[Illustration]
Production of new Opera, _Amy Robsart_, arranged (and very well
arranged, too) from Sir WALTER SCOTT'S novel, by Sir AUGUSTUS HARRIS
and PAUL MILLIET, the English adaptation by FREDERIC WEATHERLY, and
music by ISIDORE DE LARA. CALVE in the title _role_, splendid;
going through everything--three rather lengthy Acts, two impassioned
love-duets, and the trap-door in the bridge--with unflagging spirit
and charm.
In the Second Act, Kenilworth shown illuminated for the reception of
_Elizabeth_--_Leicester_ having evidently borrowed one of the band
kiosks from Earl's Court. _Elizabeth_, according to stage directions,
should have entered "seated upon a magnificent white horse," but
preferred to walk in. Possibly her steed detained by business
engagements. As represented by Madame ARMAND, an easy-going,
sunny-tempered sovereign, with an amiable dislike of any
"unpleasantness" among her courtiers. The _Earl of Sussex_ the most
impressive mute (next to his contemporary the _Earl of Burleigh_ in
_The Critic_) on the boards,--nothing to do but look haughty, and
at last, at the Queen's command, consent to become reconciled to
_Leicester_,--but the subtle suggestion in his "shake-hands" that
he did so on compulsion, and reserved himself the right of punching
_Leicester's_ head at the first convenient opportunity, very
artistically conveyed. Part most carefully thought out. The Revels cut
short by the inconsiderate appearance of _Amy Robsart_ when they were
just beginning, which must have been annoying for the Lady of the
Lake, who had just arrived to pay homage to the Queen, and found
herself obliged to get upon her floating island again, and go home in
the most ignominious manner, without waiting even for the "shower
of stars," which were to have fallen over the water. _Elizabeth_,
however, seemed quite unruffled by the interruption, perhaps thinking
that anything was a relief which put an end to the revels. _Finale_
to this Act dramatic, and well worked up. Third Act in two short
_tableaux_, concluding with a duel and explanation (in two lines)
between _Leicester_ and _Tressilian_, after which the opera ends
abruptly with _Varney's_ highly ungentlemanly practical joke upon poor
_Amy Robsart_, and _Leicester's_ request to _Tressilian_ to take his
sword and run him through--which, however, he had no time to grant,
as the curtain fell at that moment. After that, well-deserved
floral tributes to Madame CALVE, and enthusiastic calls for singers,
composer, manager, and carriages.
* * * * *
"FOLLOW ON!"
(_A Cricketer's "Catch."_ AIR--"_Come Follow!_")
_First Voice._ Come follow, follow, follow, follow, follow, follow on!
_Second Voice._ Why then should I follow, follow, follow, why then
must I follow, follow on?
_Third Voice._ When you're Eighty runs or more behind our score you
follow on!
* * * * *