THE OPERA SEASON OF 1875. THE season at the Royal Italian Opera, Covent-garden, ended on the 17th ult., having begun on March 30th with Rossini's William Tell. It was a good beginning, and we are heartily glad to find that the genius of the composer of William Tell is more than ever appreciated by the public, spite of the new influences brought to bear upon the operatic world. The great event of the season was, of course, the production of Wagner's Lohengrin. Brought out on May 8th, Mr. Gye was entitled to the credit of being first in the operatic field, and although the first performance of Lohengrin was scarcely so finished as could have been wished as regards the ensemble, the representation was a very striking one, and few will forget the delightful impersonation of the heroine by Mdlle. Albani. The stage effects were positively marvellous; and, as a spectacle alone, Lohengrin proved a great attraction. We greatly commend the liberality displayed, and the courage-for such we might fairly call it-of the Manager, in placing such a work before an audience accustomed to such light dishes as Donizetti, Verdi, &c. It is interesting to contrast the changes in operatic tastes since Handel's day. His operas tended, more than anything else, to introduce a taste for that species of composition which afterwards led to the establishment of the Italian opera in London. The taste for foreign music was much ridiculed and abused by the periodical writers of that day, particularly in "The Spectator," where Addison laughs at the absurd custom of introducing Italian actors into the opera, who sung their parts in their own language, while the inferior characters, which were filled by Englishmen, performed theirs in their native tongue. We can fancy the jumble we should have if at the present day Madame Patti sang in mellifluous Italian the sorrows of Amina, and Mr. Santley, as the Count, joined in with "As I view those scenes so charming," Mr. Sims Reeves following up with " All is lost now," while sometimes a chorus in Italian alternated with another in English. But Handel's forty operas are now forgotten. An occasional air may be heard, but for all practical purposes they are as extinct as the dodo. Yet so highly did the composer value them when they were first produced that he believed it was through them his name would be remembered. The time may come when the popular operas of the present day may be set aside for elaborate compositions of the Wagner class, and Donizetti and Verdi be voted trivial and antiquated. With regard to the promises of the Royal Italian Opera prospectus, we have unquestionably to compliment Mr. Gye upon keeping faith with the public. Frequently it happens that a Manager will promise a long list of operas and produce none of them, but out of four operas set down-Wagner's Lohengrin, Gounod's Romeo, Rossini's Semiramide, and Herold's Pres aux Clercs-we have heard the three first named, and it is quite as well for many reasons that the last was not given. Somehow the light works of the French comic opera school do not suit the Italian stage very well, and the exchange of sparkling dialogue for tedious recitative is rarely an advantage. The Crown Diamonds even is better in its original state. Of the artistes much may be said; the list was important, and some of them were the most famous in Europe. We will speak first of the new comers. Of these Signor Carpi, the tenor, demands some consideration for the excellent work he did as Lohengrin upon three occasions, Signor Nicolini having previously undertaken the character. He is a tenor who promises to be an acquisition to the Coventgarden ranks in characters requiring a heavy voice and physical power; but in passages demanding more refinement he fails; and as the Duke, in Rigoletto, nobody cared much about him. Signor Bolis, a tenor of exceptional qualifications, did not join the troupe this year; and Signor Bettini, whose voice, if small, is sweet and sympathetic, and whose style is excellent, did not appear, owing to the lawsuit pending between him and Mr. Gye. Madame Sinico also availed herself of the law to substantiate her claims, and only sang once. A tenor, Signor Tamagno, was promised, but he broke his engagement. Mdile. Thalberg was a welcome addition to the company as Zerlina in Don Giovanni, Zerlina in Fra Diavolo, and Cherubino in Nozze di Figaro. She is a charming young artiste, as we have had occasion many times to state, but cannot be expected as yet to carry off such honours as those won by Madame Patti, Mdlle. Albani, or even Mdlle. Marimon. With respect to the latter artiste we are surprised to see her kept somewhat in the background. Yet what a wonderful and delightful vocalist she is. As for Madame Patti, naturally she was the star of the vocalists. Her Dinorah, her Rosina, her Violetta, her Juliet, her Catarina, and Zerlina-who could equal them? On the other hand, much as her Leonora, in the Trovatore, might be admired by some, and her Valentina, in Les Huguenots, by others, we are convinced that Madame Patti will add most to her fame by extending her repertoire in operas demanding less physical exertion. She has the loveliest and most sympathetic voice of any artiste living. Why force it and strain it for the sake of mere rivalry? Mdlle. Albani we have referred to in her charming embodiment of Elsa, and in other parts she revealed a distinct advance; Mdlle. D'Angeri has done herself credit as Leonora, in Fidelio; and Mdlle. Bianchi, a very young but most promising singer, has taken higher ground this season, but as yet such a character as Mathilde, in William Tell, is beyond her. M. Faure has not been heard so often as could have been wished. He is quite unapproachable in his own department, and his Mephistopheles is one of the grandest impersonations now to be seen on the lyrical boards. The general magnificence of the mise-en-scène at Covent-garden has again this year been remarked upon. The scenery of Messrs. Dayes and Caney has in several instances been much admired, and the stage management of M. Desplaces was entitled to commendation. Too much praise could hardly be given to the orchestra, although the practice of having two conductors is still a vexed question. From the 30th of March to the 17th July these gentlemen have certainly not been idle. Signor Vianesi conducted fifty-nine performances and Signor Bevignani twenty-four, and it must be remembered that there was a great variety of operas. No less than twenty-nine different works were given. The members of the orchestra are all of them highly efficient, and such a first violin as Mr. Carrodus, beyond question our best English violinist, at the head of the orchestra was of the utmost value. The chorus of Covent-garden was up to the usual mark, save and except the first night of Lohengrin, when they were sadly out of tune, but with music so difficult and so unfamiliar every allowance was due to them. It is a curious fact that, notwithstanding the introduction of this opera, some of the older masterpieces have been more popular than ever. Take, for instance, Mozart, never more brilliantly successful at Covent-garden than this season. Three of his operas, Don Giovanni, Il Flauto Magico, and Nozze di Figaro, were given fifteen times. Meyerbeer has also been well represented. There have been eighty-three representations, at which Mozart's Don Giovanni and Wagner's Lohengrin have each been presented eight times; Mozart's Nozze di Figaro four times, and Il Flauto Magico thrice; Rossini's Guglielmo Tell four times; the same composer's Il Barbière three times, and Semiramide twice; Meyerbeer's Roberto il Diavolo once only, and Les Huguenots four times, L'Africaine twice, and one representation in a compressed form; Dinorah, also Etoile du Nord, three times each; Weber's Der Freischütz was given three times, Auber's Fra Diavolo four, Les Diamans de la Couronne once; Beethoven's Fidelio once; Gounod's Faust four times and his Romeo e Giulietta three times; Donizetti's Lucia twice, Lucrezia Borgia twice, Elisir d'Amore once, La Favorita once, La Figlia twice; Verdi's Traviata three times, Il Ballo four times, and Trovatore once; Bellini's Norma and Sonnambula once each. Such are the chief features of Mr. Gye's operatic campaign. Of On Saturday evening, July 24th, the season at Her Majesty's Opera ended with a performance of Lohengrin. The production of this work at Her Majesty's as well as at Covent-garden has rendered this year a memorable one in operatic annals. What may be the ultimate result it is impossible to say, but it is a striking fact that Wagner has been heard on the boards of both our Opera Houses, and has met with no ordinary support. Wagner has been admitted, but other composers have not been thrust aside. He is accepted as one among many, and the regular opera-goer will be glad to hear his music if only as a contrast, while some not too well disposed towards the new style, go so far as to say that Lohengrin increases the taste for music of a more tuneful character. While Lohengrin has been heard at both house, other operas of the composer, which we have a strong impression would be more likely to attract, have never been heard. these Tannhauser may be named. It has some striking music and melody even of a very bold and original character. Opera Managers are but mortal, and, witnessing the terrible failure of this opera in Paris, they might have reasonably concluded that it would equally fail in this country; but such an argument is quite an error. Handel was almost an unknown name in Paris until recently. Even Mendelssohn's symphonies were a long time making way there, and Beethoven was for many years a "great unknown." Let us hope that we may hear Tannhauser at the New Opera House upon the Thames Embankment. One great advantage Mr. Mapleson possesses. He has a conductor in Sir Michael Costa who appreciates a perfect ensemble, and without this Wagner's music goes for nothing. The value of Sir Michael Costa's services could hardly be over-estimated, and the choral and orchestral effects in Lohengrin reflected the highest credit upon the conductor. It is a mistake to suppose that Sir Michael Costa is too exacting. Our own impression is that a conductor is more likely to fail through being too lenient than too strict. The mention of the new Opera House reminds us that Mr. Mapleson promises to open his new musical home in May. Mr. Mapleson has generally kept his promises so faithfully that there is every reason to believe that he will in this matter keep faith with his patrons, who wish him, as we do, hearty success. Operatic promises are not so heedlessly made as they were, and Mr. Mapleson can only be charged with one important shortcoming in this way. He promised a revival of Cherubini's Medea, which we should have been glad of, for Titiens is magnificent in that opera. We remember and we regret that performances of Der Freischütz, Auber's Caterina, Rossini's Otello, and other works were promised and not given; but we are far from blaming the Impressario for that. We have had other works and plenty of them, as a glance at the répertoire will show. Lohengrin was performed nine times, although it was much later in the season when it was produced than at Coventgarden. Gounod's Faust was given seven times, Rossini's Il Barbière six times, Lucia five times; Meyerbeer's Huguenots, Donizetti's Lucrezia Borgia, Mozart's Nozze di Figaro, and Rossini's Semiramide were represented each four times. Balfe's Talismano, Verdi's Traviata, and Bellini's Sonnambula three times each. The Trovatore and Rigoletto twice each. Beethoven's Fidelio was only given twice. Flotow's Martha, Ambroise Thomas's Mignon, Bellini's Norma, and Mozart's Don Giovanni only once each. In glancing at Mr. Mapleson's list of vocalists, it is easy to perceive that the feminine element is the strongest, a fact which, of course, must be taken into account when judging of what has been accomplished during the season. A very tower of strength in every way has been the majestic Titiens. In her great characters Mdlle. Titiens has again been heard at her best, and how good that is need not be told. Madame Christine Nilsson, one of the greatest artistes of the day, has fully sustained her reputation in her most popular characters. Whether she will add to her fame by her recent delineation of Valentina in Meyerbeer's Huguenots is a question we shall not discuss, seeing that opinions are divided on the subject. It matters little whether it be ultimately accepted as one of the popular prima donna's parts or not. She has ample opportunities in other operas, and her lovely voice was in better condition than ever this year. Mdlle. Varesi has taken many by surprise. At first it was thought that her voice was too weak to enable her to take a high position. Powerful it will probably never be, but it has gained in volume, and as an artiste Mdlle. Varesi can hardly be surpassed. Her perfect command of all the difficulties of vocalization is quite wonderful, and in the lighter characters of the lyrical drama she is destined, we think, to take a very high position indeed. Mdlle. Chapuy, a French artiste, has also been remarkably successful. She came from the Paris Opera Comique, and at first seemed a little strange in Italian opera. But the young lady was soon recognised as a real artiste, and in two or three representations she established herself as a great favourite. Mdlle. Belocca, the Russian contralto, was wonderfully popular in Paris, but it may be remarked that personal attractions in Paris count for even more than vocal skill, so Mdlle. Belocca must not be disappointed if the somewhat critical audiences of Her Majesty's Opera received her with less warmth than the lively Parisians. Mr. Mapleson has been less fortunate in his tenors. Signor Bignardi did not please much in Fidelio. Signor Brignoli is a good artiste, but his voice has suffered from hard work. Signor Fancelli, a really capable and competent tenor, with a fine voice, should have been heard more frequently. But tenors of a high class are difficult to be met with. Some have voices and no style; some style and no voice; some can sing and not act; and some can act and not sing. Signor Campanini did good service, but he still lacks refinement, which is a great pity. He might have taken a much higher position if his artistic capabilities had equalled his physical powers. While so wide a field is open to a popular tenor it appears strange that he does not make the most of his opportunities. Signor Gillandi and Signor Panzetti were two other tenors of no great gifts. Signor Rota came back, and was heartily welcomed. He is a legitimate artiste, and in some characters cannot be easily surpassed. Signor Galassi needs only to subdue a somewhat boisterous style to become a much greater artiste. Herr Behrens, as a basso profondo, is a useful but unequal artiste. Signor De Reschi has a very pleasing voice, and being young will doubtless advance; but Mr. Mapleson will require two or three good tenors and baritones to add to his company in the New Opera House. He will find it impossible to improve his orchestra, and his chorus is generally good in tone and excellent in execution. Even where a few of the principal artistes have not been quite up to the mark the excellence of the ensemble has satisfied the lover of music. So, with all sorts of good wishes, we quit Her Majesty's Opera, trusting Mr. Mapleson's anticipations for next year may be amply realized. Our review of the Operatic Season would be incomplete without a few remarks respecting the efforts of the Carl Rosa Company at the Princess's Theatre. We have heard during the short campaign of this admirable conductor some foreign operas given in English in a style worthy of the best performances of the Anglo-Italian stage, while the popular English operas have been rendered so as to bring out their beauties more prominently than heretofore. New singers of great merit have been introduced, and the reappearance of Mr. Santley greatly enhanced the attractions of the season. As Mr. Carl Rosa goes to Drury Lane in the spring, we may take that fact as an indication that English opera has once more revived in the metropolis, and we welcome it heartily. 14 THE ERA ALMANACK, 1876. Theatrical, Musical, and Equestrian Obituary. "All the world's a stage, And all the men and women merely players: They have their exits."-SHAKSPEARE. ABBOTT, William, (of Cov. Gar. Theatre,) died at Baltimore, June 6, 1843, aged ABINGTON, Mrs. Frances, Actress, died March 4, 1815, aged 83. ADAM, Adolph, Composer, died May 6, 1856, aged 53. ADDISON, Miss Laura, died on voyage from Albany to New York, September 1, 18 ALLEN, Madame Caradori, distinguished Vocalist, died October 15, 1865, aged 65 AMHERST, G. A., of Astley's, died at Philadelphia, August 12, 1851, aged 75. ARNOLD, Dr. Samuel, Composer, died October 22, 1802, aged 62. ASTLEY, Phillip, Equestrian, Founder of Circus, died October 20, 1814, aged 72. AUBER, Daniel Francois Esprit, Musical Composer, died May 13, 1871, aged 89. AURIOL, Madame, (widow of Flexmore,) died September 3, 1862, aged 33. AYLIFFE, John, Comedian, died December 16, 1847, aged 44. BABER, Miss Jane, Actress, late of the Olympic, died August 8, 1873. BADDELEY, Robert, died November 20, 1794, aged 61. BAKER, Basil, Comedian, died January 26, 1859, aged 54. BAKER, Charles, Comedian, died November 26, 1844. BALFE, Michael William, English Opera Composer, died October 20, 1870, aged 62 BALL, W., Author and Composer of Songs, died May 14, 1869, aged 84. BALLS, J. S., Comedian, died at Dublin, December 30, 1844, aged 45. BANNISTER, John, died November 6, 1836, aged 77. BARNARD, Mrs. C., Writer of Songs under the cognomen of "Claribel," died Jan. 30, BARNES, James, famous Pantaloon, died September 28, 1838, aged 51. BARNES, William Augustus, Pantomimist, died May 17, 1868, aged 58. BARNETT, Humphrey, Acting Manager, died April 30, 1874, aged 62. BARNETT, Morris, died at Montreal, March 18, 1856, aged 56. BARRETT, Henry Michael, Actor, died June 15, 1872, aged 68. BARRY, Spranger, died January 7, 1777, aged 58, buried in Westminster Abbey. BARRY, Tom, Clown, died March 26, 1857, aged 47. BARRYMORE, William, died in America, November 24, 1846. BARTLEY, George, Comedian, died July 22, 1858, aged 74. BARTLEY, Mrs., Tragic Actress, died January 14, 1850, aged 65. BATTY, George, of "Batty's Menagerie," died June 5, 1867, aged 64. BATTY, Wm., Equestrian Manager, and Proprietor of Astley's, died Feb. 7, 1868, age BEDFORD, Paul John, Comedian, died January 11, 1871, aged 78. BEETHOVEN, Ludvig von, German Composer, died March 26, 1827, agel 57. BEHN, Mrs. Aphra, Dramatist, died April 16, 1689, buried in Cloisters, Westmr. Abb BELL, Robert, Dramatic Author and Journalist, died April 12, 1867, aged 63. BELLAMY, George Ann, Actress, died February 15, 1788. BELLAMY, William, Bass Singer, died January 3, 1843, aged 74. BELLEW, J. C. M., the Popular Reader, died June 12, 1874, aged 50. BENDER, Charles, for 30 yrs. "Call-boy" at Cov. Gar. Theatre, d. July 26, 1857, ag. 44. BEVERLY, Henry Roxby, Comedian, died February 1, 1863, aged 67. BIFFIN, Miss, born without hands or feet, died at Liverpool, October 7, 1850, aged 66. BISHOP, Sir Henry, Composer, died April 30, 1855, aged 69. BLACKMORE, famous Tight-rope Dancer, died at Islington, March 11, 1838. BLAGROVE, Henry Gamble, Violinist, died December 15, 1872, aged 61. BLANCHARD, Thomas, Pantaloon, died August 20, 1859, aged 72. BLANCHARD, William, Comedian, died May 8, 1835, aged 65. BLAND, James, Comedian, died July 17, 1861, aged 63. BOLENO, Mrs. Emma, Columbine, died October 18, 1867, aged 35. BOOTH, Thomas Bennett (professionally known as T. B. Bennett), Actor, d. June 8, 1872. Bosio, Angiolina, of Italian Opera, died at St. Petersburg, April 10, 1859, aged 35. BOWLEY, Robert Kanzow, General Manager of the Crystal Palace, died Aug. 25, 1870, ag. 57. BRACEGIRDLE, Mrs., died September 14, 1748, aged 85. BRADSHAW, Mrs. Anne Maria, (famous Vocalist as Maria Tree,) d. Feb. 18, 1862, ag. 60. BRAHAM, John, Vocalist, died February 17, 1856, aged 79. BRAHAM, Hamilton, Vocalist, died at Rochester, Kent, December 22, 1862. BROADFOOT, Alexander, Actor and Stage Manager, died May 5, 1847. BROADFOOT, William, of Astley's, died January 2, 1852. BROADHURST, W., Actor, died May 28, 1869, aged 82. BROMLEY, Thomas, Actor at Drury Lane, died December 31, 1841, aged 68. BROOKE, Gustavus Vaughan, perished in the steamship "London," January 10, 1866. BURBADGE, Richard, died March 13, 1619, buried at St. Leonard's, Shoreditch. BUTLER, Samuel, Tragedian, died at Manchester, July 17, 1845, aged 48. BYRNE, Oscar, Ballet Master, died September 4, 1867, aged 72. BYRNE, James, (father of Oscar Byrne,) died December CALCRAFT, Granby, died in New York, January 8, 1855. 1845, aged 89. CAPEL, John, President of the Glee Club, died December 20, 1846, aged 80. CAPLE, John, Actor and Manager, died June 21, 1860, aged 40. CAREY, George Saville, Author, died July 10, 1807, aged 65. CARROLL, Edward, Equestrian, died July 14, 1869, aged 27. CARTER, Henry Lee, ("Two Lands of Gold,") died October 9, 1862, aged 37. CARTER, "Little," Treasurer of Haymarket, died July 20, 1850, aged 81. CARTER, James, "Lion King," died May 19, 1847. CATALANI, Madame, died at Paris, June 19, 1849, aged 69. CENTLIVRE, Mrs. Susannah, died December 24, 1725, aged 45. CHABERT, Dr. Julian, the "Fire King," died at New York, August 28, 1859, aged 67. CHAPMAN, John Kemble, died September 2, 1852, aged 57. |