THE ENGLISH OPERA COMPANY.

New Zealand Tablet, Volume II, Issue 92, 30 January 1875, Page 8

THE ENGLISH OPERA COMPANY.

Xhb week opened at the Princess with Michael Balfe's weird composition of Satanella; or, the Power of Love," in which theactincand •lnging of Miss May was an unqualified success, and added another to her list of triumphs. The character of Satanella is one which affords such ample scope for display of histrionic power, that the admirers of Miss May had looked forward to a treat on her assumption of the row, ana that they were not disappointed, the enthusiastic reception accorded her on being called before the curtain during the evening, would amply testify. As a piece of acting in itself " Miss May's Batanella, would claim a foremost place, the varying emotions by which she is swayed— whether of the tenderest love or the bitterest Jiate— being portrayed with an effect that stamps her as an actress of the firat order, and either as the frolicsome demon-page or in the depths of anguish for unrequited love, she was equally effectire. The ■ong from which the opera takes its name, " The Power of Love," was listened to with wrapt attention, and were it not that it is repeated in the tapestry scene would have claimed an encore. We, however, would award the palm to her rendering of the exquisite air, "There £££?rVJ°? & £ gel souls adore >" wLich ™s S iTen *ifo an intensity of feeling and effect, which fairly embodied the conception of the composer. In the piquant and lively air, "Sultana, Zulema, ,?«f «j°? nB n \ ghfc - T \ e \ she a PPeared to equal advantage, and in that « S l° n " h ,^ ted fc . b , e excell e»ce of her acting. Notwithstanding that Satanella" is without eloubt, the heaviest and most-trying of dSJ/T ed ,d«, d «' ing tho season ' in ifc the com P an y ha ™ ™- brcoSn^T «6« 6 grCat ° St T CeSS ; aiKl the management are to be congratulated on the very excellent and effective manner in which it has been placed upon the stage with the limited scenic resources and effects at command. As Count Rupert, Mr. Hallani was not so successful as in other characters in which he has appeared, a result for which he is in a measure to blame. In the early portion of the opera it was apparent that he was not making as much of the character as «rMjf • v" 6 ' and this was mosfc obs ervable in his rendering of The Glorious Vintage of Champagne." However, he amply atoned Z*XTn ,f koi< Iteomi»Sß1 teomi »Sß by his rendering of "An AngLf form in dreams Behold, and in the concerted piece "Oh tenderness sublime." r'W 0 " acquitted himself fairly of the character of Arimanes, but he labored under a great disadvantage in taking a part in which ■Mr. Hamford has appeared with such success on a former occasion. wlLw?»° n iw d » 0 : 0 ?^ duties to perform, but the part ofHortensius iSff i f dtO him ' Was ' as is ahvavs the case w * h anything committed to his care, made the most of; and Miss Howe, as Lelia, S.WW w^ . a «W - aud " aivete mosfc appropriate. On I,on. y "iglit Wallace's "Maritana" was reproduced to a good Louse ; and on Wednesday Weber's « Der Freischutz." As Agatha, it is needless to say that Miss Alice May met with a perfect ovation for cS SS?^! l^ ° f \ he cbaracfce r> but a like compliment can scarcely be paid to the other members of the Compan/. The SI" feetf ect Pwduced by the representaton of the'eavi in the Incentation Scene, was loudly applauded, and a vociferous call made for aurV d t X% SG su P erinteadence fcbe arrangement had been