Covent Garden, Tuesday, Nov. 1st.—Tristan und Isolde. About the dullest thing that even a much-enduring Wagnerite ever heard. Glass down to zero.
Our Critic at The Opera.
| He heareth Tristan und Isolde wrapt in slumber. | He heareth Cavalleria Rusticana rapt in ecstasy. | He seeth and heareth Aïda, “More power to your Melba!’” |
Wednesday.—Glass up again. Orféo with the two RAVOGLI and the marvellous BAUERMEISTER as Cupid. Wonderful little lady BAUERMEISTER-singer! I’ve said it before, and I repeat it emphatically, BAUERMEISTER is “a little treasure” to an Operatic Manager. MASCAGNI’s Cavalleria Rusticana was the second course to-night, in which this adaptable lady, the Cupid of the first piece, appeared as old heart-broken grey-haired Lucia, the mother of the gay Turiddu. Were Sir AUGUSTUS inclined to introduce a little light English jocosity into this serious Opera, he might give a line to the implacable Alfio, saying, “I’ve come to rid you of Turiddu!” If MASCAGNI had heard this, he would have composed an additional Intermezzo expressing the whole force of the idea.
Thursday.—Carmen expected, but tenor off colour, so change of air (or should say airs) recommended, and adopted. Audience sent to the country, or, rather, Rusticana brought to them.
Friday.—House crammed. Great excitement to hear MELBA as Aïda, the darky girl. Everybody delighted, except perhaps MELBA herself, who, on seeing the bouquets, must have murmured, “Trop de fleurs!” Everybody good. Quite the best night of the Season. To-night BAUERMEISTER appears as Sacerdotessa. So this week she has been Cupid, an old Peasant woman, Frascita, a Brigand’s Young Woman; and then, being repentant, she finishes as a Priestess! It’s a whole life-time in a few days.
LADY GAY’S DETECTION.
Berkeley Square, W.