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    Punch, or the London Charivari, Volume 93, July 9, 1887.
    Punch, or the London Charivari, Volume 93, July 9, 1887.
    Punch, or the London Charivari, Volume 93, July 9, 1887.
    Ebook90 pages41 minutes

    Punch, or the London Charivari, Volume 93, July 9, 1887.

    By Various Various

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 15, 2013
    Punch, or the London Charivari, Volume 93, July 9, 1887.

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      Punch, or the London Charivari, Volume 93, July 9, 1887. - Various Various

      The Project Gutenberg EBook of Punch, or the London Charivari, Volume 93,

      July 9, 1887., by Various

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Punch, or the London Charivari, Volume 93, July 9, 1887.

      Author: Various

      Release Date: May 31, 2010 [EBook #32629]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH-CHARIVARI, JULY 9, 1887 ***

      Produced by Neville Allen, Malcolm Farmer and the Online

      Distributed Proofreading Team at http://www.pgdp.net

      PUNCH,

      OR THE LONDON CHARIVARI.

      VOLUME 93.

      July 9, 1887.

      OPERATIC CONFUSION.

      I went on Saturday to hear the three operatic novelties so liberally provided for us on the same night by Messrs. Mapleson, Lago and Harris. I do not mix my liquors, and I endeavour, as a rule, to keep to the same lyrical drama throughout the evening; nor is it my fault if a good dose of strong Beethoven, sweetened with Gounod and flavoured with Meyerbeer had, on the occasion in question, a somewhat confusing effect on my brain. At Her Majesty's, Lilli Lehmann was all right as Leonora: not Leonora of La Favorita, but Leonora the favourite wife of Manrico—no, not of Manrico, but of another personage who, like the unfortunate Trovatore, has to be rescued by his loving spouse from the tyranny of a powerful baritone; whether Verdi's Count di Luna or Sheridan's Pizarro, I cannot just now call to mind. Mlle. Lehmann is not only a fine singer, but also a serious dramatic artist; and the public was deeply impressed by her performance. She is a Lehmann with all the earnestness of a good clergyman; not that she had taken orders as I (Box No. 70) had done.

      From Her Majesty's Theatre, I drove in a rapid Hansom to Drury Lane. I had told the cabman to take me to the Royal Italian Opera, and I was about to remonstrate with him for conveying me to the wrong house, when he promptly explained that there were now two Royal Italian Operas, one at Covent Garden, the other at Drury Lane. New source of confusion! Confusion worse confounded! as Milton observes.

      How far have they got? I inquired as I entered the theatre.

      "Valentine's death scene," replied my friend.

      "Valentine does not die, my dear fellow; Valentine only faints," I answered, I was thinking of course, of the new dramatic soprano, Mlle. Sandra, in Les Huguenots.

      You are evidently not an Opera-goer, I continued, or you would know that no one dies in this work, except, of course, in the last Act. But that is always left out.

      Wrong again! exclaimed Jones, with an amused look. Augustus Harris restores the last Act. See his prospectus.

      "Well, never mind that. Is Ella Russell singing the part of Queen Margaret as well as ever?"

      "I did not know that Margaret was a Queen. I always thought she was of humble origin. The part in any case is being played by Mlle. Nordica."

      Determined to be no longer the victim of mystification, I wished Jones good-bye, and hurrying in, found the curtain down. Afraid now to ask what was being played, I waited patiently for the next Act, and when at last the curtain went up, I found to my astonishment that some representation entirely new to me was taking place. Will-o'-the-Wisps on

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