Brian Boru Next Thursday

Brian Boru will be seen here tor the first time next Thursday evening, April 14. This is Stange aDd Edwards' most ambitious and undoubtedly best eöort and as presented by Mr. Whitney here, it leaves the realm of so-called ligbt opera and makes an actual invasión on the grand opera field. This is particularly noticeable in the quartette in the second act, the finales in the first and third act, and the ensemble work in the last of the first act. Brian Boru may be safely called a musical novelty, as, while it possesses some of the features heretofore supposed to belong exelusiyely to grand opera and nearly all of the requirements belonging to standard opera or opera comique, it also contains enough of legitímate and low play to satisfy the supposed cravingforsornething approximating horse play that the success of the musical comedy has encouraged so much of late. Brian Boru is scenically, dramatically and musically picturesque. It has a story that is undoubtedly full of human interest. The plot is clear and well defined, and it cannot be accused of harboring any of the burlesque pure and simple, too often disguised under the title of opera. The story is dramatic and in its dramatic form is set to music strikingly original, tuneful and appropriate. Itis Irish in character but no the kind of Irish music used tor tb incidental aocompaniments of th knee breeches and shillalee of th drama. The story being laid at th end of the lOth century, when Brian, af ter having successfully opposed, conquered and succeeded in uniting all th different Trish factions turns bis ittention to the expulsión of Edward and cElfrida, who at the head of the British malcontents, and marauders, are at that time engaged in an invasión of Ireland. The first scène, St Kevin's Keep and the cabin Df Baby Malone, represents the heart 3f the" Wicklow Hills, and here the license supposed to belong to poetry iind the drama are united to illustrate the gathering of the fairies and the gift of the magie flddle. The second act is laid in the great hall .of the Dublin castle, and is, according to the best authorities, a f aithf ui production of that historical period; while in the last act is introducen the scène of Biian's camp that very cleverly and almost instantaneously changes to an old Dublin street. completing a set of pictures both interesting and instructive. The organization presenting Brian Boru is a complete one, well put together, nicely balanced and well managed. The principáis of the VVhitney Opera Company are opera people, whose education has been chielïy musical, and were selected to represent the historical characters they enact in a musical way, which they do in a very satisfactory manner. Amanda Fa bris,Grace Golden and Amelia Summerville are among the principal memhpvs wlinsA wnrk iís snftciallv serving of praise. Max Èugen, Sam I. Slade, Bruce Paget, Fred Marston and Geo. O'Donnell are among the male members whose work will long be remembered. Amelia Summerville, John Slavin, Thos. Leary and Torn Bicketts form a comedy quartet stronger than is often found in any legitímate opera company. The chorus is large and efficiënt, the orchestra far a aboye the average and the auxilliary and mechanical fojrces remarkably skillfully handled, and the engagement here will be a memorable one.