Thoperformanceof Verdi's Opera, the Halle in Maschera, on Monday night (9th inst.) was, on the whole, the most successful that has been given by the Company during the season. Concerning the intrinsic merits of the work opinions differ. As Lord Macaulay says in one of his essays, every man must write his best book, and the same remark probably applies to dramas and operas, At any rate, no sooner does an author make his mark by a new novel or play, which has the good fortune to take the town by storm, than a gradual falling off is observed in whatever thereafter nay emanate from his pen. Whether this is the result of carelessness or a decline of \-power it is impossible to say. One is certain, that Verdi reached the zenith of his fame when It Trovatore first the Halle in Maschera is that it is the best opera that ihe composer lias produced since he immortalized his name by I Trova The first act does not call for any special mention, as it contains few, if any, passages attrac The witch's cave is a capital of note or interest. The second is more
scene, and notwithstanding the many difficulties with which the company had to contend it was thoroughly well acted -on Monday night. The solo which falls to the lot of Riccardo was, given in splendid style by Sig. Vanzetti, and the quartette between Ulrica, Oscar, Riccardo, and Renato was rewarded by a well-deserved call before the curtain at the close of the act. The centre of attraction in the third act is the charming duet Teco io sto Gran Dio between Amelia and Riccardo. This was given with most telling effect and elicited a vehement encore. The impres i however, somewhat d by the weakness of the chorus following it, which is general' a striking feature in any representation of this opera, The bal masque in the fourth act fairly brought down the house. The famous Tra, la la, said to have been composed originally for the once famous but now almost forgotten Madame Alboni, was sung with much spirit by Signora Pinelli; the audience encored with might and main, but the cantatrice, although she acknowledged the compliment, declined to respond to it by a repetition. The scene which closes with the death of Riccardo was sustained with much power and pathe: ant the curtain descended amidst death ing applause. With regard to the dramatic persona all that can be said is that the leading stars fully maintained the reputation they have hitherto enjoyed, Signor Vanzotti gave a capital represent ation of Riccardo, and the same may be aald of Signor Ciocci as Renato; his fine voice gave the highest effect to the songs and Jos allotted to him. His acting and especially in Act IV. So were remarkably good. Signora Sillin er appeared to greater advantage than in the witch's cave scene; her reprosentation of Ulrica was in many ways most creditable. We may hero remark that the writers of the play-bills will insist in describing her voice as contralto. This is a decided mistake; if we are any judges in the matter we should pronounce it to be a rich mezzo-soprano—which is by no means to be despised among female voices. Oscar found a capital representative in Signora Pinelli, though both her acting and singing would be much better if she could get over that chronic nervousness with which she is evidently afflicted. Last, but by no means least, Signora Lubicci earned afresh crop of laurels by her careful and conscientious rendering of Amelia, The minor characters were up to the average, but do not ron any special mi mn. The orchestra played with more discretion, was less noisy, and had not so great a tendency to drown the voices as on former occasions, -M, Vela is to be complimented accordingly. The house was fairly filled by an appreciative audience.
Text read from the printed page and cleaned; old type leaves the occasional error.