The Art of the Reviewer - Part 5: The Bulletin

Accounts from both the Melbourne and Sydney seasons were recorded in the Bulletin. Both Melbourne and Sydney reviewers were irreverent; however the Sydney reviewer seems to have been willing to spend time discussing the aspects of the production as well as taking the piss – he was concerned with quality of performance as much as the newspaper reviewers

The Melbourne performances were generally reported in “Melbourne Chatter”, a “social round-up” (or should that be wind-up?):

Melba led off on the Monday night as Marguerite. The flaxen locks
were worn a-hanging down her back instead of in the conventional brace of side
plaits – possibly to dodge the risk of a middle parting. The Best Known
overflowed the house in their gladdest rags and thundered applause, and the diva
afterwards voiced her thanks from a garden of flowers. The Stradbrokes scampered
round from their circle pew to a side-pen to hurl laurel wreaths at Melba, who
promptly slung the biggest hoops round her middle, lifebelt fashion. (Bulletin
26/6/24, 28)

The Melbourne reviewer saved his sharpest barbs for the socialites. In his review of Andrea Chenier he complained about the lack of jewelry for the opening night of the return season. “Perhaps we may have a revival of glitter for the Limbless Soldiers’ night. Perish the thought that we should disgorge from ten pounds to two hundred a seat without offering outward evidence of being able to afford it!” (Bulletin 11/9/24, 27). It seems that Melbourne then suffered a similar complaint to one afflicting Sydney audiences today, that of voraciously applauding at any excuse. Reviewing The Tales of Hoffmann, he said, “As the Doll, Dal Monte gave a performance which justified the thunders of applause of a city which spoils the compliment by being prepared to thunder at everything that Toti does.” (Bulletin 18/9/24, 35)

The Sydney reviewer aimed his jokes at the performers. Of Phyllis Archibald’s Delilah he wrote, “She is further helped to her nefarious ends by an attractive personality, fine eyes and a seductive though somewhat overworked arm-action – it rather suggested a Lorelei in deep water during her invocation to the goddess of Vamps.” And discussing a performance of Carmen he said, “Edmondo Grandini sang well, but not enthrallingly, as the Toreador, and somehow managed to convey the impression of a respectable family butler disguised for the Artists’ Ball.” (Bulletin 3/7/24, 34). As for Dino Borgioli’s Faust, “the Devil may have given him back his youth, but he didn’t include the flower of his beauty in the transaction.” (Bulletin 24/7/24 34)

The Sydney reviewer could be respectful towards Melba (the “Indian-summer gold” of Melba’s voice - Bulletin 26/6/24 34) but was not beyond criticising her. In his review of Otello he thought she “presented a too-sophisticated Desdemona; and at times the music put a strain on her fading top notes...” But “the youthful purity of her tone was unimpeachable in the final ‘Ave Maria’, and her last dying notes turned the heart of her blackamoor husband to water; whereupon he committed suicide like a gentleman.” (Bulletin 7/8/24, 35) The intention was to amuse, but he never lost sight of the need to report accurately, without wearing his knowledge on his sleeve.

Sadly, the Bulletin reviewers eventually lost their talent to amuse, and started reporting on operas in much the same vein as the dailies – respectful and respectable. Would that today’s reviewers might serve up a little more sauce.