The Press.
London, England, 1855-05-12 00:00:00

MAY 12, 1855.

glusir.

[ln the absence of our musical critic we make up a few notices
of the novelties of the week from the daily papers.]
ROYAL ITALIAN OPERA.
LasucErz the great reappeared at this theatre on
Saturday night, as Dulcamara in Donizetti's melo-
dious little opera entitled L'Elieir d'Amore. He was
suffering from cold, which slightly damaged his still
glorious voice. But what then? Lablache is never
at a loss. 11l or well, in voice or out of voice, his
ready wit and sound musical knowledge are ever at
hand to help him out of difficulties, and, one way or
another, he always succeeds in delighting his
audience. He was enthusiastically welcomed, warmly
applauded throughout, and called for, in conjunction
with the other principal singers, at the conclusion of
the opera. So admirable a Nemorino as Signor
Gardoni, who appeared in that part for the first time
on this occasion, has not, been seen at the Royal
Italian Opera. Both by his singing and acting he
gave an interest and importance to the love-sick
rustic that rendered him one of the leading features
of the piece. The pretty romance, "Una furtive
lagrima" (the bassoon obligato to which was most
expressively played by M. Baumann), could not pos-
sibly have been more sweetly or tastefully executed
than it was by Signor Gardoni, who won for it a
rapturous encore ; and, indeed, all his efforts elicited
demonstrations of approval, cordial and unanimous,
as they were well merited. Mme. Bosio's Adina is a
very familiar performance, and, therefore, in saying
that it again presented all its well-knowfl excellencies,
we bestow all needful criticism. Her brilliant deli-
very of the introduced air, " Prendi per me sei libero,"
was received, as usual, with acclamations, and she
was honoured throughout with applause of the
warmest kind. Signor Graziani acquitted himself
creditably as Bekore, and Mlle. Bellini did ample
justice to the small part intrusted to her. The house
was crowded.

The great success which attended the production
in Paris of Verdi's II Trovatore placed it before the
directors of the Royal Italian Opera as one of their
n welties for the present season; and its first per-
formance on Thursday night gained for it a reception
not merely brilliant and enthusiastic, but so genuine
and honest, that we cannot but predict for it a pros-
perous career upon the Anglo-Italian stage. The
plot of the Trovatore is somewhat complicated. The
Count di Luna has had a brother slolen in infancy
by a gipsy, and he has solemnly bound himself to
his dying father t recover him, if possible. He is
deeply smitten with the Duchess Leonora, but the
lady's heart has been already won by a troubadour.
An accident brings the rivals together in her castle,
where the Count compels the troubadour to unmask.
The latter avows himself to be Manrico, one of the
Bohemians, whose life is already forfeited to the
laws, and both the rivals quit the stage sword in
hand. The second act discovers Manrico in the
midst of a gipsy tribe, one of whom, named
Azucena, tells a story, from which we learn that
he is the daughter of the old gipsy who stole the
young Count, with the further fact, that when she
heard her mother's cry for vengeance, through the
flames that consumed her, she attempted to thrust
into the fire the infant Luna, but by mistake
destroyed her own child instead. Manrico now
learns that the castle of Castallan, the residence of
Leonora, is occupied by an armed force, and that
she, believing that he is dead, is about to take the veil.
The Count attempts to carry her off, but is com-
pelled to fly before Manrico. However, the victory
is but temporary, and Manrico and is reputed
mother, Azucena, both fall into the hands of the
enemy. While in prison, his expressions of love for
Leonora, as well as the funeral service of the priests,
are overheard by the young Duchess as she lingers
by the prison window. In an agony of grief and
terror she throws herself at the Count's feet, and
offers to become his wife if he will save Manrico.
The Count, delighted with the proposal, retires to
give orders to the guards ; but in the meanwhile
Leonora puts a poisoned ring to her lips, and falls.
Sh€, however, retains life enough te, visit Manrico in
his prison, tells the price at which she has purchased
his safety, after which she dies. The Count now
enters the dungeon, and his men-at-arms lead off
Manrico, who is supposed to be executed behind
the scenes. In the meanwhile Azucena, who is
sleeping in the same dungeon, awake, and asks for
her son. The Count draws her to the window, and
shows her the execution, but is horror stricken at
her tri- -ohant -11; tati( - that Manrico is his