THE OPERA-GOER'S DIARY.
Monday to Saturday.—Nothing particular this week. Second July Meeting at Newmarket took a lot of people away, and the thunder, hail and rain frightened a lot more away on Thursday, so may as well discuss Esmeralda, which I hadn't time to do last week. Rather a mixed affair to start with when you have a French libretto, set by an English Composer, and played at the Royal Italian Opera, Covent Garden. No matter. A big success for everyone concerned, from DRURIOLANUS downwards. No one could have wished for a better Esmeralda than Madame MELBA, though she did not make the most of that first charming song, "L'Hirondelle." One Swallow, however, doesn't make an Opera, and Madame MELBA soon pulled herself together, and threw herself into the work when she saw Mons. JEAN DE RESZKÉ, as Phoebus, winning fresh laurels.
The Quasimodo of M. DUFRICHE, of the Vibrato school, was dramatically good, but not great; but Claude Frollo was both great and good. These two have been defrauded of their rights by the undramatic Librettist, who has done about as little as possible with the excellent materials at his command. What a scene might have been the final one between Quasimodo and Claude, when Claude Frollo is pitched over the battlements. I forget what becomes of Quasi; but if he stabs himself, or is stabbed, that would be quite sufficient for dramatic justice and effect. Then, of course, the absurd ceremony used by Clopin, and the real unwillingness of Esmeralda to become Gringoire's wife, would dispose of the marriage, unless Gringoire were previously got rid of (for I don't remember how the novel ends) and Esmeralda would be united to Phoebus, while Fleur-de-Lys could marry De Chevreuse, or anybody else.
HOW IT OUGHT TO HAVE ENDED.
The Goat, too, has a wretched part: to be left out after the first scene is too bad. Something might have been done with him, if he had only been put into a chaise; but perhaps Esmeralda and Phoebus reserve him for further use in the course of a couple of years or so, when Djali, drawing a goat-chaise containing a little Esmeralda and a little Phoebus, followed by a nurse and Papa and Mamma, would make a sensation at some fashionable seaside resort.
Mons. MONTARIOL played and sang well as Gringoire, and Mons. WINOGRADOFF was most artistic as Clopin, Amusing to see Mons. LASSALLE as Claude Frollo, melodramatically hiding behind the window-curtains, just as Phoebus enters the room followed by Esmeralda. So evidently was the curtain shaken, that Phoebus would most certainly have detected the sneak, or he might have asked Esmeralda, "What's that?" and have asserted his belief that it could not possibly be the cat, but he might have accepted her explanation had she informed him that it was the Goat. What a chance here lost for a situation of the Goat behind curtains butting Claude Frollo! However, it was all "purtendin'," and JEAN DE RESZKÉ as Phoebus didn't see what he would most certainly have noticed immediately had he been himself. Magnificently got up; mise-en-scène excellent; band and chorus all that could be wished.