The Express.
London, England, 1848-03-15 00:00:00

ffillustc.

HER MAJEoTY'S THEATRE.—" Attila," an opera by
Verdi, was performed at this theatre last evening. It is a
recent work of this composer, though we believe it is not the
last; for Verdi is one of those " who write with ease," and
no sooner produces one piece than he has another on the
stocks. A modern Italian composer is not fastidious in
the choice of his ideas—he takes the first thought that comes
uppermost, no matter how often it may have been taken be-
fore, either by others or himself, and bestows very little
trouble in its elaboration. Verdi, however, like most Italian
composers, has a happy musical organisation, and
strikes out pleasing and expressive melodies and
happy effects without the aid of skill or study. Hence he
succeeds in producing popular pieces, but not finished works
of art. " Attila" is very much akin to his previous operas ;
it is similar in its character, and has had similar success. I
The subject of the drama is founded on the well-known his.
torical incident of the destruction of the Italian city of
Aquileia, by Attila, King of the Huns. It opens with the
triumph of the conqueror and his fierce soluiery amid the
ruins of the burning city. A band of Aquileian virgins are
brought before him who had been fighting in defence of the
city. Odabella, their leader, is the daughter of the
governor, who has been slain by the assailants.
She defies the king, who, instead of rtreuting her boldness,
is captivated by her beauty and courage. He asks what
boon he can confer upon her, and she answers that her sword
may be restored to her. He gives her his own, and she
swears to use it in avenging the death of her father and de-
livering her country. While she remains in the camp of
Attila, the object of his admiration, her lover, Forest°, as
Aquileian chief, and Enzio, the general of the Romans, at
war with Attila, gain access to his presence, the one in dia-
-1 guise and the other pretending to have deserted the Roman
cause, and endeavour to poison him at a banquet;
but Odabella, who i 3 aware of the plot, dis-
covers it to the King at the moment of execu-
tion, not out of love or pity for him, but because she
has sworn that he shall die by her hand. She aids the
escape of her lover, who departs enraged at her seeming
perfidy. Attila now resolves to share his throne with Oda-
bella, and the nuptials are about to be celebrated, when
Foresto again makes his way into the camp, and upbraids
her with her falsehood. Attila enters, and Odabella justifies
herself to her lover, and fulfils her vow of vengeance by
stabbing the tyrant. This subject is far from a happy one
Nu interest is excited in behalf of any of the characters. The
heroine is a virago, and her lover an insipid personage.
One would feel for the poor King art the Ilune,
surrounded as he is by traitors and murderers, but
for the colours in which his own character is painted, There
are, however, some good scenes and situations. The piece
opens effectively with the triumphal rejoicings of the con•
querors, and the undaunted bearing of Odabella, personated
by Signora Cruvelli, who looked and acted the character ad
mirably. Her bold defiance of the proud conqueror was
finely declaimed ; and the air "Date questo," expressive of
her feelings OR receiving the sword, was sung with great
beauty and intense earnestness. The scene in which
Odabella, alone in a wood near Attila's camp, muses on her
condition in an impassioned monok:gue, contains the
finest air in the opera, "Oh, nel tuggcnte nuvolo," a
charming melody, accompanied with great delicacy
by the harp and soft...rind instruments. It was exquisitely
sung, and euthusiastically applauded. The duet which tol-
lows it, between Odabella and Farrago, in which the loser
upbraids his seemingly faithless mistress, is also very dra-
matic and effective. Gardoni, who acted the character of
the young warrior, was spirited and graceful. This duet
was the most striking feature in his part ; and it was so
admirably sustained on both aides, that it was received with
prolonged cheers ; and the performers, after thq had left
the stage, found it necessary to return and repeat the con-
cluding portion. The whole character of Attila was admire
lily represented by Signor 13eletti, lint its effect depended
more on the excellence of the ensemble than on the promi
nonce of particular points. There is no remarkable air be-
longing to the part; and yet there is no part in which
vocal powers have as yet appeared to so much advantage.
It exhibited the great power, depth, and richness of his
voice; his fine method of vocalisation; and the singular
clearness, variety, and force of his declamation. The re-
maining principal character, that of Enzio, received justice
from Signor Cuzzani, but it is a part which has no intrinsic
interest. The concerted pieces and choruses are in
Verdi's usual style very inartificlil in construe
tion, but frequcatly effective from their broad and
resonant, though plain and simple, harmonies. The
orchestral accompaniments are often stunningly loud,
the most powerful instruments being employed without dis
crimination ; though now and then we found instrumental
touches of great delicacy and beauty. The getting up of
the piece is entitled to the highest praise ; it was indeed
splendid in the extreme ; and some of the scenery—par
ticularly the view of the Adriatic with the gradual change
irom night to sunrise—was quite magical. Oa the whole,
those whose taste is not too fastidious to tolerate the weak
ness of the present Italian school, especially when this
weakness is in some measure strengthened by able perform-
ance, will have pleasure in the representation of " Attila."