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    Punch, or the London Charivari, Vol. 108, June 29, 1895
    Punch, or the London Charivari, Vol. 108, June 29, 1895
    Punch, or the London Charivari, Vol. 108, June 29, 1895
    Ebook104 pages53 minutes

    Punch, or the London Charivari, Vol. 108, June 29, 1895

    By Various Various

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    Punch, or the London Charivari, Vol. 108, June 29, 1895

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      Punch, or the London Charivari, Vol. 108, June 29, 1895 - Various Various

      The Project Gutenberg EBook of Punch, or the London Charivari, Vol. 108,

      June 29, 1895, 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.org/license

      Title: Punch, or the London Charivari, Vol. 108, June 29, 1895

      Author: Various

      Release Date: October 19, 2013 [EBook #43981]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 108, JUNE 29, 1895 ***

      Produced by Malcolm Farmer, Lesley Halamek and the Online

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

      PUNCH, OR THE LONDON CHARIVARI.

      VOL. 108. June 29, 1895.

      edited by Sir Francis Burnand

      OPERATIC NOTES.

      Monday.—Tannhäuserites disappointed. Signor Vignas indisposed. Tannhäuser's understudy Faust put up. House good. Performance better. Plançon,—once Jupiter now Mephistopheles, the extremes meeting in one singer,—excellent. Melba quite the German Fräulein. Bevignani, C. B., i.e., Conducting Beautifully, in the chair.

      Tuesday.—Many other attractions, yet heart is true to Opera. M. Victor Maurel, as Iago, adds another leaf to his victor's wreath of Laurel. Maggie Macintyre makes distinct advance, and sings, O Willow, we have missed you most melodiously. Tam Agno as Misther O'Tello, the Irish darky singer, uncommonly powerful. Richard Green, Montano, greener than ever: quite fresh. Percy Mordy a good Roderigo Randomo. The highly Pole-ish'd Olitzka a fair representative of Emilia. And this cast, with Merry Mancinelli manipulating musicians, makes the Opera a delight to the fine fleur of the Covent Gardenian Hot House.

      Pagliacci.

      Wednesday.—House crammed to see and hear Adelina Patti as Rosina in the ever delightful Barbiere di Siviglia. Rossini for ever! Whar's your Wullie Wagner noo? Patti's acting worth a third of the money; her singing makes up t'other two-thirds. Bonus to audience in "Home, Sweet Home. Wrapt attention! Here we are all of us out for the night, so to speak, in silks and satins and jewels rare, and with feathers and diamonds and all our war paint on, off afterwards to routs, balls and supper-parties, and yet all hushed, conscience-stricken as it were, in the midst of our gaiety, by sweet voice warbling so distinctly Home! Home! Home! Sweet Home! Wherever (including the Opera Covent Garden) we wander (and we can't wander when our attention is riveted on la Diva) there is no-oh-o-o place like Ho-ome! And then, second verse finished, a storm of rapturous applause bursts over the singer! Yes! those are our sentiments. Home! Home! by all means. Only—excuse us—we won't go Home Sweet Home till morning, till daylight doth appear." But why, Adelina mia, didst thou sing at the end of the Opera that remarkably anti-climaxious waltz of Ti-to-tum Mattei's? Ti-to-tum all very well in his way, but not a Rossini. And then you sang it from a paper in your hand as though doing penance in a music sheet? A mistake, Adelina, don't do it again, spin your Ti-to-tum at a concert, but not in Rossini's Barbiere. Bertha Bauermeister obtained a rapturous encore, but shook her finger at the audience as who would say too late! too late! So Bevignani bowed, and on we went again merrily. Pini-Corsi good as pantaloon Bartolo. Ancona a capital Figaro, looking like one of Cruikshank's comic characters. 'Abry Mundy, fine Basilio done in Italian oils; M. Bonnard, light and airy French count, more of larker than lover. All Home-Sweet-Home-ing (or elsewhere) about midnight, many being detained by the singers at the Opera from getting to the Speaker's at Home, Sweet Home.

      Thursday.—Pagliacci, with Miss Pauline Joran appearing as Nedda, and playing it in first-rate style. "Gee up! Nedda!" Query. Pini-Corsi good as Tonio? Answer. 'Corsi was. T'others not much, but Opera still charming. Yet this evening's programme too trying for emotional persons. Pagliacci, tragedy; Cavalleria Rusticana tragedy also; tragedy from beginning to end; even the celebrated mezzo very like a wail! Not kind of Druriolanus to afflict us thus. Madame Bellincioni, "the original Santuzza," admirable. Honours easy between Madame Calvé and Bellincioni. The latter played it first abroad; but the former had the start of her here. In some of the action peculiarly characteristic of the type, Bellincioni wins, not by a neck, but by two hands. Calvé more striking (hands down) in her jealous agony. Signor Valentine Figaro Ancona excellent as Alfio; the situation when Vignas, going strong as Turiddu, catches Alfio's ear, in order, as

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