The Press.
London, England, 1857-05-30 00:00:00

ROYAL ITALIAN OPERA.

A YOUNG girl of twenty making her first essay as
a prima donna, would of itself be no ordinary event,
but when the juvenile aspirant is also the daughter
of a most popular composer, then no surprise can
be felt at the extraordinary excitement manifested at
the Lyceum: on Thursday night, as Mlle. Victoire
Balfe tripped on a stage for the first time in her life,
costumed as Amina, the sleep walking heroine of
Bellini's most melodious opera. The triumph of the
debutante was transcendant. It would be difficult
to cite a parallel case of enthusiasm, and it may be
fairly added that the honours were legitimately
gained. The name of Blare was not required; by
any other name the " rose would have been as
sweet." Yes! Mlle. (why not "Miss," by the way)
Balfe has established herself as a vocalist quite of
the common order of even leading singers, and as
an actress thoroughly capable by her natural attri-
butes of challenging comparisons with the fixed
stars of the operatic world. An artiste more
thoroughly trained for her task has never been met
with at her age. The tuition she has received has
been in the most refined school of singing, and she
has neglected no amount of preparation to qualify
herse.f for a first-rate vocalist. As an actress she is
impulsive and spontaneous; possessing, independently
of "la beaute du diable—la jeunesse," a physical
appearance calculated to fix the permanent atten-
tion of her auditory, as she flits about the stage.
Her head is small, but well placed on the shoulders;
the facial expression is varied, and the figure, albeit
fragile, finely formed. Her action is particularly
graceful, and, with all the awkwardness from time
to time of the novice on the lyric stage, her
pantomime is appropriate and dramatic. Her
his'xionic gifts were particularly displayed in
the finale of the second act, when Amina
implores Elvino to believe in her innocence.
This and the last scene were the culmina-
ting points of a deeply interesting performance,
for not even the stage•frigbt on her entrance, and
the emotions under which she must have laboured
throughout the opera, could prevent the recognition
of her resources. In short, the question as regards
the career of Mlle. Balfe is reduced to one of
stamina. Will her physical powers stand the wear
and tear of a stage life? There cannot be the
slightest doubt that as she is matured in years she
will gain in strength, and those persons who had
heard her at the rehearsals emphatically proclaimed
that she sang with infinitely greater vigour. Her
voice is a pure soprano, ascending to D in alt, of
sympathetic quality but slightly "veiled," like the
organ of Mlle. Lind, whose upper notes and those
of Mlle. Belie are often very much alike in bell-
like or ringing quality. The adagio of the finale
was a splendid specimen of sentimental singing, as
was the concluding portion of the duo with Elvino
in the first act. In depth of feeling, therefore, she
manifested the highest qualifications. Pathos and
expression are great characteristics at such an early
stage—drilling cannot give these to a vocalist, they
must be intuitive. In the florid displays there was
much ambition exhibited for novel fioriture, and
many of the cadenzas were as elegant in conception
as they were brilliant in execution. It will be
gathered from these observations that the voice is
more thrilling than powerful, but that the style is
the perfection of art. Some of the most accom-
plished singing-masters in the world were present,
and loudly expressed their admiration at her mar-
vellous method and proficiency. Her attack has all
the steadiness and firmness of a long-experienced
singer.. She has a tendency, perhaps, to hurry the
time, arising no doubt from agitation, but her Into.
nation was nevertheless but rarely impeached.
Comparing her Amina with antecedent representa-
tives, it will maintain a high position by her own
idiosyncrasy. It has not the electrical flashes of the
two sisters, Malibran and Viardot, it was of course not
equal in brilliant singing to that of the gifted Persiani,
and it was notsuch a well-conceived and com bined whole
as that of Jenny Lind ; but it seized upon the sympa-
thies of Mlle. Balfe's listeners with undeniable force.
She has stamped her individuality on the Amine,
and she has now only to follow up Thursday's bran.
guration by a second triumph. It is given out that
Ninetta, in the Gazza Ladre, will be her next part,
and that Mme. Bosio will be the Zerlina in the
forthcoming adaptation of Auber's Fra Diavolo.
Ninetta will prove a most judicious selection, and so
would Dezdemona, if Tamberlik should be in town in
time for the Otello. Gardoni, Polonini, and Ronconi,
supported the new Angina. It is highly honourable to
the artistic character of Ronconi that he undertook the
Count, after it had been declined with very ill grace
by Graziani. Report adds that Mlle. Marai would
not play the Liaa, which was the cause of its falling

SATURDAY,

into inadequate hands. The two foreign singers we
have cited would have evinced better feeling if they
had acted with the same consideration as lionconi.
This &mat artist can always create a part out of the
slightest materials, and his acting of the Count was
quite a picture in its way. By his admirable by.
play he gave great support to the new comer. The
" Phantom Chorus" was capitally sung, and the
orchestral accompaniments were, as usual, inimitably
executed—as, for instance, those in the sleep-walking
scene of the second act. The opera will be repeated
next Tuesday.
CRYSTAL PALACE CONCERTS.
THE fifth programme yesterday afternoon oontained
Rossini's Stabat Mater in the first part, Grisi and
Mario supporting the soprano and tenor parts.
Costa conducted for the first time this season ; and
the Gazza Ladra overture was executed under his
baton with a vigour which secured a determined
encore. In the second portion of the scheme, the
singing of Mme. Rosa Devries in Meyerbeer's air
" Va Celle," from Robert le Diable, and of Mme.
Bosio in " Vedrai carino," from Mozart's Don
Giovanni, won the sympathies of the large auditory.
Mlle. Parepa, Mlle. D.diee, and Signor Graziani also
were included in the programme. The " Market
Chorus" from Auber's Mazaniello concluded the
concert.

An unexpected treat was afforded to the company
by the trial of the monster organ, the central portion
alone, ;however, being yet completed. Mr. Brown-
smith presided at the instrument, and astonished
the auditory with the " Hallelujah" and " The
Horse and His Rider " choruses of Handel.