THE OPERA.

New Zealand Times, Volume XXXIII, Issue 5242, 11 January 1878, Page 3

THE OPERA.

FAUST. Notwithstanding the many circumstances which served as a drawback to the success of the complimentary benefit to Signora Garanti Vita, there was a very fair house indeed last night. The circumstances to which we refer are that “ Faust,” the opera chosen for representation, placed Signora Vita in such a new line of business that many of her warmest friends were of the opinion that she would be rather overtaxed with the rOle of Margherita. They were s 'bsequently most agreeably surprised at the complete success of the performance. And another and almost fatal one was the selection of last evening as the time for a benefit. The very fact of an opera like Verdi’s “Aida” being announced for the following night would in many cases be sufficient to scare the most popular and deserving actress in the world from accepting a benefit under the circumstances. Perhaps it was unavoidable, still it very materially affected the results in a pecuniary sense. The performance of Signora Garanti Vita as Margherita brought out her sterling qualities as an accomplished actress and cultivated musician. Her voice is of a different timbre to that of Signora Guadagnini, still her delineation of the character throughout bears very favorable comparison indeed to that of the recognised prima donna assoluta of the company. It would be invidious to compare the performances of these two artistes step by step. Suffice it to say that Signora Vita may well be proud of her success in this most trying character. During the., performance of the opera, between the acts, Balfe’s beautiful ballad, “ When other lips and other hearts,” was sung by Signora Vita in a most affecting manner, her voice by its delicious modulations completely overcomiugher audience. It was most rapturously encored, and well it deserved it too. As just mentioned, it would be injudicious to compare critically such artistes as Signora Garanti Vita and Signora Guadagnini. It is impossible to omit noticing the intense enthusiasm which the splendid acting of Signora Garanti Vita in the latter part of the opera created. It is a bold statement to make when we assure cur readers that no actress for many years past Ins ever created such an impression on her audience as did Signora Vita last night. The scene throughout was bo affecting that many habitues of the Theatre Royal had the frankness to acknowledge that they had never before experienced such pleasure in witnessing a representation of the character. It has seldom been equalled in this ci*y, either for natural acting or dramatic power. The Artillery Baud again greatly added to the success of the entertainment by performing the grand march in a very creditable manner. The bandmaster must be complimented on their proficiency. The various other characters on the SjTesent occasion were the same as in the -st representation of the opera, and need no further comment than that they were one and all up to their former excellence, with this exception—in the church scene Signor Cesari and Signora Guadagnini were truly perfection itself. The acting of both these artist* was so extremely uood that one in reality was quite entranced, and totally oblivious of all the surroundings in this matter-of-fact world. It was throughout splendid in every sense. , During the performance Signora Vita was presented with a bouquet of flowers of the most beautiful description. It was the work of an Italian artist resident in this city, and in itself was a perfect curiosity in the way of perfection in bouquet-making. The colors of Italy were well represented by long silken ribbons flowing from the handle of the present. Before concluding we must impress upon certain members of the orchestra the absolute necessity of subduing their accompaniment to such a strength that the voice in all cases may bo easily heard throughout the theatre. It is a fault which is easily rectified, aud would render the performance more enjoyable. This refers more especially to the production of the opera “Aida,” as the composer in many cases uses the unusual direction of “ pppp,” accompanied with the term “con soidini,” as for instance in the opening movement, which would be completely ruined if each member of the orchestra were to endeavor to exhibit his excellence on his respective instrument. Nothing could well be imagined as being more absurd xu orchestral playing than that the double-bass should play the solos scored for

the flute, oboe, violin, or viola ; it is the only real fault to be found in the orchestra. Signor Ceschini is undoubtedly the most, talented player we have ever heard here, or are likely to hear for a long time ; yet, if in his flights of imagination he persists in playing, as he does at present, all the melodies of the opera, he must of necessity deprive the orchestra of that fundamental harmony which be could so easily supply, and which at present is so conspicuous by its absence. This evening will be performed Verdi's masterpiece AIDA. The Melbourne Argus, referring to the production of “ Aida ’’ in Melbourne, said “ There is a hard condition imposed npon the manager who would supply operatic entertain ■ meat for the Melbourne may m previous efforts have achieved brilliant success, but this gives him no resting-place. He must strive constantly to be better than his latest best. Having won one race by means of all bis strength applied with all his skill, he must (fil'd himself together for another effort greater than' the last. The people who make the • world ’ for him require it, and if he would live he must even do it at always higher pressure and constantly accelerating speea. Within a fortnight past a revolution has been made in operatic” matters by the representation of 1 Lohengrin,’ and work has been done on the sta"e which, six months ago, we should have hardly dreamed to hope for ; but ‘ Lohengrin, new revelation as it is, does not wholly suffice for this latter half of the season. ‘ Aida ’ is a work the production of which has excited as much curiosity as even that which went with tho Wagnerian opera. Above all it shows the latest development in the mind of a composer who, like Wagner, has been systematically misrepresented and persistently decried. It is in this direction that the new work to be produced will claim tbe interest of all music lovers. “Thescene of theopera is laid in Memphiaand at Thebes, and the time is pleasantly stated to be ‘ during the reign of tbe Pharoahs.’ _ The persons are the King of Egypt ; Amneris his daughter ; Aida, .slave of Amneris ; Radaraes. Captain of the Guards ; Amonasthro, King of Ethiopia ; and RamphD, Chief of the Priests. Aida, tbe beautiful slave, is the daughter of Amonasro, King of the She was captured in a former war, and was given hy the King of Egypt to his daughter Amneris. Tho = secret of her royal condition had been withheld from the Egyptians for State reasons, or for the purpose of an easier exchange when the time shall come. Radames, the warrior, loves Aida, the slave, and when he puts himself at the head of legions to make war in Ethiopia, Aida, with all the fervor of love, prays for the success of her lover’s arms- Then comes the conviction across her mind that if Radames be successful her father and her people are doomed also to slavery as well as she. But Amneris, the King’s daughter, is also in love witli Radames, and this love of Amneris is the cause of great unhappiness to herself and all surrounding her. She suspects and is jealous of Aida, and as the story progresses she plays upon A'da’s lovfor her hero, and her fears for his personal safety, and her love for her father and her people, and her fear of their defeat and captivity. Under such pressure Aida can no longer retain her secret, and her love for Radames becomes known to Amneris, and the king's daughter’s heart is full Of bitterness against the slave. After an indecisive battle Radames returns with prisoners, amongst them Amonasro, the father of Aida Tne Egyptian kin" in his clemency spares the lives of all the prisoners, but he keeps Amonasro and Aida as hostages. War breaks out again: Amonasro insists that Aida, by the power she lias over the Egyptian general, shall gain from him one secret, namely, tbe military route he is to take in his next campaign. In a scene wherein his love for Aida overcomes ' his allegiance to his King and his duty to his country, Badaraes tells'the one thing needed ■hy Amonasro, but this is also overheard by others, and Radames, the general, is degraded, and, with due ceremony, condemned to be buried alive. In the last scene a splendid temple is seen, and underneath it a vault, in which Radames is sealed for a dark and lingering death. In his misery he hears a voice which he knows to be that of Aida, who, when she heard his doom pronounced, secreted herself to be near him, and these two miserable lovers die clinging each to each, while Amneris above kneels brokenhearted on the grave of a buried love, and priests, in splendid vestments, do their office for the crowd.”