The Press.
London, England, 1855-06-02 00:00:00

ROYAL ITALIAN OPERA.

IT is difficult to account by any means except phre-
nologically, perhaps, for that intense love of appro-
bation possessed by actors and actresses which
induces them to reappear " positively for the last
time," after having once definitively retired from the
stage. It is generally allowed that there is no more
wretched existence on earth than that of a retired
man of business, and few live any length of time to
enjoy in listless ease the fruit of a life of active em-
ployment. Even with all the advantages of educa-
tion and wealth the time hangs wearily on hand.
" What do I like best in the world?" said Sir Astley
Cooper to himself one day, after a few months of
indolent misery. "My profession," was the answer.
"Then," said he, "why on earth should I leave off
that employment which gives me the greatest
delight ?" And so he returned to practice. Thus it is
with professional people of all castes, from surgeons
to singers.ltis the "only one drop more" of the dram-
drinker, the "only one more operation " of the surgeon,
the "only one more song" of the singer ; and it is as
much, if not more, of this feeling, there can be little
doubt, which has induced Grisi to forsake her seclu-
sion, and once more appear before the public, than any
persuasion or terms which managers could offer;
and her audience have received her precisely as sn
audience would, who remembered antecedent retire-
ments, and were not unprepared for a one more
"last appearance" of the favorite for twenty years.
Though not enthusiastically, she has nevertheless
been warmly received upon each occasion of her
appearance ; and as her really last appearance draws
nigh, we doubt not but that the enthusiasm of the
people will even surpass the display which will be
long remembered by all who were present at her
benefit last season. To say that her voice is as
sweet and as fresh as ever is comparatively true, but
it is far from being as strong. For the last four or
five years it has been apparent to some people that
Grisi's powers were to a certain degree failing in
detail, though in the tout ensemble of her role she
was Still unsurpassed. In a magnificent burst of
passion and pathos she would eclipse any previous
weakness which she had shown, and carry the whole
house away with her; but it was evident to a few
that she reserved herself solely for these grand
points in the character, in languidly slurring over
the earlier part; and as it was, so it is. In Leonora
last week, and in Norma this week, in the grand
points and most impressive scenes she both sang and
acted in a manner which, in Leonora particularly,
surpassed any previous effort. Never before was
heard such exquisite pathos in her notes—never
seen such perfect acting ; but it was an effort which
required the utmost care and nursing in the earlier
part to sustain : and herein is the want of that physi.
cal power which we remember so well in earlier
days, and which we regret to see passing away,
inevitably perhaps, but still passing away, and which
makes us hope sincerely that nothing will tempt
Grisi again to risk her reputation and the impression
which is felt of her power by any further reappear-
ance. There is no greater mistake in the world than
for actors and actresses to return to a stage which
they have once quitted, and not only to risk their
reputation by the presence of rivals, but also, and
more fatally, by a failing physique, which refuses to
allow them to sustain their role with all their looked-
for fire and energy. There is, nevertheless, this
plea for Grisi, that she has only done what every

THE PRESS.

'one more or less has repeatedly done before her,
and with this advantage, that her inconsistency will
perhaps be more easily forgiven as she is by far the
greater favorite; but we repeat, iu common with
the very general opinion of all her old admirers,
that we hope she will never be tempted to appear
again. Her wealth is ample, her reputation unsur-
passed, and the intense interest and admiration felt
in her success is just now drawn out to such extreme
tenuity as will bear no further strain. In the three
representations which she has already given, two of
Leonora and one of Norma, she has, on the whole,
achieved fresh successes. In the moonlight scene
of the Favorita her acting and singing, on Saturday
night, may be summed up in a word—it was per-
fection. When she heard the clear voice ot Ferdi-
nand rising above the solemn strains of the organ,
the intense emotion with which she uttered " Qual
voce ! e lui ! " and in a moment sinking to the lowest
despair, adding " Perdute l'ho per sempre!" was
given by Grisi with such exquisite tenderness, such
inspired expression, such marvellous power, as quite
eclipsed all previous efforts. The utterance ef that
single line was sufficient to stamp her fame for ever.
But the whole of the scene was not less perfect—tile
acknowledgment of her love, her reconciliation, and
her death, was, in the words of a contemporary,
"such a masterstroke of art., or perhaps impulse of
fine genius," as we shall not look upon again in the
days of this generation. In Norma, on Tuesday
night, although some little of the fire and brilliancy
of former years was wanting, yet in the great trio
which closes the first act she threw such intense
dramatic expression into her part as carried the
house away with her at once. The " Casts diva,"
" Deh conte," and " Qual cor tradisti," were given
with much of the old sweetness of tone and superb
declamation to which we have been so long accus-
tomed. The audience were less cold than on the
Leonora nights, and Grisi was twice recalled before
the curtain. Of the other characters, both in the
Favorita and Norma, we must speak shortly. Mario,
as Ferdinand, never sang the " Angiol d'amore"
more sweetly expressive than on Saturday night,
and has never been heard in better or stronger
voice. In Norma Mdlle. Marai, as Adelgisa, sang
with care and effect; while Tamberlik, as Pollio,
was as successful as this great singer always is, in
whatever character he undertakes.
On Thursday evening, after a long absence, Signor
Tamburini once more appeared upon the stage.
Don Giovanni was the opera chosen, and perhaps
for this reason, that without Tamburini this chef
d'auvre of Mozart could not be brought out.
Tamhurini has made the character so essen•
tially his own, that nobody else can be found to
either succeed or supersede him. For the last
twenty years there has been but one recognised
Don Giovanni; and what we are to do when in the
course of time Signor Tamburini is removed to—
we hope a better place than that bottomless pit to
which Mozart and the libretto periodically consign
him—vie cannot even surmise. Upon his appear-
ance Tamburini was very warmly received, and if
in the " Finche dal vino" we were doomed to admit
that the fine barytone voice which so often has
delighted us was almost lost, yet in the elegant
grace, activity, and truth of his acting, Tamburini
was still unsurpassed—nay, more, unequalled It is
singular how many attempts, from those of Ronconi
downwards, have been made to impersonate the
character of the Don, and every one of them, with-
out exception, failing. Tamburini is essentially a
gentleman; his acting is thoroughbred iu manner
and deportment—he is a libertine, but a highly
refined man nevertheless. Refinement and liber-
tinism of the Don's quality are more nearly related
than the world would readily allow, and hence the
failure of all Tamburini's followers they invariably
represent the Don as a vulgar, coarse minded
"gent," rather than the polished noble. There is a
wide distinction to be drawn between unrefined and
sensual vice, which Tamburini thoroughly corn
prebends. His acting, as we have said, was on
Thursday night as perfect as ever, but his voice has
failed, a loss which we must expect, and which
we willingly overlook, since we can find no other
singer to dispute the palm with him. Of Mme.
Bozio's Zerlina we cannot speak too highly; she
acts the character thoroughly true to nature,
and her singing of those exquisite morceaux, " Batti,
batti," " Vedrai carino," and in the duet " La ci
darem," was really perfection. She was in all
warmly, and in "Vedrai carino" enthusiastically,
encored. She has made the character of Zerlina
entirely her own henceforth, for a more pretty and
engaging modest little wife has not been seen upon
the stage. Her by-play was perfect in the scene of
" Batti, batti." Lablache, as Leporello, was very
forcible, but a little too ridiculous in the last
scene ; while Mario, as Don Ottavio, sang the
" Mio tesoro " with more exquisite pathos and
sweetness than he did seven years ago. The
character of Donna Anna was supported by Mme.
Rudersdorff, upon a very short notice, and her
singing in the trio of masks was very fine.

SATURDAY)

Mdlle. Marai was an effective Elvira—a most un-
gracious part, but vary carefully and correctly sus-
tained by this rising sinter. The house was crowded,
as it always is when this favorite opera is performed.
Her Majesty and Prince Albert honoured the per.
formance with their presence. To-night It Trovatore
will be repeated, and on Monday night an extra
performance will be given, upon which occasion
Lucrezia Borgia, with a powerful cast, will be per-
formed.
PHILHARKONIO SOCIRTII.—The folloyring is the
programme of the seventh concert of the season,
which took place on Tuesday night :