A Creature of the Night: An Italian EnigmaHume, Fergus
Philosophy
A Creature of the Night: An Italian Enigma
Hume, Fergus
British -- Italy -- Fiction; Mystery fiction
It was one of those perfect Italian evenings such as one sees depicted
by the glowing brush of Turner, and there yet lingered in the quiet
evening sky a faint purple reflection of the sunset glories. No moon
as yet, but here and there a burning star throbbing in the deep heart
of the sky, and under the peaceful heavens the weather-worn red roofs
and grey walls of antique Verona mellowed to warm loveliness in the
twilight shadows. Beautiful as it was, however, with the memory of
that eerie night still on me, I had no desire to renew my moonlight
wanderings, so, without pausing to admire the enchanting scene, I
hastened on to the theatre to be in time for the first notes of
Donnizetti's opera.
The Teatro Ezzelino is a very charming opera-house, built in a light,
airy fashion, with plenty of ventilation, a thing to be grateful for
on hot summer nights. All the decorations are white and gold, so that
it has a delightfully cool appearance; nevertheless, what with the
warmth of the season without, and the glaring heat of the gas within,
I felt unpleasantly hot. The gallery and stalls were crowded, but as
it was only eight o'clock, most of the boxes were empty, and I knew
would not be filled until late in the evening by those who, tired of
the well-known music of "Lucrezia," wanted to see the new ballet.
Having glanced round the theatre, I bought a book of the words, hired
an opera-glass from an obsequious attendant, and settled myself
comfortably for the evening. The orchestra--a very excellent one,
directed by Maestro Feraldi, of Milan--played the prelude in a
sufficiently good style, and the pictured curtain arose on the
well-known Venetian scene which I had so often beheld. The chorus, in
their heterogeneous costumes of no known age, wandered about in their
usual aimless fashion, shouted their approval of smiling Venice in the
ordinary indifferent style; and a very good contralto who sang Orsini,
having delivered her first aria with great dramatic fervour, they all
vanished from the stage, leaving the sleeping Genaro to be
contemplated by Lucrezia Borgia.
Public-domain text, read in full here on John Shaqi.
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