The Press.
London, England, 1857-04-18 00:00:00

PUBLICATIONS EEC EIVED.—ArBIL le.

The Lost Friend. A Crimean Memory. J. Chapman
Alcazar ; or, the Dark Ages. A Novel. J. Richard Beate,
Esq. Three Vols. Hurst and Blackett
The Inaugural Address. Ward and Co.
Peripatetic Papers. Jaw% Blackwood
The Life and Opinions of General Sir Charles James Napier,
G.C.B. Lieut.•lieneral Sir W. Napier, K.C.B.
Murray

6USxt.

HER MAJESTY'S THEATRE.

La Favorite was expressly composed for and pro-
duced at the Grand Opera in Paris, in 1810, with
French words by MM. Royer and Vaez. Mme.
Stoltz was the Leonora, Barroilet Alphonso, the
King, and Duprez the neophyte Fernando. That
first representation will live in the memory of the
amateurs who were ►hen present. The three parts
of the mezzo-soprano, the baritone, and the tenor,
were admirably adapted for the three artists just
named. Habeneck was in fill possession of his
powers as a conductor; there was a fine orchestra, a
thoroughly-drilled chorus ; there was a gorgeous
mounting of the work, and the ensemble consequently
was quite marvellous. On the whole, the performance
has never been equalled—the nearest approach to it
being that at the Royal Italian Opera in 1848, with
Grisi and Mario as the unfortunate lovers ; but the
general cast was defective. In 1847 the opera was
produced with Italian words by the clever poet
Jannetti, but the attempt was a failure, the only
redeemable point in the execution being the trium-
phant debut of Gardoni in this oeuntry as Fernando.
How many versions of La Favorite it has been our
destiny to listen to in France, Belgium, Italy, Ger-
many, and England, it is now useless to refer to ;
but let justice be done, and, after Grisi and Stoltz,
we can cite no Leonora to be compared with that
which our own English prima donna, Miss Romer,
presented at Drury-lane Theatre, in the days when
the much-abused Mr. Bunn gave the public some-
thing like a national opera. As regards the repro•
sentation of last Tuesday night, it would be untrue
to affirm that it was what the connoisseurs have a
right to expect at such an establishment, but it was
not the less a positive improvement on former seasons.
The orchestra has been bettered in some of the wind
instruments—the stringed still require additional
strength. The choruses were steadier than here-
tofore, and, we think, have received an accession in
numbers. The high opinion formed of the abilities
last year of the new conductor, Signor Bonetti, is
fully confirmed ; and if the director will venture to
advance still further in the way of amelioration,
more decided results will assuredly follow the change
of system. Two of the newcomers may be summa-
rily dismissed. The prima donna, Mlle. Spezia,
although better than Mlle. Sanchioli, is not up to
the mark. Her upper notes are much fatigued ; ht r
execution is anything but finished ; her intonation is
too often imperfect ; and her acting is cold and
conventional—as, for instance, in the scene of ex
communication, and in the death finale. The new
basso, Signor Vialetti, is a Belgian by birth, and has
all the vices of the French school of singing, grafted
on a ponderous and monotonous organ. Signor
Beneventano's King was insupportably coarse and
exaggerated. And now to the reverse of the medal.
The operatio world has at length found a treasure at
the old house ; but so many failures, which never-
theless have been duly recorded as triumphs, could
be specified, that it is somewhat perilous to hazard
an opinion of a debut at this house. Without the
slightest arriere pense, we can declare that a more
genuine success has never been achieved than that of
the gentle Giuglini, and we state the fact broadly—
not on the amount of applause which was afforded
by the auditory—not on the showe:a of wreaths and
bouquets—not on the recalls, however numerous—
not, indeed, on the organised impromptus of the
night, the whole of which is worse than a sham in
these days—is, in short, to use an expressive phrase,
" perfect rot ;" but we rely confidently on that inde-
scribable intimacy which is observed to be formed
at one interview between persons whose mutual
sympathies approximate. We never heard a
Fernando who cbarmed an audience more, and
who startled one less. Charm with Giuglini is
the word which describes his style ; force be has not.
Singers with every speciality are rarities. Do not
look for the thrilling fervour of Rubins ; do not anti-
cipate the luscious unction of Mario's voice ; do not

SATURDAY,

suppose that you will Snd the intellectual decle.ma-
tion and fiery vehemence of Duprez ; but imagine a
singer softly stealing on your senses, by a subdued
style, as refined as it is finished—a touching, sym-
pathetic voice, with perfect intonation, and delicious
phrasing. Giuglini never forces his voice, never
exaggerates ; and the same observations will apply
to his acting. His pantomime is particularly quiet;
but the mobility of the features and the working of
the eye indicate that he is no stranger to the emotions
of the scene. He made Ills way gradually. The
opening romanza, in six-eight time, to the uninitiated
might have been tame, but the artist was apparent
not the less ; and in the two duos wit'i Baldassare
and Leonora it was recognised that the method was
of the right school. This even mode of singing
continues throughout the opera. It cannot be termed
langour—it is the peculiar idiosyncrasy of the artist;
and in all parts in which melancholy, anguish, and
surprise are to be depicted, will tell on an auditory
as it did in Fernando. in the romanza in the
Cloisters was, therefore, the culminating point of the
intensely interesting singing of Giuglini. Here too
he received his highest compliment in the breathless
silence with which every bearer dwelt on every note.
Of what use, after all, are hireling clacqueurs, when
the voice of nature is heard, and asserts its supre•
macy ? Will managers never trust to the responsive
sympathies of truly excited audiences, moved by
genuine artistic displays ? La Favorita is a great
work; and there is nothing to be found in any opera
more powerful than the last act. The story, no
doubt, is repulsive to English notions, but the music
which Donizetti has wedded to the words entitles it to
be placed in the first rank of lyric dramas.
Of the ballet it need only be said that a most
charming dancer bas been introduced to us in the
person of Mlle. Pocchini.
Mlle. Piccolomini will make her first appearance
this season in Fiylia del Regiment°, on Tuesday next,
to be followed on Thursday by the Traviata. Orto-
lani has already arrived from Madrid, and Alboni is
daily expected.

ROYAL ITALIAN OPERA.
BELLINI'S ever fresh and blooming Paritani was
selected for the opening opera at the Lyceum, Grisi
resuming her original part of Elvira, Gardoni icing
the Arturo, Graziani Riccardo, and Tagliafico taking,
for the first time in London, Lablache's great part of
Giorgio. There is one thing that, has been written
of Grisi which applies with peculiar force at this
moment, and that is, in every part, she has either
" created " or performed since 1834 she has as yet
met with no artiste who has deprived her of a single
laurel. There is no difficulty at the present moment
at pointing out how far her vocal volubility may be
affected, but in the brilliancy of her organ and in
the dramatic power of her acting Grisi has yet no
successor. Her undiminished fame has outlived
that of all the vocalists who have " fretted" their
hour for the last quarter of a century. She is an
operatic wonder, a musical marvel, who merits to be
treated with profound respect, and not to be assailed
with cold-blooded levity. The notion of any critic, at
this period of Grisi's history of denying to her the
triumphs of former years in Elvira is worse than
absurb, it is malignant. Such a tone is unworthy
and unjust, and can only be ascribed to a remnant of
the feeling of partisanship engendered by the feuds
between the two Italian Opera-houses when the
Royal Italian Opera was opened in 1847. We must
confess that we see with regret any attempt to revive
the antagonistic spirit of those days. Critics who
expect to earn the character of independence and
impartiality must not constitute themselves the
champions of either of the rival establishments. It
is not, for journalists to thrust themselves forward
as advocates either for Mr. Gye or for Jlr.
Lumley. They do not make a dead set against Mr.
Buckatone at the Haymarket because Mr. Webster
is the lessee of the Adelphi, nor do we find that
Charles Kean's management is attacked because Mr.
Wigan directs the Olympic. Let each opera-house
stand or fall on its own merits or demerits. The
eventful existence of the Royal Italian Opera is now
a fait accompli. It is nonsense to talk of a
" Restoration." There was one in France as well as
in England, and it has been truly stated that the
Bourbons had forgotten nothing nor learnt nothing
by their niisfortunes. Musical history will record
that the creation of a second Italian opera-house,
the plan of working which was the conception of a
single literary amateur, was a necessity of the period.
It was established for art and artists, and also it
was the assertion of a great principle in the world of
criticism—namely, to fix the line of demarcation
between the manager and the public through the
exercise of a free and uninfluenced press. And
eleven years have rolled on since 1847, and
Yet the Royal Italian Opera has survived
its difficulties and disasters; but if it had
been untrue to its origin, it must have sunk long

Ann., lBt 1857,

since. There were but two or three critics who sdp-
ported the undertaking at the starting. The press
was all but unanimous against the new enter-
prise—a portion of it being disgracefully rabid
and rancorous. What has been the boasted power
of antagonistic journalism against the force of
truth? Those wise seers who predicted that the
attempt to extend the domain of art was wild
and chimerical, were compelled, one by one, to
acknowledge that the masterpieces of the French
and German schools, under the presiding genius of
Costa, could be successfully presented in this country.
And every distinguished musician who visited Lon-
don, every continental critic of note, every accom-
plished amateur, found a pleasure in recognising the
perfection of the performances at the lto) al Italian
opera. What effects have thus been produced on
the progress of the lyrical drama, and on the ad-
vance of public taste ! And although at the Lyceum
this year the performances must be looked upon more
in the light of cabinet pictures than of those grand
and gorgeous tableaux which were gazed upon in
the theatre that was destroyed, still, with the
orchestral and choral resources, the attributes of the
leading singers, and the undiminished energy, tact,
and taste of the musical director, gems of art will be
appreciated by discriminating connoisseurs. There
may be two distinct audiences perhaps to be found
for both houses, the one contented with one ruling
star in an opera, and a brilliant ballet, and the other,
more severe and exacting, expecting an ensemble in
the details as well as first-rate ability in the prin-
cipals. Be this as it may, bygones should be
bygones ; and the diurnal critics, whose notices reach
the public before the aspirations of the hebdomadal
press, will do well to discard personalities, eschew
sycophancy, and abandon partisanship. Let the
elevation of art be the watchword in writing for the
public, and the interests both of managers and
artists in the long run will be the better consulted
than by indiscriminate praise of the good, bad, and
indifferent : a fulsome and servile tone ought not to
be the characteristics of English journalism—let us
leave that to the Parisian prtas.

SACRED HARMONIC SOCIETY.
Tite greatest performance ever beard of Handel's
martial and dramatic oratorio Judas Maccabeus was
that. of last night at Exeter-hall. More soul-stirring
choral singing cannot be conceived. There was a
vigour and precision in the attack beyond all descrip-
tion. Costa has got his forces completely under
command. Sims Reeves sang the music of Judas
Maccabeus, Mr. Thomas was assigned that of Simon,
his brother ; and the parts of the Israelitish men
and women were divided between Mme. Clara Novelle,
Mme. Rudersdorff, Miss Dolby, and Mr. Monteni
Smith. The colossal choruses, " 0 Father "
and the exciting "We come, we come," narrowly
escaped encores, the presence of the Princess
Royal and suite perhaps preventing the delighted
auditory from insisting on repetitions. If not
Handel's masterpiece, it is one of his noblest
works, full of grand and touching contrasts.
" Fallen is the foe" and " See the conquering hero
comes" are sublime aspirations. Mme. Novello
had the well-known airs, " Pious orgies" (Mr. Lucas
violoncello obligato) and " From mighty things," and
Sims Reeves " Sound an alarm." No doubt the
magnificent results achieved last night are to be
ascribed to the careful rehearsals of this oratorio,
which has been judiciously selected for one of the
performances at the Crystal Palace in the Handel
Festival in June. It was remarked. that there was
no inconsiderable muster of Jews amongst the larger
masses which filled the hall. The heroic actions of
the Hebrews, as narrated in the first Book of Macca-
bees and Josephus's " Antiquities 01' the Jews,"
having been selected by the Rev. Dr. Morell for the
plot of the oratorio, will account for its popularity
amongst the Jews, who, it is recorded, supported the
work at its production in 1740, when composed
within a month by Handel as a compliment to the
Duke of Cumberland after the Battle of Culloden.