_Covent Garden, Tuesday, Nov. 1st._—_Tristan und Isolde._ About the
dullest thing that even a much-enduring Wagnerite ever heard. Glass
down to zero.
[Illustration: OUR CRITIC AT THE OPERA.
He heareth _Tristan | He heareth _Cavalleria | He seeth and heareth
und Isolde_ wrapt | Rusticana_ rapt in | _Aïda_, “More power
in slumber. | ecstasy. | to your Melba!’”]
_Wednesday._—Glass up again. _Orféo_ with the two RAVOGLI and
the marvellous BAUERMEISTER as _Cupid_. Wonderful little lady
BAUERMEISTER-singer! I’ve said it before, and I repeat it
emphatically, BAUERMEISTER is “a little treasure” to an Operatic
Manager. MASCAGNI’s _Cavalleria Rusticana_ was the second course
to-night, in which this adaptable lady, the _Cupid_ of the first
piece, appeared as old heart-broken grey-haired _Lucia_, the mother
of the gay _Turiddu_. Were Sir AUGUSTUS inclined to introduce a
little light English jocosity into this serious Opera, he might give
a line to the implacable _Alfio_, saying, “I’ve come to rid you of
_Turiddu_!” If MASCAGNI had heard this, he would have composed an
additional _Intermezzo_ expressing the whole force of the idea.
_Thursday._—_Carmen_ expected, but tenor off colour, so change of air
(or should say airs) recommended, and adopted. Audience sent to the
country, or, rather, _Rusticana_ brought to them.
_Friday._—House crammed. Great excitement to hear MELBA as _Aïda_,
the darky girl. Everybody delighted, except perhaps MELBA herself,
who, on seeing the bouquets, must have murmured, “_Trop de fleurs_!”
Everybody good. Quite the best night of the Season. To-night
BAUERMEISTER appears as _Sacerdotessa_. So this week she has been
Cupid, an old Peasant woman, _Frascita_, a Brigand’s Young Woman;
and then, being repentant, she finishes as a Priestess! It’s a whole
life-time in a few days.
* * * * *