The Express.
London, England, 1855-08-08 00:00:00

ROYAL ITALIAN OPERA.

Otello was performed last night, for the first find
only time this mason. This opera, indeed, is seldom or
never given oftener than one. is a season, for it does not
wove so attractive as to tempt the manager to its repetition.
Whets produced, it is for the sake of some particular per-
former, who is reputed to be powerful in the one or the
other ef the principal parts. In this instance it has
been for Om sake of the tine performance both of
Timberlik and Madame Viardot, in the characters
of Othello and Desdemons. But the best peeler•
gamut of these parts is insufficient to eensmnsate
for the demerits of a dull, vapid piece, is which we have
81haksperitus names, withuet the Mistiest glimmering of
fibaksperiaa spirit
Bane of the music, however, is very beautiful, though it
is usequal, and many of the morceaux, otherwise fine, are
so mach spun prat, so formal in treir constrwtion, and
slogged with we many repetitions, that they lees altogether
the character of dramatic music. The performers, in place
of representiag eharamete, are redued to mere singers in-
hibiting in a soseert, while their voices are often drowsed
by the uomentifel loudness of the orchestra—a fault, by
the way, more apparent in this Italian work than even is
the most noisy pongee of lleyitebeer—and more offensive,
bags. it is not redeemed by Meyerbear's consummately
skilful instrumentation.

The performance of Met night wee excellent in respect to
the principal characters—Othello, Deedsmons, and Ingo.
Taniberlik's sobs was tremulous, but when he had pinion
to express he did so with great force and intensity. In the
dust with lago, in the second set, his terrible cry of agony
actually electrified the audience. His whole personation of
the Moot was admirable; sad it was easy to see that if he
bad bat. Bbakspeare's Othello to perform, his soling might
have been not nnwi.rthy of our best tragedians. Deedesona
is a most ungrateful part to perform to as English audience ;
for, excepting a few towhee in the last scene, the character
Iti.s sot the slightest vestige of " the gentle lady wedded to
the Moor," when Bbakspears has drawn with such ex-
quisite sweetness sad delicacy. Throughout the whole
opera, Deodorants is one of the most featureless and eons-
mens-fiees of heroine.; gad it is only at the very clam,
when she is singing to her harp the beautiful ballad
" Amiss al pile d'sn salios"—Shakspeare's " Song of Wil-
low"—that she encase anything like interest or emotion.
Madame Viudot's performance of the part wait highly
flubbed and artiste. Its only fault that it was too elaborate;
and she absolutely spoiled the balled just mentioned by
loading it with 'wisdoms sad arsainsab, vary ingsaioss
sortainly, hat quite at variant* with the emapiiciip of its
stsuacter. Oresisae logo wee exceedingly good ; and
Latailiesi sad Tagliatioo sustained the pert. of Rodrigo and
Blain rely respectably. The quiet*, in the first act
" Inserts realms," the finest and most dramatic thing in
'he whole opera, yeasting with great effect. The choruses
betrayed • lack of rehearsab.

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