[Illustration: "Oh, I mustn't Catch the Speaker's Eye!"]
The first night of the Mixed Italian Opera Season, 1891. We open
with GLÜCK's _Orféo_, and, in a strong opera-glass, we drink to
DRURIOLANUS OPERATICUS, and say, "Here's G-luck t'you!" Nothing can
begin the season better than the appearance of GIULIA and SOFIA
RAVOGLI--specially GIULIA--"There's something 'bout GIULIA So werry
peculia'"--(_Old Song_)--in this short Opera, that is to say, an Opera
which should be short were it not for the "waits" between the Scenes
and Acts, which, as it is in the nature of weights to do, must always
make even the lightest Opera seem heavy. Mlle. GIULIA sang and acted
perfectly. Her rendering of the last song was most pathetic. This
delicious melody the audience would have had over and over again, not
in merry mood, for we are never merry in the hearing of such sweet
music, but in appreciative sympathy with the woes of _Orpheus_ so
sweetly expressed. The lines in _Bombastes_ rise in my memory:--
"So ORPHEUS sang of old, or poets lie,
And--"
On consideration, however, I will _not_ quote the remainder, but will
say simply that we were all charmed. Welcome, at the commencement of
another season, to Mlle. BAUERMEISTER, appearing as _Cupid_. To-morrow
she will be _Dame Marta_! Wonderful! "Time cannot stale her infinite
variety." How is it, O _première danseuse_, my pretty pretty Polly
Hop-kino PALLADINO, Principal Shade among all these Happy but Shady
characters, that thou didst not choose a classic dance in keeping with
the character of the music and of the ideal--I distinctly emphasise
"_ideal_"--surroundings? What oughtest thou to represent in the
Elysian Fields? A Salvationised "Dancing Girl," without bonnet and
tambourine? Nay, not so; but rather the very spirit of classic grace
and elegance, moving rhythmically to melodious measure. In such a
Scene as this ought to be, we want as much idealism as your graceful
art can lend, otherwise we are only among our old friends, "the
ladies and gentlemen of the Chorus"--bless em!--representing most
substantially the "Shades of the Blessed," who appear to be Shades
of every colour. GIULIA RAVOGLI, however, kept us entranced in the
ancient classic land where once we used to wander. "_Vive Lemprière!_"
[Illustration: Talking about Marguerite behind her Back; or, "'Tails'
out of School."]
_Second Night_.--_Faust_, with a new _Marguerite_, Gay dog, _Faust_.
How many _Marguerites_ have there been even in my time! Same old
story. _Faust_ not a whit improved by experience--going on just the
same as ever. His new _Marguerite_ does credit to his choice, for
Mlle. EAMES--(isn't she Miss EAMES, and neither Mademoiselle nor
Signora? And doesn't she hail from Columbia?--but no matter)--is a
sweet-looking _Marguerite_, with a voice as true as is her heart to
_Faust_. A genuine _Gretchen_, simple not brilliant. Brilliancy she
leaves to property diamonds, but awakes enthusiasm, by her judicious
acting over the inert body of _Valentine_, when she attempts no sudden
Colwell-Hatchney shriek, always so perilous. Signor PEROTTI looked as
_Faust_ might have done, had he been elected an Alderman of the City
of London and acted up to the character. If DRURIOLANUS had lent him
his Sheriff's chain to wear, Signor PEROTTI would have been perfect,
that is from this point of view. M. MAUREL excellent as _Mephisto_
in a new suit of clothes. He appears now as "The Gentleman in
Grey"--rather suggestive of his having become a Volunteer, and a
member, of course, of "the Devil's Own." Imagine _Mephistopheles_
re-dressed at last! On both nights Signor MANCINELLI, the Conductor,
seemed pleased, and that's something.
[Illustration: The New Faust, a mixture of Henry the Eighth and
Colonel N----th.]
Great feature in Covent Garden this year is the decoration of the
Pit-tier Lobby. DRURIOLANUS, feeling happy at the Opera prospects, and
rejoicing in a full subscription, said to the Committee, "Gentlemen,
let's have 'glasses round'!" Some officious person, hearing this,
mistook the meaning of the great Chief, and straightway ran off and
ordered _looking-glasses all round for the Lobby!_ Grand effect!
brilliant! dazzling!--too much so, in fact; several glasses too
much. So, after a couple of nights' reflection, when the _habitués_
came on Thursday, behold, two or three of the aristocratic mirrors
or Peer-glasses had disappeared, the hat-pegs of former times had
been restored, the wounded susceptibilities of the Stall-keepers
whose occupation was partly gone, were healed, and where gloom was
spreading, wreathed smiles once more prevailed. Even now these
Opera-glasses are rather too powerful. Still, "let us see ourselves
as others see us," is a good practical motto for the loiterer in the
lobby, as he catches sight of himself, _en passant_, and wonders who
that chap is, whose face he has seen somewhere before, but whose name
he can't for the life of him recollect.
_Thursday_.--_Carmen_. Disappointed with JULIA RAVOGLI in this, though
there are some fine bits of acting in it. Didn't care much about
Sister SOFIA as _Mickie the Maiden_, M. LUBERT's _Don José_ good but
not great; and M. CELLI, who, in default of M. DEVOYOD's not being
able to appear, took the part of _Escamillo_, was great, but not very
good. He was, however, well supported by Signor RANDEGGER and the
Orchestra, and considering the difficulties he had to struggle with,
including an apology in the bills, he came out of it safely.
_Saturday_.--Re-appearance of the great DE RESZKE Brothers, JOHN and
NED (what's JOHN without an 'ed?) in _Lohengrin_. Admirable. JULIA
RAVOGLI excellent as _Ortruda_, and M. MAUREL equally so as _Freddy_.
But why did he "feather his skull," like the Jolly Young Waterman, in
so remarkable a style? However, his _Freddy_ is a feather in his cap
with which he ought to be satisfied. Miss EAMES as _Elsa_ even better
than as _Marguerite_. Crammed house. "Friends in front" more than
satisfied. Good start.
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