The Press.
London, England, 1854-05-13 00:00:00

ROYAL ITALIAN OPERA.

Trtz Barbiere, the evergreen Barbiere, selected for
the first appearance of Mario and the veteran
Lablache this season, was produced on Tuesday last,
with, as the theatre bills informed us, an unprece-
dented cast. The performance, however, by no
means equalled our expectation. Mario was out
of voice or out of humour, and either could not
or would not sing his part. Mme. Bosio, though she
executes well, is no actress ; and consequently the
whole burden of the opera fell upon shoulders well
able to bear it, those of Lablache and Ronconi.
With what success they enacted their parts our
readers may easily imagine : they kept the audience
in a high state of merriment and delight, though what
an Italian would term their buffonate were at times
rather too strong for our sensitive nerves. Signor
Tagliafico's conception and performance of the cha-
racter of Don Basilio were very artistic ; but the
absurd pantomimic hat he wore was a great mis-
take. Singing masters in Spain did not wear the
flowing robes in which Don Basilio is always repre-
sented on the stage. The only object of attiring
him in that costume is to make him resemble a
Jesuit in appearance as well as disposition ; and
unless the Jesuit's hat, which is the only distinctive
mark of the fraternity, is retained, the satire loses its
point.
On Thursday Don Giovanni was produced for
the first time this season. Mlle. Cruvelli was the
Donna Anna, Mlle. Marai Donna Elvira, and Mme.
Bosio Zerlina. All three parts were well sustained.
Tamberlik made as much as possible of the insipid
character of Don Ottavio. Ronconi, the Don
Giovanni, sustained his part with a success which we
confess we have known equalled. There is a preva-
lent, though questionable, impression among Opera-
house managers that the subscribers care nothing
for Don Giovanni. Thursday was accordingly made
an "extra" night, when the non-subscribers crowded
the house to suffocation in every part.

THE PHILHARMONIC SOCIETY.
THE programme of the fifth concert, given on Mon-
day last, was as follows :

PART I.—Sinfonia, Letter T, Havdn—Scene (Euryanthe), Mr.
Sims Reeves, Weber—Concerto In 6 minor, Pianoforte, Mr. Lind.
say Sloper,Moseheles—Aria, " Non paventar" (11Flauto Magico),
Miss Louisa Pyne, Mozart—Overture (Midsummer Night's
Dream), Mendelssohn.
PART 11.—Sinfonia in A, No. 7, Deethoven—Duetto, " Bella
Ninfa" (Jessonda), Miss Louisa Pyue and Mr. Sims Reeves,
Spohr—Overture (Der Vampyr), Marschner.
We feel under great obligation to the present direc •
tion for taking down Haydn from the shelf, to which
for some time past he has been unduly consigned,
and for presenting to the subscribers the symphony
letter T, which has not been beard for many years,
and which broke upon the audience with all the
freshness of novelty. Though the score is very light
and of no great pretensions, it is a fine specimen of
the master's works, and possesses many of his pe-
culiar excellences. The first and last movements
are spirited, and boldly conceived. The andante
has a charming subject, skilfully varied and relieved
by the accompaniment; and the graceful, flowing,
melody of the trio is enough to make the very stones
dance. This symphony was executed to perfection,
and the close and expressive playing of the first
violins was the theme of general admiration. Beet-
hoven's symphonies are happily, in these days, so
well known that any critical remarks as to their
merits and mission in art would be now superfluous.
On such a theme, however, as Beethoven's symphony
in A we cannot be silent, and it is with pleasure,
therefore, that we record the sati'.factory impression
which the exertions of the band left upon our mind.
We do not ever recollect to have heard this
masterpiece better executed. The last movement,
in particular, was wonderfully given. In spite
of the rapid tempo the subjects were distinctly
traceable, anti the peculiar combinations effectively
evolved. From the sublime to the ridiculous is but
a step. Who would have thought that this self-same
band, whose talent we have already in this notice
been twice called upon to eulogise, should have failed
signally in rendering Mendelssohn's overture to
66 Midsummer Night's Dream," a composition which

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most of its members must almost know by heart
Painful as the fact may be, it is our duty to record it.
There was no due observance of piano and forte.
The early part of the overture was uncertainly scram-
bled over, and the braying of the ophecleide seemed
to us more than usually discordant. Marschner's
overture is a poor affair, and did not deserve to be an
element of such a concert. The vocal music was
much better than usual. Miss L. Pyne sang " Non
paventar " charmingly. The purity and expression
with which she gave the early part of the song made
ample amends for any want of power exhibited in
the bravura movement. It would be a great boon to
the subscribers if this lady was oftener engaged at
these concerts, to the exclusion of the " horrors " who
constantly appear. The duet from Spohr's Jeasonda
was excellently sung and gave great satisfaction.
We must not forget Mr. Lindsay Sloper : his per-
formance was admirable and was deservedly much
applauded. His success could not have been greater
even if he had selected a better outlet for his talent
than the uninteresting concerto of such a barren dry
composer as Moscheles. In the absence of Mr.
Costa, whose attendance at the Palace had been
commanded, the concert was conducted with great
ability by Mr. Lucas.
[Our notice of the New Philharmonic Concert
must, perforce, be postponed.]