Punch (70.1876)

July l, 1876.] PUNCH, OR THE LONDON CHARIVARI. 269

AT THE OPERA.

Production of "Aida " at
Covent Garden. House
crammed and brilliant.
Temperature, ninety in
the draughts. People
having determined to
arrive punctually, the
carriages at 8*30 are in
a line down to Leicester
Square. House, at first,
about a quarter full —
no habitue, except the
real Opera-amateurs in
the gallery, liking to be
considered as excited on
any operatic subject
ivhatever, and the non-
habitues coming late in
the hope of being taken
for habitues, but lament-
ably failing in their
attempts to look as if they
knew where their stalls
were, and soon reduced
to ask the man at the
door.

The Overture commences.

Elderly Gentleman (who
has arrived early, and is
seated in stalls fourth from
the entrance, which he has
taken . " because," as he
says, "he can get out so
easily;" he finds that it is also a place where everybody can
come in easily, and consequently throughout the tvhole of the
short Overture, people are continually passing in, treading on
his toes with, or ivithout, begging his pardon.) Dear me! what
a remarkable thing it is people can't be in time. {Tries to listen
to Overture. Soft music. Enter a party of four, including two
stout Ladies, over his toes. Old Gentleman growls. Then pre-
sently looks along the roiv, and smiles.) Ah! it's all full now,
thank goodness. {Begins again to try and pay some attention to the
Overture.)

Lady {enough for two ordinary Ladies. One of the party recently
passed in). My dear George {to her son, probably), I'm afraid we
haven't got our right stalls.

[George screivs his head round and refers to numbers. Old
Gentleman groans. Shall He pass out so as to leave the
ivay clear f No : for the four stalls between hi?n and the
door are noiv filled. Overture continues. Fuss at the
stall entrance. Excited Gentleman with a party of three
gesticulating. Stall-keeper referring to numbers. Stall-
keeper telegraphs to parties in wrong stalls. They won't
see. Stall-keeper begs pardon and plunges recklessly in,
over old Gentleman's toes. More growls. Overture winding
up. The stout party of four are fetched out trying to ap-
pear indifferent, but stepping viciously on all the toes they
can, in their ' march past." Entry of victorious party,
over toes as before ; restitution of rights to the laivful owners.
Growls of pain and dissatisfaction from the old Gentleman,
who wishes he had taken his stall right in the middle. Ap-
plause. End of short Overture.

Elderly Gentleman {to himself). There's the Overture over, and
I haven't heard a note of it. (Considers that this is at least tiventy-
five per cent, of his money lost for ever. But there is a ray of com-
fort—the two stalls exactly in front are unoccupied, and he has a
magnificent view of the stage. He feels better.) Ah! a very fine
scene. Let me see, who are these people ? Wonder what they 're
saying ? (Refers to book.)

(N.B.—The mise-en-scene throughout is as splendid as anything
yet seen at Covent Garden.)

Enthusiastic Young Gentleman (here for this night only). By Jove !
Splendid ! (This is later on, when the stage is full.)

Blase Friend (drawling). Ye-er (he means yes ") not bad. But
—ar—(slowly, and as if under a great mental strain), it's nothing to
what t'wa' i' Cair'. (His Friend understands him to mean that " it
is nothing here to what it was in Cairo "—ivhere, you see, it was got
up by our dear friend the Khedive "regardless of [expense,"—so,
like him, bless him! " That's the way the money goes, and pop
goes" . . . everything that can be "popped.")

Near-sigh ted Lady (determined to follow every word in the book,
and looking up through her glasses every other second so as not to let

em out of her sight on the stage for an instant longer than is abso-
lutely; necessary—reads to her hot and unititerested Husband from
English libretto). That's Nicolini—he's saying—I mean he's
singing :—

" Round thy fair brow a diadem folding,
Thine were a throne next the sun to stand."

Perspiring Husband (exhaustedly). Horribly hot idea. (A mur-
mur " Here 's Path ! ")

Elderly Gentleman in the fourth stall rubs his glasses, adjusts
them, and heartily congratulates himself on there being no
one in front of him.
Elderly Gentleman (to hmiself). Now then we shall see how
Patti looks.

[Enter loungingly into the two vacant stalls in front of him two
very tall, broad-shouldered Swells. They take some time
in settling down, having a good deal to do ivith their coat-
tails, gold-headed sticks, opera hats, programmes, tooth-
picks, books, and looking round the house generally. Great
applause announcing the entrance of Patti.
Elderly Gentleman (in despair, and vainly endeavouring to catch
a sight of Patti between the shoulders of the two tall and restless

Swells). I can't see Patti. What a nuisance it is that-(growls

louder). I wonder why people can't-

Persons (about him ivishing to catch every note). Hsh !—Hsh !
Elderly Gentleman begins to xvish, more than ever, that he had
taken his seat in the centre, as he sees in front of that seat
only a little boy in jackets. He ivishes, too, that tall people
were not allowed in the stalls, or else that they should have
a row to themselves.
Habitue (with glasses). Why the doose has Patti made herself so
hideous! She's more like a Red Indian than an Egyptian. Why
couldn't she have got herself up like Ltjcca, in L' Africaine f Lucca
looked well.

Just and Generous Person (his Friend). I suppose her'difficulty
was to avoid being like Selika, in L'Africaine. (They think over
it, while the Opera continues.)

Entrance of Royal Party. A Box full. Their Royal Highnesses
with the children in Sailor costumes. The Prince in the cha-
racter of the Royal Paterfamilias. Great excitement amonc
the Ladies, specially in the Boxes above, on the same side,
ivhere they can't have any view at all of the Royal Box
H. R. H. nods to the music, and keeps time ivith his bobk. Thi
children are much interested. Grand Spectacle. Enter " Tlu
King of Egypt," name unknown, but alluded to in the book a,
"one of the Pharaohs." Proposal made by the King to go t
Vulcan's Temple. Evidently ' one of the Pharaohs " has bee;
reading " Lempriere." His attendants give him a golden stic)
with a splendid golden Goose at the top. Grand Quintette,
Patti, Mlle. Gindele (the new Contralto), Nicoltnt, Cappont,
and M. Feltlinger (the Pharaoh). Vociferous recall. They
return to bow. Difficulties arise, owing to "one of the
Pharaohs " not clearly seeing hoio to dispose of the confounded
Golden Goose, while he holds Patti's hand on one side, and
Gindele's on the other. Some one, "a Priest," or "a Mes-
senger," relieves him of it rather angrily, having perhaps been
sent on hurriedly by the Stage Manager for this purpose.
Exeunt Quintette.
Aida sings charmingly an appeal to the " Merciful Gods," and
exit, applauded to the echo. Curtain descends.

Short-sighted Lady (who has been most carefully following the
book). Why the curtain oughtn't to come down now! There's
another scene. (Her Husband, still perspiring, is puzzled, but says
he '11 go and ask the Stall-keeper. He departs, and does not return
for twenty minutes, with just the .slightest soupgon about him of
brandy and soda iced.)

Blase Friend (to his companion who is disappointed at the apparent
omission). They had 'nother scene at Cair'—Grand scene.

[Exit Blase Friend.

Exeunt several knowing people, who think it's the end of the Act.
Elderly Gentleman sees the two giants depart, and once more
has a clear view of the stage. He is well repaid. The curtain
rises for last scene of Act I., representing " The Temple of Vul-
can at Memphis?' or the Egyptian Court at the Crystal Palace.
A religious service is going on in ivhich the Ballet has a con-
siderable part.

Facetious Friend (to Lnterested Spectator). I suppose the Egyptian
Priest of the Temple used to advertise for Ladies of the Ballet,
Wanted for Vulcan's Temple ; apply at the Vestry-door.
Facetious Person No. 2. Yes ; the Vestry Virgins.

Grand spectacle. Noisy music. End of Act.
The Entr'acte is employed in the Refreshment Saloon. Timid
people are trying to find out how to pronounce Aida and
fl Gindele." Bold people are calling it Lda," and the new
Contralto, " Gindeler." Facetious persons, being uncertain, are