The Express.
London, England, 1868-05-11 00:00:00

ROYAL ITALIAN OPERA.

Mdlle. Adelina Patti again drew a crowded and
brilliant audience on Saturday night—her second appear-
ance this season—when she gave that charming represen-
tation of the Lady Hearitits, in Flotow's Marta, which
has been one of her many attractive performances in pre•
vious seasons. It is almost impossible to find fresh terms
is which to express the perfecti•n of Toad accomplish•
went, and the exquisite refinement and grace of manner
which characterise Mille. fatties impersonation as the
courtly Lady Henrietta and her disguise as the rustic ser-
vant girl. It would be difficult to determine which
assumption is the more charming ; the polished and high-
bred, yet genial bearing, of the one, or the gentle simplicity
and graceful awkwardness (if wenigy be allowed the contra-
diction) of the other. The alternation of the two, how-
ever, regatta in one of the train perfect representations of
the highest order of elegant comedy that we h►ve ever
witnessed--and this if viewed merely in its dramatic
aspect. When, however, to this is added a voice of the
most exquisitely sympathetic quality, perfectly cultivated
in the best school of vocal art, both under such facile
control as to leave no impression of effort—it follows that
in Millie. Patti we have a singer so exceptionally gifted
and trained, that her place can scarcely be fully supplied
when she retires from theletage. Seldom have even her
performances created a greater impression than on Satur-
day night ; the applause throughout the opera having
been of the meet enthusiastic kind. The coquetry and
ennui of the first scene with Nancy were admirably
given,%with the naivete and half pathos which belong to
the situation, and are well conveyed in the pretty opening
duet with Nancy, " Quest° duoL" In the lively trio
which follows, " Belle Lady," in which the two torment
the foolish courtier, Lord Tristan, and trifle with his
awkward expressions of attachment, the refinement and
grace of manner of Mille. Patti threw an air of proba-
bility over a scene which partakes somewhat of the bur-
lesque in character• In the scene of the statute-fair,
where the divined Lady Henrietta and her waiting-maid
are engaged as servants by the two young farmers, Lionel
and Plumkett, and in the first wens of the next ace,
where they commence their new service in the farm-
house, Mdlle Patti's assumption of timid rusticity and
awkwardness was both amusing and charming. The
capital "spinning-wheel quartet "(one of the best pieces in
the opera) was encored as usual. In this piece the bril-
liant and voluble execution of Millie. Patti, the high
staccato noted, bright and silvery is tone, distinct in arti-
culation, and perfect in intonation—the exquisite geniality,
hearty yet unexaggerated, with which she gave the
laughing passages ; the consummate ease and finish of the
whole were such as to bring down a perfect torrent of
applause, both on the first performance, and also after the
repetition of the quartet. The following romance, " Qui
Bola, virgin rose" (" The last rose of summer"), was
given with an unadorned simplicity, and a gentle yet
touching pathos that exercised a similar charm
to that of Mdlle. Patti's singing of " Home,
sweet home," introduced by her in ft Bar-
tiere, as recorded by us three days since. The encore
which followed oa Saturday night was responded to by a
repetition of the beautiful old ballad with its well-known
English words instead of the Italian text. The rather
weak romance, " Qui tranquilla" (occurring in the finale
to the third act) derived a factitious importance from the
expression thrown into it by Mdlle. Patti, whose perform-
ance in other portions of the opera, not specified, also dis-
played all those varied and high powers already commented
on, and was hailed with repeated outbursts of applause
and several recalls. The part of Nancy was filled by
Mdlle. Grassi, who appeared for the first time at this
house on the occasion. This lady, who will be remem-
bered as having been at Her Majesty's The►tre four
seasons since, has a contralto voice of considerable
compass, sufficiently powerful and of sympathetic quality.
♦ little excess of vibrato may perhaps be attributable to
some degree of aervousnem in a first appearame in a new
locality. Mille. Groggi's chief opportunity for display was
in the solo at the beginning of the third sot, " Esser toast°
ii min cot," and the ari►, " II auo stral," with the follow-
ing more florid movement—in which she displayed some
good vocal qualities, both in expression and execution, and
gained considerable applause. The part of Henrietta'•
lover, Lionel, the young farmer who turns out to be a
noblemas, has long been identified with Signor Mario's
refined performance--excellent alike in its dramatic and
its vocal aspect. In the passage, " Solo profugo," in
the duet with Plumkett, in the duet with Henrietta,
" A sno squardo," in the commencing phrase of the
notturno " Dormi par," and especially in the well-known
air, " M'appari," the excellent cantabile style and artistic
phrasing of Signor Mario were beard to the highest &dean.
tags ; while in other portions of the opera, as in the
anguish given to the passage " Marta, Marta, in speristi,"
uttered on the disappearance of the disguised Lady Hen.
rietta ; and again, in the burst of anger "Questa man ohs
d'amarena," when afterwards rejecting her proffered
hand, Signor Mario displayed an intensity of dramatic
power and passionate earnestness that called forth the
loudest applause. Signor Graziani, as before, was the
Plumkett and sang the celebrated, but very weak,song in
praise of beer (" Chanson du Porter") with his usual ex-
oellenee, and obtained the almost invariable encore.
Signor Tagliafico infused considerable humour, and
thorough musical efficiency, into his representation of the
caricature nobleman, Lord Tristan. The special stage
effects of this theatre were displayed as usual in the
scene of the statute fair, with its crowds of farmers, ser-
vants, and morria-dancers ; audits introduced ballet action,
including some very clever dancing by Mille. Dorine
Merante and Mille. Dor. The house was crowded in
every part, and the royal box was occupied by the Prince
and Prisons of Wales, the Duchess of Cambridge, and
Princess Mary of Teak.

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