the audience were able to fully enter into the plot the action of which so palpably conveys the story that a knowledge of the text in this instance is unnecessary for the enjoyment of the piece. The music throughout is of the liveliest description, abounding in light and fantastic airs, which immediately captivate the memory, and are well calculated to rouse the veriest hypochondriac to a state of the greatest merriment. Signora Caranti Vita, with her sweet voice and charming appearance, was well calculated indeed to fulfil the part of Rigoletta. This is much similar to the part of Rosina, in which she so greatly captivated her audience on her first appearance before a Wellington audience. Her greatest success was her rendering of the aria in waltz time, in which the measure of the music is accompanied by the sounding of the castanets. It was simply exquisite, and called forth a round of applause and a perfect shower of bouquets. The aria was encored, and narrowly escaped the same fate for a third time. The concerted pas-ages in which she took part owe much of their success to her exertions. Signora Venosta was very happy in her rendering of the role of Maddalena, her acting and make-up both being capital. It was not until the last act that she gained her greatest applause, by singing the aria “Mi record! quand, era fanciulla." This was a fine piece of acting and vocalisation. Signori Paladini, Gambetti, and Cesari were all in splendid voice, and very materially assisted in the fine representation of the opera. • The scene between Pipele, Gabrion, and Jacopo was acted to the life, and elicited a considerable amount of applause and laughter. The chief attraction of the opera centres upon the character of Pipele—poor softhearted, much laughed at, and slightly intemperate Pipele. Signor Tessada was simply inimitable. His acting was full of energy, full of spirit—ever on the move ; he is the very life and soul of the opera. In the last act, during the drunken scene, he was immense, the part not being overdone, and withal intensely amusing. It was a capital representation of a man who had entered the jovial but staggery stage of drunkenness, and appeared to be doing his level best to fall - down, or wdk crookedly. His introduction of broken English phrases and songs was amusing in the highest degree, and caused more laughter than has been heard in the Theatre for a long time past. The production of “Pipele” last evening was acknowledged on all sides to be one of the most successful performances that have been given by the present Italian Opera Company. This evening “Norma” will be performed. A change so great in the style of music, while it must tax the artists rather heavily, affords the admirers of each different class of operas an opportunity of being amply satisfied. •