THE OPERA.

New Zealand Times, Volume XXXIII, Issue 5244, 14 January 1878, Page 2

THE OPERA.

SEMIRAMIDE. This opera was performed at the Theatre Royal on Saturday night for the first time in the city. If we mistake not, the music throughout is of so different a school from that of Verdi’s opera “Aida,” which was performed the previous evening, that the contrast afforded was most striking. The rich and beautiful melodies in “Semiramide” were much welcomed by the large audience. The performance was thoroughly up to the standard of excellence tor which this company is so far famed. The fine overture was magnificently played by the orchestra, and gained the most flattering applause. Signora Guadaguini iu the role of Semiramide had ample scope to exercise her remarkable talents during the many recitatives which are written for the character, notably iu the soeua “No non ti lascio.” Her appearance was lovely, and the manner in which she identified herself with the passions and sentiments which the plot, as it develops itself, calls into existence, was grand beyond description—her delivery of the . beautiful aria “ Bel raggio lusinghier” being as fine a piece of vocalisation as any with which she has as yet delighted a Wellington audience. Jm its rendering these serious difficulties present themselves : the extreme height to which it sometimes takes the voice, E natural above the lines, and also the very florid construction of its phrases. Signora Guadagnini sang it throughout with charming ease. The chorus accompaniment to this aria was good. It was rapturously applauded. Her duet with Arsace, “ Gioruo d’orrore e di contento,” shared the same fate. It was as near perfection as -possible. It is one of Rosini’* most'pleasing and popular duets. Signora Venosta, as Arsace, had rather a heavy part to perform, not on account of any overexacting or trying situations, but simply from the great physical tax which the length of the piece imposes upon her. Her great triumph in the first part of the opera was in the aria “D’uu tenero amore," which was much appreciated, as was the pizzacato accompaniment of the orchestra. The duet, “ Gioruo d’orrore,” between Arsace and Semiramide, was all that one might expect from the clever vocalists—it was encored ; but the encore was not complied with. The quintette in the finale to the first act (iu the Italian score) was very finely rendered. The orchestra led off in the symphony with energy and precision, and was ably accompanied by the quintet. The several characters entrusted to Signori Gambetti, Tessida, and Gesari, were well sustained, the latter demanding special notice for the musical excellence of his share in the performance.