The Express.
London, England, 1865-07-24 00:00:00

ROYAL ITALIAN OPERA.

hfeyerbesr's posthumous opera, VA fricaine, was
produced on Saturday night. It seems somewhat strange
that a work of such importance should be brought
forward at the fag-esd of the sour, within a few days of
the dose of the theatre, and whew the town is already (in
fashionable parlance). ball empty. But it is doubtler
putted that the two or three performances given now writ
ears as • whet to sharpen the public appetite for next
season. Be this r it may, the opens has been

get up with the greet possible care and
splendour ; the hoar was full to overflowing, sad
the performance was attended with the usual indketioas of
success. Care had been taken, moreover, to bring the
length of the piece within the bounds of English patience.
The entaibisear for this purpose must have been very in-
jurious to the week, sad such is the lamented composer
himself would hardly have submitted to; bet still they were
sat oily judicious bat absolutely secessery in Lemke, sad
their effect was that the curtain fell before ardeight. Aa
it was, it was evident that the performer was quite long
enough ; for the audience were departing during the whole
of the last act, and the coecluding " ratios" was per-,
formed "with maimed rites," maid the tor and coofusion
greed by people hurrying away from the stall, aid boxes.
Oar impression Is that the music senalL much
more strongly of the hasp than any previous pro.
&sera of the author. Is the airs we incline to
think there is lee freshers and melody then in those of
Robert le Diak and the Huguenotli, though there are
exceptions, such as in Inez's sir, " Del Tango spends
eddio" (Adieu, rive do Tage), in the Bret scene,
and the most pathetic monologue of Setts I. the
ler. Some of the choruses ere of nestirpeartile excel-
lance, each as the prayer of the peseta is the
scene of the Council, " To, ohs Is terra lidera."
which is sublimity itself, though thrown away are aaa
inferior situation. Some of the conceited meces are mega.
oilier. The dubs to the second act is a marvellous
instance of Meyerbeer's power of dramatic combination.
The whole of the fourth act is certainly as Bee as anything
that the illustrious composer has ever writer The Indian
monk, the choral sore, merehes, and dares, are full of
oriental character, respleodeet with "barbaric pearl and
gold ;" and the great duet between Vasco ad Silica might
almost be compared to that between Raoul sod Valestine,
were it not that the one scene lacks entirely the inter*
dramatic hatred of the other.
The work his been brought upon the stage in a manner
worthy of the Royal Italian Open. NVaehuil was chosen
by Heyerbeer himself r the representative of Vasco de
Game, sad upon the whole showed himself to be not un-
worthy of so high a distioetion. The music called for all
the powers of bin superb voice ; he looked the pert wall,
and his acting, though sometime over violent, was spirited
sad manly. Mdlls. Lucca, who had also the honour of
being chosen by the composer, did full justice to the
choice. She looked lovely I. her eastern garb, acted with
passionate fervour and abandon, and rug to Namara.
Male Fioretti was exceedingly pleasing in the part of Isis.
Graziani gave mach effect, both vocal and dramatic, to the
&erecter of Neluako ; and the parts of Doe Pedro, the
Grand Inquisitor, Don Diego, end the Chief Priest of
Brame wets filled by Signor Attri,ilerr Schmid, Signor Cap-
per. and Sipe, Teglialco, Ii a manner entirely satinke-
tory. The scenery was is beautiful, and the ,pentacle as
magnificent, as &eyrie, we have ever seen eves ea the
street ,Covent Garden Theatre.