[Illustration: L'Attaque du Moulin (a poivre)]
It strikes me forcibly that the Wagnerian idea has influenced all recent
compositions. Nothing is now done without a "motive." It may be a good
motive, or a bad motive, or an inadequate motive, or an indifferent
motive; but motive there must be with our most modern school of
composers, who, adopting the Wagnerian idea, (not in itself a purely
original one,) and improving on it, attribute less importance to the
"Act" than to the "motive," though by a reflex action the scheme of the
Act suggests, organises, and it may be added, orchestrates the
"motives." _L'Attaque du Moulin_ is a practical example of this theory.
It is not styled an opera but a lyric drama in four acts. It is founded
by M. LOUIS GALLET on ZOLA'S story; it is reduced to plain English by
Mr. WEATHERLY; the music is by ALFRED BRUNEAU; and for the stage
management, which has so largely conduced to its success, Sir AUGUSTUS
DRURIOLANUS is responsible. It is not what the sporting papers term "a
merry mill," though there is plenty of fighting. There _are_ some songs
in it, and there are some melodies--or mill-odies--which may catch on
when heard a second or third time; but they certainly do not arrest the
attention at a first hearing. The music, I judge only from the one
representation, seems lacking in those catching-on airs which, coupled
with the admirable acting of the principals, made the fortune, _sur le
champ_, of the _Cavalleria Rusticana_. But a "wind-mill" without any
"air" can't be expected to "go."
Madame DELNA is forcibly dramatic, true, but not powerful as a singer,
at least in Covent Garden. Nor is there in the character of this Maid of
the Mill any such great opportunity whereby to test the power of the
actress as there is in the part of _Santuzza_, or of _Anita_ in _La
Navarraise_. Madame DELNA may be all that enthusiastic reporters have
said she is, but she must have a great deal of power in reserve, for the
display of which this opera does not offer the chance. Mons. BOUVET as
_Merlier_, the Miller, who "created" the part in Paris, is good, but his
acting is somewhat monotonous. Madame DE NUOVINA as _Francoise_, is a
young _Lady Macbeth_, who gives the dagger and does not request that it
may be returned to her again when done with. M. BONNARD, as the _Singing
Sentinel_, reminding me of GILBERT and SULLIVAN'S _Sentinel_ "with a
song" in one of the Savoy Series, was very good; and Mons. COSSIRA,
excellent as the escaping prisoner, bore so strong a resemblance to the
Director of the Fortunes of Covent Garden and Drury Lane, that people
looked twice at their programmes in order to be quite sure that an
apology for the singer had not been made, and that the much-talented Sir
DRURIOLANUS had not, at the shortest possible notice, consented to be
his "_remplacant_." Mons. ALBERS, as the _German Captain_, ought to be
in receipt of a very large salary, seeing "how wide he opens his mouth"
when singing. All were good in the best of all possible operatic
entertainments, including the unequalled orchestra conducted by M. PH.
FLON, (is this "Phlon-FLON"?) who has taken his turn with Signori
BEVIGNANI, MANCINELLI, and Mr. FREDERIC COWEN, the last-mentioned coming
to look after his new Opera of _Signa_, in which Madame DE NUOVINA was
charming, and Signor BENJAMINO DAVIESO appeared as the Anglo-Italian
Tenor. Congratulations to Signor FREDERICO COWENI.
_Saturday night._ _Elaine._ "If it's not very lively," observes Sir
AUGUSTUS beforehand, "still it must be remembered that I have not only
at heart the interests--and in pocket the interest--of Covent Garden,
but also of '_Drear Elaine_.' Should it prove a joyous opera and attract
the people, then I shall consider it as an example of 'Drawer-Elaine' at
Covent Garden. But now--hark!--let us not trifle with time and tune.
MANCINELLI is raising his _baton_, up goes the curtain, and all in to
begin. _Nous verrons._" And the "all" includes the Prince and Princess
of WALES and their two unmarried daughters, and a very good house
indeed. "And how is _Elaine_?" is the question. "Very well, thank you,
and much better than she was two years ago," is the reply. _Elaine_ is
decidedly thinner. One Act gone, and other judicious cuts have reduced
her. The opera is consequently lighter. Due weight, however, is given to
it by Madame MELBA and JEAN DE RESZKE. DRURIOLANUS has followed the
precedent of "cutting the 'osses." But the "cackle" of geese followeth
not. On the contrary, the applause is abundant.
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[Illustration: MUSIC AT HOME.
_Hostess._ "OH, THANK YOU FOR YOUR LOVELY MUSIC, HERR BLUMENTOFF! IT'S
JUST WHAT I LIKE. IT BLENDS SO PERFECTLY WITH THE CONVERSATION WITHOUT
IN THE LEAST INTERRUPTING IT!"]
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