The Press.
London, England, 1854-06-03 00:00:00

THE PRESS.

of defending towns that they had not taken the
trouble to destroy the approaches which the Russians
had constructed the previous year. The latter, there-
fore, had only to march into the trenches and com-
mence operations at once. On the 17th of May
35,0(10 men sat down before Silistria, while Diebitsch,
with 40,000 in advance towards Sebumla, covered
the siege. The garrison consisted of 10,000 men.
Diebitsch was assisted by a powerful flotilla on the
Danube, but the inundations of the river impeded
the operations. A Turkish army which advanced to
its relief was signally defeated at Kouleftscha on the
11th of June; nevertheless Silistria did not fall until
the Ist of the following month.
It seems highly improbable that Silistria will prove
an easier " nut to crack " in 1854 than it was in
1829. The change inithe relative condition of the
two armies is in favour of the Turks. And, even
without their French and English allies, the Otto•
mans, with a victorious army under a prudent gene-
ral, are in a much more favourable position than they
were when, a quarter of a century ago, the garrison
of Silistria held out for so loug a period against
75,000 men under the skilful guidance of Diebitsch.

US t.

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ROYAL ITALIAN OPERA.
TWELVE years ago, in 1842, Grisi made her first
appearance on the London opera stage, and achieved,
as Ninetta in the Gazza Ladra, the first of a series
of triumphs which have been followed up, season
after season and character after character, without
check or interruption. Twelve nights more were
promised to the London opera-goers during the
present season, as opportunities for hearing the
great artiste in her most celebrated parts before she
bade them farewell for ever. This retirement has
been long foreseen, and in former years more than
once announced. But the melancholy event was as
often postponed, for this among other causes, that
no one could see " the reason why" it should occur.
There were no failures to lament—and hardly any
deficiencies to conceal, as artists know so well how to
conceal them by the dexterities of their art. Grisi's
voice might have lost a little brilliancy, but was
just as faultless in tone, just as flexible, resonant,
and true as ever. Her acting, now and then,
showed less gracefully than at younger eras; but
in mastery over all the chords of passion, in com-
mand of all varieties of character, from the comedy of
Susannah to the tragic pathos of Semiramis and of
Borgia, there was neither decadence nor rival to fear.
Why, indeed, should Grisi retire, except upon the
imperial maxim that a prima donna, like Cresar,
should " die standing "? That consummation is now,
however, within our view. Thursday was the first of
the last twelve nights appointed for her farewell ap-
pearances. It was an " extra" night, and the prices
were raised (with questionable policy) for the occa-
sion. Nevertheless an audience which could not be
fuller crowded the Covent Garden Opera-house to
the ceiling, waited for the syren's forthcoming with
undisguised impatience, and welcomed her when she
appeared with an enthusiastic burst of greeting, to
which Grisi responded by a degree of emotion that
rendered the first bars of her opening cavatina almost
inaudible. In a few moments, however, she had re-
covered her self-possession, and proceeded to prove
that the flattering acclaim she had just received was
not merely an ovation for past triumphs.
The opera was Norma ; we need not criticise it.
Many a Druidess since Grisi first reaped mistletoe
in the Haymarket has risen and set; but Grisi
still exists for the British public as the Norma, not
less and not more than she remains the Lucretia,
the Semiramis, or (non obstante Jenny Lind) the
Susannah of the lyrical drama. As to those "points"
in the opera which stimulate an audience into a
delirium of wonder and admiration, we have long
been convinced that Grisi could make them when-
ever she pleased to " come out," without any
reference to the opportunities afforded her by the
composer and librettist. On Thursday she chose to
" come out" upon the duet with Adaloisa in the
second act, and especially in the trio, for which she
had evidently reserved and concentrated her powers,
with her rival and PoUio. But it is not rational
to interpret Grisi's performance, as if it were
Hebrew, by the " points." The whole personation
was unrivalled, and the last scene, with the pathetic
supplication at the feet of Groves°, was quite as
genuine a triumph as the first. There was a double
recal after the fall of the curtain, with bouquets and
wreaths in actual showers.

The subordinate parts were capitally filled.
Lablache's ()roves() is too well known to need even
an epithet for its recommendation. The Pollio of
Tamberlik is the best, after Mario, on the stage ; and
the Adalgiao of Mlle. Marai the best absolutely.
With four such performers for the leading characters
it would be almost hypercritical to complain that the
chorus did not sing always in tune. Altogether
there have been few performances more successful,

523

and no " farewell appearance" more full of regret
and triumph.
. _ _ .

After welcoming the coming, we must speed the
parting, guest with a word of regretful admiration
for Mlle. Cruvelli. This lady made her last appear-
ance for the present season on Monday as Donna
Anna, in Don Giovanni. Her stay has been brief
this year, but has proved very agreeable to the fre-
quenters of the Italian Opera, and testified to no
small progress accomplished on her own part towards
the highest rank of artistic excellence.

DRURY LANE.
THE Lucia of Donizetti was produced here on
Thursday in its Italian version, with Mr. Sims
Reeves as the Edgardo, and Mlle. Agnes Bury for
the heroine. Mr. Reeves is the best English tenor,
and the Edgardo is his best impersonation. His
name in the bills accordingly drew a crowded
audience, who seemed to be well satisfied with their
entertainment. As far as the two principal rates
were concerned this was, perhaps, natural and
right. But the less that is said of the performance,
as a whole, the better.