The Press.
London, England, 1857-05-23 00:00:00

ROYAL ITALIAN OPERA.

YEW performances within the memory of the " oldest
amateur " can be cited to rival in perfection of
ensemble the two representations of Verdi's Traviata
on the 16th and 19th inst. ; and it is positive that
not a single lyric establishment in any country could
now approach in excellence the Lyceum cast. The
plaintive introduction before the rising of the curtain,
and the entr'acte music played prior to the last act, were
executed by the orchestra with marvellous delicacy
and precision—such violin playing has, in fact, never
been surpassed. The accompaniments were through
the work performed with an observance of the nuances,
and with such a marked development of the inner
workings of the score, as reminded many hearers of
the Conservatoire's best days. The choral portions,
weak as they are, were also given with infinite
animation. How Bosio sang the music of Violetta, how
Mario gave that of Alfredo, and how Graziani " came
out " in Gerniont, the father, it is scarcely necessary
to indicata in THE PRESS in detail, for a real success
is like the electric telegraph in rapid communica-
Sion, and town-talk at once decides whether the
ovations within tha walls of a theatre are genuine
or false. La Traviata is in everybody's month
within the region of musical circles as enacted at the
Lyceum. Connoisseurs have an undoubted right to
quote the performance as remarkable in every
respect, and yet rumour states that it was accom-
plished ,with only a single rehearsal. If so, the
greater triumph for the conductor, Mr. Costa, the
greater compliment is due to the executants, and the
greater merit is due to the stage manager, Mr.
Harris, for his effective and brilliant mise en scene
There is, however, not the slightest reason to modify
.any of the opinions expressed in the columns of THE
PRESS at the time of the original production of this
opera at Her Majesty's Theatre last season. The music
is on the whole weak compared with that in the
Trovatore and in the Rigoletto. The second act of
the Traria ta is wearisome, and nothing but the con-
summate skill of Bosio, Mario, and Graziani can
make it endurable. In death-scenes Verdi gene-
rally excels, and that of V ioletta's is no exception.
The libretto is thoroughly repulsive. We were the
first to draw attention to its foul attributes, and no
acting that we have seen on the part of the heroine,
whether it be the thorough ladylike version of Bosio
-or the piquant vivacity of Piccolomini, can reconcile
us to the acceptance by the public of such an abomi-
nable story for the lyric stage. It would appear
'from all accounts that V ioletta is by no means a diffi-
cult part to act. Good judges mention the several
'successes of Mme. Penco in Madrid and. of Mlle.
Boccabadate in Italy, as well as those of Piccolomini
and Bosio in London. The fault of the latter is that
ishe is too artificial and dignified fur such a
heroine. Piccolomini's version sins on the side
'of exaggeration. She is more of a grisette than a
torette. a distinction which was thoroughly under-
stood when she played the part in Paris. We
may here observe that as it is intimated the
fair lady is resolved to study vocalisation, we
would suggest to her the policy of hearing Bosio
sing the duos with Mario, and the cavatinas in the
first and last act., in the cabaletta of the first of which
her vocal volubility and finished fluency were abso-
lutely astounding, and her pathos in the latter was
equally remarkable and -irresistible in its effect on
the sympathies of her delighted listeners. If it be
'desired by any anti-musical person, if such there Le,
to learn what the human voice can do to charm and
excite a large aasenfulage, let him go and hear
Mari r in the love songs of La Traviata, and, de-
`lighted as such hearer would be, he would scarcely
be in a less degree moved by the rich, mellow, and
Unctuous tones of Graziani's incomparable baritone
voice. Thursday was not one of tho Royal
Italian Opera " field " nights in the revival
of Bellini's Puritani the orchestra excepted, which
as usual was superb, the general execution was
unsteady, and the cast was not a happy one. Tag-

THE PRESS.

liafico's Giorgio wants weight—the music is not
adapted to him. Graziani's Ricardo, although ex
quisiteiy sung in poi tions, was acted with privoking
frigidity. Gardoni's Arturo lacked fire and anima-
tion, finished and elegant as was the style of some
passages in the music. The new prima donna,
Signora Parepa, in Elvira, was exposed to unavoid-
able comparisons, and could not stand by them,
however attractive are the powers which she indu-
bitably possesses. She has the advantage of a
pure-toned soprano of extensive range, and she has
considerable flexibility. It is stated that she is only
twenty—she has the face of a girl of sixteen, and
the figure of a woman of forty. Her dramatic
instincts appear to be good; her smile is engaging,
and the facial expression is generally varied and
dramatic. Perhaps a more promising debut has not
been met with for some time pust, and her success
would have been infinitely greater if she had been
assigned, or had chosen, some character not exacting
the vocal and histrionic gifts which any new comer
in Elvira must have to insure an unexceptionable
triumph. Mlle. Parepa, who has been singing, it is
stated, at Lisbon, Malta, and Barcelona, has been
prematurely brought out in this country; but there
is a future for her, which is more than can be stated
of the many aspirants who have fretted their hours
of late years. Mlle. Parepa will not the less be of
great service in the present company.
Mlle. Victoire Balfe's debut has been postponed
till next Thursday, when she will make her first
appearance on any stage, as Agana, in the Sonnam•
Lula, Gardoni being the Elvino. Aubeeta Fra
Diavolo will soon be produced, with Mlle. Balfe,
Mile. Marai, Mario, Neri-Baraldi, Ronconi, and Herr
Formes.