AMUSEMENTS.

Globe, Volume VI, Issue 605, 27 May 1876, Page 2

AMUSEMENTS.

THEATRE ROYAL.

We are glad to notice from a paragraph in the Lyttelton Times that active operations are now being carried on for the demolition of the present barn, called by courtesy a theatre. We regret, however, that we have not been favoured with a farewell performance by those who have so long amused the public, but we suppose the exigencies of the case rendering speedy demolition of the building necessary, has prevented this We must therefore be content to wait until the new building is erected, when, under the able management of Mr. Hoskins, no doubt we shall have plenty of novelty.

ILMA DE MURSKA’S CONCERT.

The lon g looked for appearance of Mdll eJI m a de Murska and her company was made last evening at the Oddfellows’ Hall. As was to be expected, the room was in most places densely crowded, in the gallery particularly there being scarcely standing room, and certainly the prima donna could not have desired a more cordial reception than was accorded to her. Her voice is of rich pungent quality, and her extended compass has been cultivated to the highest degree of perfection. To those present who were unacquainted with the music of the old countries, it must have been like a glimpse into a new vocal world, and to those who have had the advantage of hearing the great ones in song, it was as though transplanted to bygone scenes, which now live but in their memories. To all it was an evening’s entertainment not likely to be speedily forgotten. Except from actual acquaintance with the accomplished fact, it would be well nigh impossible to believe that the vocal organ could be brought to execute many of the passages heard last evening. Yet the most intricate were rendered with the utmost freedom and facility—noeffort. no strain was anywhere apparent, all was as easily performed as the simplest melody. Madamoiselle de Murska’s first effort was the “ Carnival de Venise ” with variations, arranged by Benedict. After an introduction, quasi recitando, the air is heard in all its sweet simplicity, and is succeeded by several variations, which are thoroughly instrumental in character, and calcu’ated to exhibit to the extreme her really marvellous execution; scale passages and shakes succeed each other in rapid succession, and extended and abstruse intervals are combined; but all were performed with consummate ease and skill, —now in mezzo voce, now with fullest power, showing the perfect mastery over the voice to which she has attained. The deafening applause which greeted her on the conclusion of this was such as one could scarcely have supposed hands capable of producing ; and she responded to the rapturous recall by performing a brilliant waltz (“ Per sempre *’) by Giorza. Subsequently, she sang the great aria, from Donizetti’s “ Linda di Chamonnix .” The opening was given with exquisite pathos, and the rapid cadenza was rendered with great brilliancy. The difficult intervals of the piece were as clear and distinct as even the unyielding pianoforte could have enunciated them, and the chromatic passages were performed with wonderful exactness and accuracy. To another overwhelming encore she responded with Bishop’s charming song, “ Lo, hear the lark at Heaven’s gate sings,” with flanto obligato, and so sweetly were the florid passages given that at times it was scarcely possible to distinguish between voice and instrument.

Signor Susini has a voice of marvellous power; and fine tone. His singing of “ Vicni la inia vendetta" (from “Lucrezia ”) was most commanding. ” The opening recitative was boldly declaimed, and the well formed phrases of the aria were clearly given ; and the second part was sung with tremendous fire and vigour. The buffo song from Don Giovanni was rendered in a manner' which must have intelligently conveyed to all its meaning and drift, rendering ignorance of the Italian tongue of almost no account. He subsequently appeared with Mdlle de Murska in the amusing duo M Quanto amove , JSlixev d’Amove,” and his humour was well chosen and admirably exhibited. Of the soprano part it is almost superfluous to speak: it is sufficient to say that it was rendered in perf-ct style, and showed to advantage Mdlle. de Murska in this different style of performance.

Signor Rosnati was already tolerably well known in Christchurch, and was warmly received last evening. His rich metallic voice showed well in Donizetti's “Don Sebastiano," and his clear and even intbnation and artistic singing secured for him a vociferous encore] and he returned to sing the favorite canzone from Rigoletto, which was most pleasingly rendered. His performance of “ Non e ver" was full of pathos and fervour, and the high B fiat introduced was delivered with fine clear tone. • His voice is of no mean power, but Signor Susini was almost too much for him in the du»• from “ Martha;” but the two tones blended, well, and the singing of both was exceedingly pleasing, and the piece had to be repeated.

It is rarely one has the opportunity of hearing a flutist of such excellence as Signor Giammona. Last evening he played twoof his own arrangements of operatic melo(iep, winch advantageously exhibited hie itt inmentp. There was a moat delicious oi?‘, and smoothness about his playiu.', !i nd the facility with which be prodajau the

lowest notes and their fine tone was a treat t)hear. There was no apparent effort ai ywhere, every note was sounde 1 with perfect ease, and the most, intric ite fluid passages were executed with maste'ly skill, pore are but few players who can make their instrument “sing” as he did. A few of his effects must be noticed, nut wc have not space to particularise all. The violin is noted for its “close” shake, an tffoct which is usually thought unattainable in a wind instrument, but many _ of Signor Giammona’s shakes commenced in a style nearly assimilated to it, audseemed to extend and developeinto the full shake between the two perfect notes. And as an instance of perfect command over his instrument, we may mention the clearly marked sforzato melody in the upper part, accompanied almos simultaneously with rapid pianissimo tremolo passages in the lower register ; the delicious effect could be appreciated by all, but the difficulty of these rapid transitions from / to p in the wide intervals can only be known and valued by those personally acquainted with the instrument. Last, but certainly not least, comes the Maestro Ilia, who presided at the pianoforte during the whole evening. His accompaniments were all tastefully played, and were very enjoyable. His solo piece was Brissac’s difficult fantasia on Scotch airs, and this he performed in magnificent style. The bravura passages were executed with great delicacy and brilliancy, and his free octave playing must be specially noticed. The piano seemed almost to speak under his fingers as the plaintive melodies poured forth, and the audience could not rest satisfied with this one exhibition of his powers, but loudly recalled him, and in response he played Ascher’s clever “ Danse Naigre, ” The staccato repeated notes were very clear, and the crescendo phrases were finely given, mounting up stronger an 1 stronger till it burst into the furious shower of full chords which forms the finale. The next “ De Murska ” concert is announced for Monday evening.