THE OPERA.

New Zealand Times, Volume XXXIII, Issue 5243, 12 January 1878, Page 3

THE OPERA.

AIDA. This masterpiece of the greatest of Italian composers now living drew together the largest audience which has yet assembled in theTheatre Hoy id during the present operatic season. The unanimous verdict of the vast assemblage was in terms of the highest possible praise. The composition itself is in many respects a remarkable one. The composer has departed from his usual style to such a degree that it is only here and there that it is possible to recognise the author of “ II Trovatore,” “ La Traviata,” and other operas of a more familiar acquaintance. Signor Verdi, in the work under notice, has succeeded in combining grand harmony with most exquisite melody. It is this blending of the two schools of operatic writing which will in all probability ensure a more lasting fame to “ Aida than is to be accorded to Wagner's “Lohengrin.” The opera of “Aida” is on a far grander scale than any of Verdi’s previous efforts ; it creeps into existence, and, after delighting its hearers, it seems to vanish, we know not where. The opening music is a sublime inspiration, utilised to the utmost advantage. Tbe end also seems to be in strict keeping with so splendid an opening, appearing to die away gradually and gradually until the violins are playing in the highest limits of the instrument, nearly three octaves in the ledger-lines. During the opera many curious passages are introduced with thrilling effect, while the instrumentation—which must have astonished those overfastidious musical critics who aver that Verdi’s success as a composer depends chiefly on the facility with which he strings together airs of so taking a character that • they have invariably been successful in captivating the popular taste-shows grest power of construction, and much variety and intricacy. One of the most extraordinary passages that is- probably to be found in any operatic score is written in this opera ; it is no less than the four G-'s in arpeggio on the violin for a length of time. The 'effect when performed by a large number must be quaint indeed. There are in the opera, however, several morceaux of much beauty, whilst the concerted music is full of deep and powerful harmony. The music of the work was written to the order of the Khedive of Egypt, and first produced, under the personal supervision of the composer himself, on the occasion of the openin'* of the Vice-regal Theatre at Cairo in 1872. The plot was, it is said, suggested by the Khedive himself, and is illustrative of various passages in Egyptian history. This has been blended with a story of love and revenge, which is of course as inseparable from opera as from drama, and the two, combined by the genius of the composer and wedded to appropriate music, form a whole which is most effective. It is so in two ways, because the recital of the past glories of the Eyyptians and the revival of the grant! old traditions of the race afford scope for magnificent spectacular effects, whilst the simple love story, old as the history of the ■world itself, is told with a _ touching simplicity which contrasts finely with the grandeur and gorgeous display of the Egyptian Court. With such materials to work upon, it was only to be expected that the composer would be entirely successful in his task. Though written to order, the work bears no mark of being forced or stilted. On the contrary, there is noticeable about it freedom of thought in the composition, and a wonderful power of expressing by the music just the emotion or event it is intended to illustrate. But, while this is so, the composer has entirely deserted the beaten operatic track and struck out an entirely now line for Himself. There are in “Aida” no arias, or rather, we should say, the arias take the form of recitative, rising above the ordinary style in that they are set to music of a more melodious character. The whole work is continuous from first to last. There is not a single case, if we except the Ion" scene which Amneris has in the last act, where the performer has anything approaching to a solo such as so frequently occur iu the older operas. The two points of the story to which we have referred, viz,, the historical and the poetical, are interwoven at every part, and the result is that the opera in the matter of construction is unique, and differs entirely and completely from anything we have ever heard. It is highly dramatic—indeed intensely so—and the dramatic force is worked up with consummate skill until it culminates in tho triumph of love—faithful even unto death. Signora Guadagniui, ns Aida, had a severe

task to perform; but rose to the occasion, and by her splendid interpretation of the part eclipsed any of her former efforts, excellent though they have unquestionably been. Indeed her Aida stands out in bold relief as a grand performance both lyrically and dramatically ; and it is but seldom that one has the opportunity of witnessing so much excellence possessed by the, same lady. The execution of this part requires greater compass of voice and more power and conception than any she has hitherto sung. This part assumes the character of a contralto, whilst that of Amneris ranges exceedingly high for a soprano; yet she not only sang in it correctly, but succeeded, by her expression and her action in every movement, in conveying to the audience a correct meaning of the various situations in which she appeared, no light task in the performance of an opera wholly unknown to her audience. The concerted music in the finale to the second act was splendid, also the duet in the third act between Aida and Radames, which was decidedly the gem of the evening. The nature of the composition prevents any special notice of particular points of excellence, with the exception of the one or two we have mentioned. Signora Veuosta, as Amneris, fully deserved the liberal applause which was accorded to her, throughout ably supporting the prima donna, and very considerably assisting her to achieve the immense triumph she did. This part must have been rather trying for so full a contralto as Signora Venosta, but was sung with apparent ease throughout. Signor Camero, as Radames, had to bear a heavy share of the burden of the opera. He was in good voice, and acquitted himself excellently well. Ip both the duets with Aida and Ramphis he on each occasion may claim a large share of the applause which was awarded to the performance. Tb® scene in the tomb was especially good. Signor Gambetti, as Amonastro, quite electrified the audience by the intensity of passion he infused into his performance. It was a grand example of the highest perfection im tragic acting. As is usually the case with Signor Gambetti, in the concerted music he was much appreciated by the large and intelligent audience which last evening enjoyed his performance. In the duet with Aida he was particularly successful. Our friends Signori Cesari and Tessada fulfilled their respective positions in the opera with great credit. The dance by a crowd of youug Moorish slaves was pleasing, and Signor Borzoni must have gone to vm-y considerable trouble to organise them so satisfactorily. Their efforts were loudly encored. The Egyptian band was good, the Artillery Baud exchanging their uniform for the time being for appropriate costumes. The management must certainly be complimented in having afforded so great a musical treat to the public of Wellington, The production of an opera like “Aida” presents difficulties which few not connected with the profession have any conception of. The scenery, which was so striking a feature in last night’s performance, was that which was recently used in the Theatre Royal in Melbourne. It was greatly admired. Again, the music which accompanies the band was expressly composed for trumpets such as the angels are wont to use, and which was a source of so much anxiety to the composer that we believe it required two months’ rehearsal in Italy before he was satisfied himself with its perfection. This part was supplied yesterday evening by other instruments. The orchestra played with more than their usual precision, each instrumentalist feeling that he had to perform a part which, although one of many, had a certain amount of individuality about it, and so increased both its interest and importance. Mons. Carron played the opening bars in _ a masterly manner, thoroughly understanding the evident intention of the composer. His execution was worthy of his great repute as an artist on the instrument he so ably plays. Herr Schott, who is at present in Wellington, played the oboe solos with a thoroughly artistic finish, and in many instances completely possessed the attention of the audience; he was decidedly an immense acquisition. ■ Certain remarks which we considered necessary to make concerning the double-bass playing of Signor Ceschina, from all accounts, have caused him some degree of pain. If such is the case it is much to be regretted, as nothing was further from our wish.