OPERATIC NOTES.
L'Attaque du Moulin (à 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 Françoise, 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 "remplaçant." 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 bâton, 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 Reszké. Druriolanus has followed the precedent of "cutting the 'osses." But the "cackle" of geese followeth not. On the contrary, the applause is abundant.
