The Press.
London, England, 1858-07-24 00:00:00

HER MAJESTY'S THEATRE.

THE " season " at this theatre closed on Saturday
last, but the house remains open, with all its forces
in statu quo, during a short time, to repeat what
no longer an experiment, a series of representations
at reduced prices. The success which attends these
extra performances testifies to the increasing appre-
ciation of good music in England amongst that por
tion of the cammunitywho are not blessed, or cursed,
with a superabundance of the means necessary to 0-
cultivation and enjoyment of the Fine Arts.
trust that, ere lung, a regular winter Opera may afford
to those of this class whose circumstances comr
them to remain in the capital during what is
progerly termed " the dull season," an opportunity
relieving the tediousness of the period of " Londoi,
peculiars" and deserted streets with sound musical
recreation, and not at ruination prices. That -
possible to get together a very tolerable operatic
troupe, even in the absence of the Grisis and
Titiens, the Marios and Giuglinis, is placed beyond
a doubt by the co-existence of three opera-houses
this metropolis during the last three months.

have no particular comment to make on any of
past week's performances at this theatre.

ROYAL ITALIAN OPERA HOUSE.
ON Tuesday, Mme. Grimi obtained another most
decided triumph over Time. We have before
rected attention to that which she made in
character of Deademona ; she has now had

courage to show herself in her cape d'opera
upwards of twenty years ago. and her daring 1
been crowned with success. We confess that when
we saw Norma announced, with this lady as
heroine, we had sundry misgivings as to the resut
but we are bound to admit, after witnessing Tues•
day's performance, that, though there may be more
than one Valentina or one Lucrezia in the world,
there is still only one Norma—that of Mme. Grim.
It would, simply, be fulsome flattery to assert that
there is no other singer who could execute the florid
music of the nart as well as she ; nor should .
perhaps, be justified in stating that no other actress
is capable of doing such ample justice to the his
trionic portion of the character. But we fearlesslY
assert that there is no artiste living able to render, in
such perfection, both the musical and the histrionic
portions of this mostexacting impersonation.Never'
she acted better, it may almost be said never so
as now. Time, whilst engaged in robbing the singer,
seems to have allowed the actress to snatch from 1-•

hand an increase of power. But so well did
minager (as the French say) her voices that
needed some acquaintance with the music of Norma

par' tto discover any remarkable falling off, even 1
-under this head. To those familiar with the music,
the avoidance of very florid and high-pitched pas.
sages, the endeavour to spare herself where in
former times she would have scorned such an
attempt, an indisposition to grapple with difficulties
which in the days of Albertazzi, as Adalgisa, it was
her delight to revel in and conquer—these, and
other similar circumstances, manifesting themselves
to the more experienced amongst the audience,
could not but recal to mind how many London sea-
seas have come and gone since the Norma of 1858
made her first debut in that character. To the
majority of artistes it would be anything but agree-
able to be reminded of what they were twenty•five
years ago: to Mme. Grisi it may well be a subject, of
pride. The ninth scene of the first act of Norma
may still, es then, be pointed to as her mas-
terpiece in this opera. Her perfect render
ing of the " 0 non tremare," coupled with
equally perfect action, forms an ensemble that
will, probably, never be surpassed, if ever
equalled, again. In the charming aria, Deli !
conte," whilst singing with much touching expres-
sion, she seemed to spare herself more than in any
part of the opera ; but in the duets "Si fino
all'ore" (between Norma and Adalgisa) and " Qual
cor tradisti" (between Norma and Polito), she dis-
played extraordinary power. It was, no doubt,
owing to the just popularity of this musical Ninon
Ale l'Enclos, that the house was completel} filled,
notwithstanding the lateness of the season. Mlle.
Mardi, ass Adalgisa, in spite of a groat deal of good
singing, cannot be deemed equal to the part. In the
concerted pieces, especially act i. scene 9, " Mira, o
Norma " and "Si lino all'ore " (scene ;I, act ii.), her
careful and correct vocalization was as con-
spicuous as delightful ; but her solo per.
formances, and particularly the recitative por-
tion of them, possessed less merit. Signor
Tamberlik's Portion, though unequal throughout,
was very good. In "Va crudele " and " Vieni in
Roma" (scene 6, act i.), in "Norma, de'tuoi rimpro-
'Jeri " (the trio in scene 8, act i. ), in Ah ! t'appaghi
it mio terrore !" (duet with Norma, scene 10, act ii.),
and, finally, and above all, in the touching duet,
"dual cor tradisti," in the closing scene, he ob
taMed, as he deserved, great applause. The secon-
dary parts were well sustained ; and the choruses,
mile en scene, and other acdessories were (no slight
praise) not inferior to any that have yet been listened
to or seen in the New Opera-house. It is impossible
to speak too highly of Signor Costa's department.
The overture was given with so much perfection
that one could Iwo lislied it volouged to &Able
its actual durationenui Jvale e :40/11, '1"0 ill
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410/111/111.11141,14kiri110 has jusi`bosu consigned for
Agillinaltleri. Williams and Norgate, the German
fl+lsl do Coveet-garden, and is at present on
'lNlPMellinditwarehouse. It is stated to have been
in the seventeenth century to the Car-
melittlformatery in the city of Mexico by Don Juan
de Palafox y Mendoza, archbishop of the province,
and to have remained there until the beginning (.1
the present century, when, through Lord Cochrane's
influence, the Carmelites were induced to part with
it. The Mexican revolution of 1810, however, pre•
vented its embarkation, and the picture, after
remaining for two years in a monastery at Vera
Cruz, passed into the possession of Archbishop Don
Antonio Martinez. Alter his death it appears to
have been purchased by his successor, Archbishop
I)on Francisco Pablo ,Virsqttez, by whom. it was sold
in 1851 to. Don Jose Lang, a merchant of Puebla.
This gentleman, we are told, sent it five-years ago to
his friend and correspondent, Mr. J. H. Dick, of
Offenbach, though for what purpose, or with what
intention, we are not informed. Whether it has
been sucoessitely offered to the various galleries of
Europe we cannot tell ; we only know that it is now
brought into the English market. Such is the ab-
stract of its title to be considered a genuine produc-
tion of Murillo ; for internal evidence we have the
opinion of Professor IVasgs3n, who pronounces it
not only an unquestionable work of the Spanish
master; but (moot the fittest be has ever seen. Pro-
fe.ssor blagnes in lees enthusiastic ; but be, too, con-
siders it genuine and in good preservation ; and M.
Otto Mundle4 late of the National Gallery,
has se doubts at ail. He " certifies of his own
accord, and from thorough coniiction, that it
is an undeniable original, and that the beauty
and richness of tire • composition, the charms
of form, and the expression of heavenly ecstasy,
the brightness of its lustre, and the delicacy of
the aria' tints, render it worthy of a distinguished
place among the storks of this master of the School
of Seville." The size of the picture is six PHIL three
inches by four feet-nine inches, and the title given
to it is "The Assumption of the Virgin," though we
dents if this atipellation is •striellg correct. It was
in 1617 that Pope Paul V. threw all Spain into a