The British Press; or, Morning Literary Advertiser.
London, England, 1824-01-28 00:00:00

KING'S THEATRE.

Z,lmira has now been twice heard by the British public,
and twice honoured as it merits—with a highly favourable
reception. Scientific but unimpassioned auditors, whose
temperament is too cold to permit their judgment to be
influenced by feeling—and warm-minded amateurs, who
vield to the force of enthusiasm, unaided by theoretical
knowledge, because they have none,—are equally unquali-
tied to justly appreciate the beauties cf such music as that
of Rossini's present opera. The truth is, that produc-
tions which really emanate from the twofold source of
genius and science, require for their proper enjoyment
a judgment scientifically cultivated, and a susceptibi-
lity of soul assimilated to that of the master to whose
composition we listen. This iudisgensable junction does
not often occur ; and hence the many instances of false or
insufficient criticism, especially in music. On this piece,
and its first performance on Saturday last, we have already
spoken pretty freely ; but a rehearing, under circumstances
which allowed us to attend wit moreat our ease (the house
being less crowded), has given a still clearer idea of its
grist and particular merits, as well as of some trifling de-
tects, which have their place in the composition, only per-
haps because absolute perfection does not belong to human
efforts. Signor Rossini, in producing this recent result of
his scientific acquisitions, fine natural conception, at.d
highly-polished taste, has evidently endeavoured to com-
bine the exhibition of all his powers. While the masses
of his harmony arc rich, full, and very ingeniously modu-
lated, his melodies are felicitously conceived, both in regard .
of the gratification intended fur the ear, and the interest
designed to be awakened in the bosom of the auditor. To
effect these great purposes, the composer has availed him-
self of all the numerous resources of extraneous sharps I
and flats, rapid diversities of keys and combinations, almost
every possible succession of semitonic intervals, and all the
thousand varieties deducible front the judicious mixture of
his instruments, in the employment of which, as accompa-
niments to the voice, we think him only inferior to Mozart.
On the first hearing of the music of Zelmira, we felt a
strong wish for the opportunity of inspecting the partalura,
or score; but-last night's performance has so far illus-
trated the composition, as to present to our mind's
eve the pages of his work, and, in imagination, we
bl;tioki • most masterly and beautiful picture of multifa-
rious and intimately-connected parts, carrying with them
the proof of the presence of profound knowledge, and
a comprehensive extent of mind. While many of the pas-
sages of this piece evince uncommon rapidity and fire
of imagination, others are replete with delicacy and ele-
gance; and no less declare an unusual warmth of suscep-
tibility, than a pure and refilled taste. lVith respect to
the objectionable parts of this production (at which we
have hinted), their enumeration will lie in a small com-
pass. The codas are certainly not only too often very simi-
lar, but not unfrequently the very seine ; the figure in
music, the rasalia, is employed rather too liberally, and
the bass, though generally truly excellent, is, in some in-
stances, nut the best that might have been selected, either
in respect of science or pasaionve effect. But turning
our eye from these partial blemishes to the whole harmonic
and inclodial structure, we see a depth of theory and a
blaze of genius, that impress us with the conviction of
very extraordinary native powers, cultivated in the best
schools of harmony and taste. The s3veral performers
acquitted themselves with a success equal, if not superior,
to that of Saturday night; and were rapturously applaud-
ed by • respectably filled, though not a crowded house.