The Cincinnati daily star. [volume] ([Cincinnati, Ohio]) 1875-1880, 1880-02-05
HER MAJESTY'B OPERA.

Lucia" Elegantly Rendered To . Fine
Audisnoe-"Mignon" Tonight
"Lucia di Lammermoor'' is = popular
opera, and those who heard Mile. Marimnn
Monday night felt assured that with her,
Brgnoli and Galassi in tile leading parts,
most delightful and artistic rendering OF 1t
would be the result The audience was q
large and brilliant one, and there has not
been stronger evidences of most thorough
enjoyment during the season than were
exhibited during this performance. It was
without exagReration one OF tile most re-
markable performances that opera hab.
it,es of this city have ever enjoyed. and
the lions share Of the credit for its excel
ience belongs to Mile. Marimon. There
are few operas in which the lyric and the
dramatic styles of music are 80 closely con-
nected, or where the abilities of the lead
ing singer are 90 heavily taxed, Al In
Lucia" From beginning to end the
sopraI0 score Is a succession Of brilliant
fiOriture composition, requiring the most
consummate execution, perfect method,
and purity of voice. Let singer who is
not fully equal to the demands Of the
music try to sing it, and she makes a mis-
erable fasco Let singer who is equal to
the SC, re sing it, and her triumph is as
great vocal triumph as she can desire.
TIE role of Lucia" is one which admits no
incomplete work. It must be done per-
fectly to be at all admissible, for most Up
era-goers know the opera so well, and have
seen so many really god singers in the
part, that the standard is made for them.
The music is purely lyrical, and yet at
times it transcends this character and Dor.
ders on the emotional. For instance, in
the mad scene and the different scenes witt,
Edgar, there is demand made upon the
prima donna for more than lyric singing
Feeling and intensity and the emotional
expression that follows both is required to
fill in the outlines of the roll and make it
glowing picture of womanlv tenderness and
despair. The very changeableness Uf this
part admirably fits it to Mile. MarimoD,
whose talents are 90 mature and cultivated,
and withal 30 versatile. Her personation
of Lucia" was noteworthy, uncommonly
noteworthy one, for more than one reason.
| Her singing was without q flaw, and her
acting was refined and not wanting in grace
full force. Her singing throughout was
very finished, but the climax of her
achievements was tic mad scene,
with its beautiful arias, splendid embellish-
ments, and the cadeDza, which might not
iuaptly be called the crowning glory OF her
evenings work. This cadenza, with flute
obliga o, was written for Mile. Marimon
by the accomplished conductor, Hignor
Arditi, and 1t is . superb bit of musical
writing, with runs and trils, octaves and
accents that will develop every latent beau
ty OF singers voice. 1t Is q question
whether the music in this scene has ever
been sung with more feeling and nicely in
execution than Mile. Marimon sung it.
1t was complete triumph, and the au-
dience were carried away, 30 to speak,
before the irresistible beauty Of her
voice. Mile. Marimon's greatness is
only shown when she has some OK.
ceedingly difficult passage OF the most ornate
&C, ring TO execute. Siguor Brignoli made
his first appearance In opera after q TWO
years absence. 1t isa marvel how he re-
tains the beauty Of his Voice. He sings US
effectively to-day as he did years ago. His
success lies partly IN the perfection of his
methods and the manipulation OF his voice.
He never loses an opportunity to make q
vocal effect, and there Is as much in this as
In the musical quality Of bis tones. Galassi
also made another excellent impression,
his acting was strong and mis- singing very
artistic. Tonight "Mignon."
"Guglielmo," Hignor Campanini; "Lo
tario," Eignor Del Puente; "Federico, II
Mile. A. l. Cary; "FilIna," Mile. Alvin.
Valera, and "Aignon," Nine. Emeli,
Ambfe.
Friday night III Tfovators," sasurd.,