LADIES’ EXPRESS.

Poverty Bay Standard, Volume III, Issue 277, 2 June 1875, Page 2

LADIES’ EXPRESS.

o The Editor will be glad to give insertion tv any local contributions from his lady friends that may be considered interesting in the family circle, or to the sex generally.] MUSIC. (from oub own correspondent.) Paris, March 20. Opera Comique. — The long expected comic opera Carmen, in four acts, has at last been produced here. The libretto is by Messrs. Meilhac and Halevy, the music by Bizet. The story is founded upon one of Merimees romances, although he himself said bis recitals were not adapted to the theatre, which may explain why his works are the more frequently dramatized. He was a strange author, liking very much baudils, not that he desired to encounter them on the highway, but he had an admiration for the energy of those men in perpetual struggle against society. In his personages, there is something strange ; he had a weakness for rare subjects and raw manners, for races outside civilisation and culture. He never drew a moral; ho left that to the indignant reader. In adapting Carmen, the authors have considerably toned down the original, as the public never like to be amused at the expense of scoundrels that ought to appear only in the Assize Court. Carmen belongs to the “ unfortunate " class of women, and Jose is a deserter ; the scene takes place in Spain, where love commits murder, and where beauty is dedicated to the stiletto. Carmen is a working girl in a cigarette factory in Seville ; she attempts to kill a rival beauty, and is arrested; the soldier who seizes her, is Jos<s, whom she has already half captivated ; she promises to become his mistress if he sets her at liberty ; he succeeds in doing so ; Carmen keeps her promise ; Jose has to desert, and joins the gipsy contrabandists; later, Carmen coolly forsakes Josd, for another paramour, a torero, and is assassinated by •Jose, as she expected from the readings of the fortune teller’s cards. To diminish the abominable character of these two personages, the authors have invented a villiage girl, one Micaela, who represents the guardian angel of the piece, and who supplicates Josd to return to bis dying mother. This kind of libretto is very different from that understood by our fathers, and as presented to them by Scribe and Saint-Georges. The scenery is very splendid and of extreme accuracy. M. Bizet the composer, was introduced to the public by Carvalho, the manager whom the public have to thank for discovering Gounod, having brought out his Faust, when the National Opera refused it. Bizet is best known by his picheurs de perles, full of soft, harmonious, and velvety melody, that Schubert might regret not having written ; then succeeded his Jolie fille de Perth. The young composer is accused of belonging to that school which vaporises the musical idea, to be a follower in a word, of Wagner. Like the latter, Bizet accords an important role to the orchestra, which interprets with precision that which passes on the stage. Gluck, the predecessor of Wagner, did the same. In his Carmen, Bizet proves he can become a great composer when he pleases; he avoids that kind of melody which becomes a lilt ; you may not be able to remember an air, but you remain impressed with the beauty of the whole work. The first act is the best, and Carmen’s song as she enters is a true gem ; Micaela’s air is full of sentiment, clear and melodious like a Heder of Schumann’s; the duo between Carmen and Jose is tender and passionate. The second act contains many excellent morceaux, especially the chorus which introduces the dance; the third act, with the smuggler’s chorus, and the trio of the fortune tellers, are excellent, and the finale is remarkable both for scenery and music; the fourth act opens with an indifferent chorus, then succeeds a march, after which the grand final duo between Carmen and Jose, where the subjects of their previous sprigs are happily introduced; it is a sensational act, but the orchestra hardly interpreted the rage of Jose, as be poignards Carmen, after she throws bis ring away, and scornfully mocks his love, There is something ferocious in the attitude of Carmen in presence of Jose’s despair. Mme. Gallimarie, having lost her voice three years ago, has found it again to admirably interpret the repulsive and feline role of Carmen. Bouhy would be perfect, only for his imitations of Faure. Folies Dbamatiques.— Clair de Lune, operette in three acts, music by M. 'Coedes, late prompter at the Grand Opera. .’The plot is this ; a seneschal substitutes his infant daughter, for his sovereign’s real son, that he hands over to the gipsies ; the girl is dressed and brought up as a boy, in order to inherit the throne, but the real son in due course falls in love with “ him,” and the matter is explained, and they are married. The music of the first act is good, contains a graceful serenade, and a gipsy chorus full of rhythm and gaiety; the other two acts have evidently been hastily written, but contain a pretty Mazurka, a charming ballad) and a conspirators’ chorus, after that in Madame Angot. fashions. The shops have commenced their Spring exhibitions, and dress-makers and milliners have their salons filled with models full of elegance and taste. Hats are veritable bouquets ; the favorite shape is round, with border totally raised and ornamented beneath with rolls of flowers, as large before as behind. The hat is worn raised in front, but falling, from the ears backwards; foulards have disappeared, and instead, embroidered faille scarfs negligently knotted; flowers, and flowing ribbons are fashionable, as also jet spangles and leafless roses, in addition to feathers, as trimming. For full dress the white bonnet is in much favor, and is made of white renaissance damask and black velvet, with large strings of assorted ribbon to match. However, the hat in white felt is more general and more useful, as it is more durable and suits all seasons ; it is trimmed with black velvet, lined W’ith white silk and the simpler, the more elegant it will look. There is a decided rage for white ; hat, tunic a la Juive or Russian blouse, in cashmere, Sicilienne, China crape, Chambery gauze; the shade of white most patronised is honored by the name of “ foam ” or “ whipped cream.” Stripes have completely disappeared in favor of check patterns; it is questionable if the latter will reign a long time, as few ladies can show oft that pattern in an elegant manner. Marine blue, green, light drab, tan, purple, &c., are also colors to be met

with. Materials most in vogue are light and supple, more fitted by their slenXler texture for tunics than jupons; for jupc's, faille will hold its ground. Nothing can be more convenient nor more elegant for promenade costumes, than two dissimilar materials, but harmonising with respect to tints. Cashmere, light serge, Limousine and soft light stuffs are in request for making up ; faille and cashmere combine well, and grey plaid with plain light grey serge. In fact there is a return to the sensible materials patronised by our grand mothers, Tbe princesse form of robe holds sway; it enables the wearer to indulge in rich stuffs and to dispense with and above all flounces. However, the discontinuance of looped or full over-tunics, has revived skirts neither too long nor too short. If pouffs be no longer worn, the same end is nearly accomplished by tbe puffy form of the dress. The cuirass will hold its ground till autumn ; tight-fitting bodices have tbe basques sloped on the hips, and the backs of demi-trains display buttons. Home dresses are made of nut brown cashmere v and sky blue faille; and ball dresses in yellow satin, or satin and blue faille, are to be met with ; of course every material that is white and vapoury is also the -mode. Large pockets are fashionable on tunics and mantles, and the has pie bodices of the latter are tight behind with loose ends before. Jets in its thousand faces seems to have become a necessity for a toilette ; it communicates a paleness to tints, causes blonde locks to appet r more golden, black hair more blue, and marvellously harmonises with all parts of the toilette. Pockethandkercliiefs display vignettes, the stripe being about three inches wide; initials or crest being worked in the corner, and in colors. Embroidered and buttonless gloves are in vogue, and for gentlemen, the styje is to button them on the upper part of the wrist. For trimming, rich gimp is ornamented with gold, the latter being mixed also with velvet or chenille. The new damassd ribbon is patronised for cravats and strings. Collars are ruchi behind, and round in front; fichus have pearls.