The Press.
London, England, 1857-04-25 00:00:00

ROYAL ITALIAN OPERA.

GRISt'S wondrous creation of a new part as Leonora
in Verdi's Trovatore is the talk of the town. It is
really something wonderful that in the autumn, as it
were, of her artistic career she should be enabled to
display the spring quality of her marvellous organ.
But such was the case on Thursday night; and
amongst professors and amateurs, who had heard
her in Paris and London, in her first season, the
remark was universal that the voice in volume and
resonance was as fresh and ,juvenile a 3 in the year

APRIL 25, 1857.

18— no, let dates be suppressed, for Grisi is
just as likely to see out a dozen more prime donne
as she has done for the last ten years. One by one
they disappear. The cry is still they come ! But
their existence is so ephemeral, that one season
suffices for the suppression of their names. When
Grist sang the same part of Leonora at the Italian
Operahouse in Paris during the season I just con-
cluded, it was announced for one night only, being
for Signor Grazianis benefit; but such was the
furore her acting and singing excited that a re-
engagement as long as she could remain was made,
and heriservices were secured for the ensuing season.
The courage of Grisi in attacking new parts has
always been admired; and her conscientiousness in
carrying out her conceptions has been equally appre-
ciated. She works indeed with unparalleled energy.
Nothing is shirked in the score by Grisi. In the
concerted pieces, with band and chorus in full
swing, her glorious voice is heard towering above
the contending elements, Her Leonora has been care-
fully studied by her. It is no faint outline ; but it
is broadly and boldly conceived. It is a Spanish
rnaden, who loves a wandering troubadour with an
intensity that defies all opposing influences, however
strong, and that does not hesitate to self-immolation
at the last to preserve her Manrico's life. The
passion of this performance has never been stirs
passed on any stage, and,lsupported as it was by an
energetic reading of the tenor's music by Mario, the
effect was electrifying. Mario, without being in his
finest voice, sang with a charm that no other tenor
has ever approached. The delivery of the " Ah, si
ben mio" in three-four time was surpassingly beau-
tiful, but the effort which exceeded everything was
his share in the " Miserere" with Grisi, and of the
trio finale with her and Didiee. In the duo the
agonising bursts from Grisi, as the pathetic tones of
Mario are heard from the dungeon, whilst the peal
of the organ, the tolling of the death bell, and the
dismal supplications of the monks were mingled,
absolutely startled the auditory. If Verdi had com-
posed but the last act of the Trovatore his genius
would never have been questioned, for the ending has
never been surpassed in dramatic power and inten-
sity. He seems to excel in death-scenes. Take, as
instances, those in the Ernani, the Due Foscari, and
the Traviata. With Graziani in the Conte di Luna,
Tagliafico as Ferrando, and Mlle. Didiee as Azucena
the gipsy, the cast as regards principals left nothing
to be desired. The orchestral accompaniments were
played by the band with consummate skill and deli-
cacy, and the choral portions were sung with infinite
spirit and precision. The new sounding board
answers its purpose completely, for the singing is
heard to the greatest advantage.
Another remarkable display of histrionic genius
was that of Ronconi at his debut as Chevreuse in
Donizetti'a Maria di Bohan; but he has never had a
fair chance in this opera, fur the simple reason that
he has never been supported with a sufficiently dra-
matic Maria. If Viardot or Grisi were to enact the
wife, combined with the acting of Ronconi, the work
would be more attractive than it has proved. Mme.
Devries has a soprano voice of tremendous power,
which will account for her great popularity in an
extended arena like the Crystal Palace; but there is
no charm in her style, and her acting is cold and
uninteresting. Mme. Tadolini was the original Maria
in 1843 in Vienna, and Grisi took the part in Paris
in 1844 with Mario, Ronconi, and Brambilla in the
cast. Mme. Ronconi was the Maria in 1852, with
Salvi, Ronconi, and Alboni. In 1852 it was Mme.
Castellan, with M!le. Seguin and 'l'ainberlik. At Her
Majesty's we have had in turn Mme. Ligrange and
Mme. Fiorentini ; but Viardot, who has peen Maria
in St. Petersburg, and Grisi, would be the only
artistes to act up to Ronconi's wonderful delineation
of the husband.
Since Alboni there has been no Armando de Gondi
like that of Mlle. Didiee on Saturday night. She
sang with a charm that won for her a most impulsive
encore in the second cavatina in six-eight time, " Son
leggero nell' amore." The new tenor, Neri-Baraldi,
as Chalius, will be a very valuable addition to the
triple troupe.
Verdi's Traviata will be produced for Mme. Bosio,
who crested a sensation in the part at St. Peters-
burg, and Graziani and Mario, who so delighted the
ri Pasian auditories last season. It is not a little
curious about this Traviata that so many artistes
should have achieved such fame as the frail heroine,
despite of the abominable libretto. It is stated to be
Mlle. Spezia's best part, and M.le. Boccabadatti has
been for some time exciting Italian audiences ny her
acting and singing. Consumption on the stage
appears to be at a premium. Admitting that Verdi
has treated the dying-scene with his usual intensity,
the taste is questionable that can accept with eager-
ness such morbid exhibitions.