The British Press; or, Morning Literary Advertiser.
London, England, 1826-05-01 00:00:00

DRURY-LANE THEATRE.

On Saturday evening the promised Opera of Aladdin
was produced at this Theatre which had been looked
forward to u the successful rival of Oberon at the other
house. The tale has beeri long dramatized as a tnelo-
dramatic romance at Covent-garden, and is a great favou-
rite with the town. With the fear of such a successful
piece on the same subject before his eyes, it certainly dis-
played no small self-confidence on the part of the author
in undertaking the present adaptation, a task in which he
has proved himself pre-eminently unsuccessful. In
the first place we shall give an outline of the plot, pre.
mising only that the characters were thus represented:—.
The Schah of Persia, Mr. SINCLAIR,
Mooted (an Enchanter) Me. Hoax,
Aladdin. _ . Alias STEPHENS,

A bnah (a Doctor) . Mr. Biowxs,
Hassan, (a Coppersmith) . Air. IliproaD,
Huntsnien . . News. Al sacra, Lc.

Hagoi, (a Barber) - Mr. ;UNMET;
esrour (Chtefel the Black Eunuchs) Mr. Comas,
Mufti, Mr. nom
:Hata and Acbmet, Misses ()semi., Pizeint*
Nourinahil, By a Yong'? 10.1sx.
Zeenab (Aladdin's Mother) Mrs. DAVISON,
Zulcika and Leila, . Misses NICoL, WlLifierf.
GENII.
Astra, - Miss CI:MITT,
Mellor*, (Genii of the Lamp) Miss GOULD,
Correia, Miss SOUTHWELL,
Unda, (Genius of the Ring) Miss POVEY.
The opening scene introduces us to a street of Ispahan, and to
some twenty of Aladdin's play.ftllows, with hoops, skipping-ropes,
kites, and other symbols of juvenile amusement, common in Lon.
don ; but whether such a collection could be found in Ismailia we
think is matter of much doubt. These young gentlemen call upon
Aladdin ( Miss Stephens) to partake their sports. hlourad, the
Enchanter (Mr. Horn) then appears, and represents himself to
Aladdin and his mother, Zeenab, (Mrs. Davison) as the brother of
the late Mustapha, and, therefore, the brother.in-law of one, sad
the uncle of the other. Moored then engages Aladdin in the
dangerous project of obtaining the magic lamp ; and the scene con.
eludes with the neighbours being informed of the rich relation they
have gained. The scene is then laid in a subterraneous passtge of
the rocks, where Mound invokes the Spirit of the Ring, which ring
he has placed on the finger of Aladdin. Gnu, the Spirit of the Ring
(Miss Povey,) appears, does obedience to the possessor of it, and
retires. The Genii of the Flame are then solicited to shew by magic
fire the entrance to the mine in which the lamp reposes. The flans*
suddenly appears, and, like one of the ignes fattii, moves about the
stage, and at length becomes stationary at the desired place, when
the rock opens and discovers the mine. Aladdin enters, and the
scene changes to the interior of the mine, where, on the top of an
immense scull, some eight feet high,—a scull which Gall might love
and Spurzheim would adore,—sits acolossal figure, holding eh: lamp.
Aladdin ascends at the back of the figure. obtains the lamp, and
though repeatedly called from without by Mourad, waits to collect
some of the enchanted fruit, which presents itself on every side.
The delay so outrages the Rnchanter that he closes the entrance to
the mine, and Aladdin despairs of obtaining relief, when rubbing
the lamp, its Genii (Misses Cubits, Gould, and Southwell) rise
from beneath the singe, and do their homage. Aladdin requires
himself to be freed from the mine, and, at their command, an im-
mense eagle wings them aloft, and the scene changes to the entrance
of the Royal Bath. Here we are introduced to a procession of
slaves, preceding Nourniabal (the debutante) and sister of the Schuh,
( Mr.Sinclairo on her way to the bath. Aladdin secrete himself within
the entrance, and becomes enamoured of her. He immediately com.
missions his mother to present the magic fruit to the Schah, and tode-
mend Nourmahal in marriage; his mother reluctantly complies, and
returns with the Schah's answer. He requires a present of forty
basins of massive gold, full of precious atones, each basia • to be
carried by a black slave, led by a white one, and preceded by a
slave carrying a sword of fire. Aladdin applies to the Genii ; the
scene suddenly ascends and descends, and discovers the sumptuous
gardens of the Genii of the Lamp, and the stage is filled with the
gorgeous presents for ning the marriage settlement. Thus ends the
first act. The second act opens with a scene in the Royal Gardens,
where Notirniahal iswaiting the arrival of Aladdin. The Schuh is in.
formed that the splendid cortege has arrived ; it enters, and the Mufti
joins the hands of the lovers. Aladdin invokes the assistance of the
Genii, and suddenly his gorgeous palace descends from the top of the
stage, to the astonishment and delight of Nourmahal and the
Schuh. The street of Ispahan again introduces us to hlourad, wbo
accidentally overhears the ('oppersmith (Mr. Bedford) speaking of
Prince Aladdin, and from him :Routed gains the knowledge of the
splendid situation which Aladdin holds in the imperial city.
hlourad at once determines on destroying Aladdin's fortunes, by
possessing himself of the lamp, and having purchased sane new
ones from Hassan, he proceeds to the palace. Nourmahal crewm-
an,. exchanges the lamp. and at the command of the magician the
palace Is suddenly seen on its flight to Africa. We have next a
distant view of Ispahan, and are saluted by a chorus of huntsmen,
whom Aladdin has accompanied to the chase. The Schell enters,
and the disappearance of Aladdin's palace excites universal dis.
may. Eventually the Prince allows Aladdin seven days for the dis-
covery of the Princess and his dulce domum;" and the second act
terminates with a beautiful address to the Deity. The third act opens
in the Jew Doctor's house (Mr. Browne), where Hegel, at the re-
quest of Aladdin, proceeds to purchase poison; he obtains a packet.
and return. with it to Aladdin, who has determined on self-destruc-
I don, the seven days having expired which were allowed him for the
discovery of the Princess. his mother in the meantime having bees
detained as a hostage. We are then favoured with the scene of a
hall in the Schah's palace, where Aladdin is confined, from the
window of which is a view of the river by moonlight, and of the
distant part of the city in illumination. Here Aladdin is visited
by Haggi with the poison : suddenly Aladdin observes the forgot-
ten magic ring on his finger, and having recourse to it, the Genius
appears, and of the command of Aladdin transports him to Africa,
and to his Princess and the palace. The magician at this period
is forcing his suit with the Princess. Aladdin enters,
and Tzars to
hlourad, through the magic powers of the ring, ass minstrel. The
poison is placed in the cup, which Nourmahal offers to Mound's
acceptance, act a pledge of the love which, at the desire of Aladdin,
.she has suddenly feigned for him ; he drinks, and dies. The
lamp is taken from his bosmn by Aladdin, the whole are again
borne upon the wings of air to Ispahan, and the charm Is wound
up in the Gardens of the Genii, illuminated by the angle bizeP•
Such is the outline of the plot, by which it will be Pc"
mired that there is a vary slight d,eviation from the original

story. The Prineesn Nlairmahal is made, on this occasion,
the sister of. the Sehalt, instead of his daughter, as in the
original, but for what purpose this alteration is made does
net appear. In the first act there is something like an
but the second and third are wholly
attempt at dialogue,
below mediocrity, particu. larly that which is allotted to the
ober, the Copper:math, and. the Jew, and would not
have been endured on any minor stage in London. Mr.
um is reported to be the author, but we cannot believe
it; it is next to impossible that a gentleman whose attain-
ments bear so high a character, can have composed such a
ti,-sue of nonsense and absurdity as display themselves on
this occasion. It Iva been the lot of fairy talcs generally
to suffer in the hands of modern adapters, but the manner
in which Mr. Plancht: lately executed his task led us to
hope that the ground of complaint on this head was likely
wbe redeemed. The present production, however, plunges
es again in absolute absurdity. Having expressed our-
wh.,, thus freely on the dialogue of the piece, we shall, in
the room of our observations on the music, give a specimen
or two of the poetry, on which the public will have an
opportunity of forming their own judgment.
ire now come to the far more pleasing duty of congra-
tulating the public on the very clevet manner in which
Mr. Bishop has accomplished his task. The overture
commences with an adagio, after Haydn, of some dura-
tion, the air of which is quite in the relizinse style, and
very beautifully wrought ; it is followed by a presto move-
ment of considerable merit, in which the effect of the wind
instruments are most happily blended; the tremando and
crescendo are very ably brought out, and the climax ad-
nimbly arrived at, but we venture to premise, on the
whole somewhat too much spun out. The first chorus is
very pleasing, and is conducted in that playful style which
so well adapts itself to Aladdin and his companions. The
first air of Mourad, the Enchanter, to the following words,
is very fine, and though the accompaniment by the wind
instruments is of a peculiar character, is very pleasing:—
I greet thee, land, u lovers greet,
Who after years of absence meet ;
I hail thee, land, as pilgrims hail
The Prophet's tomb, and Mecca's vale.

We must, however, observe that the symphony would bear
curtailment. The next air, by Aladdin, though somewhat
too near that of a popular air of the present day, is
pleasing, and was most rapturously encored. The quar-
tette by Ila.vg,ri, Zeenab, Ilal.can, and Ahnah, is not remark-
aide for any particular merit. The air of Undo, "The
ring, the ring." is in very good taste. The invocation
iZene to the Genius of Flame is finely conceived; the
reply of the invisible spirits, repeating on the same
rote, very unearthly, and the accompaniment is in the
highest scale of merit. The recitative of Mumma, when
Aladdin enters the mine—

Aye. go into the tomb,
Sealed Is thy doom ;
Ocean may give up the dead
From its soft bed,
The firm earth never :
What once it holds it holds for ever.
and the air that follows it are very clever, but there is some-
what too much trumpet. The finale to the first act is good ;
hut " Hail, gentle master," partakes rather too much of a
subject by Handel. The next song of Nourmahal, though
rather approaching an air in Friesrhutz, is delightfully ar-
rang(d ; we cannot, however, say so much for the song of
the .5.11,th, "Sister, I have loved thee well :" it is deficient
in melody and originality. The trio, "At thy spell, muter,
we appear," is very pod, and the symphony is moat admi-
rably adapted; and the recitative and air that follows, by
Mound," Tremble, ye Genii, in your caves," displays the
master's powerful hand. The duet between Aladdin and
Novrmahal, " Ere the stars of night arise," is of a very
pleasing character, and the horn accompaniment most ably
adapted. The chorus of huntsmen we think is the least
effective we have ever heard from Mr. Bishop's pen. Alad-
ji4's song, which succeeds it, to the following words, .is,
however, of a very different character :
The days of the valley are o'er.
When roses were twined round my door;
I dwell in a palace instead,
And a diadem circles my head :
Now a diadem circles the head,
Whose locks, unshaded.
Play'd round it, not:raided ;
But the days of the valley are fled.
The days of the valley had hours
Of pleasure and hope in its bowers;
But life now flows on in delight,
Like a summer, all joyous and bright ;
Now a diadem circles the head,
Whose locks, unshaded,
Play'd round it, upbraided ;
Hut the days of the valley are fled.
The song of the Schah, " Thou art gone," has no par-
ti,ular merit. The chef d'a•uvre of the Opera is the
tinale to the second act, to the following words :

CHORUS.
Hark ! from the minaret on high :
The Muezzin is calling to evening prayer.
Muezzin.—To prayer.
Aladdin... 4 shall not die.
That voice calling mm to prayer,
Forbids me to despair.
Murzsbc—To prayer.
.-Itaddin.—O, it comes o'er me, giving life,
Like the firtt breath of spring, reviving
The wretch with stern death striving
In mortal 'trite.
cuoays.
Thou halt given us day—and it is fair
Thou but given us night to pillow care.
Rut night or day,
Tn thes we pray,
Allah ! II Allah !
The extraordinary effect of the Sfuessin's voice in the
words, " to prayer," must be heard to be conceived ; and
the beautiful soothing of hope and comfort in Aladdin's
" I shall not die," is equal to any effort we ever heard.—
The song by Aladdin, at the commencement of the, third
-. to the following words, was perfection :
In my bower a lady weeps,
in my cot an infant sleeps:
'Tis there ! 0, there !
I would be there!
Or let me die in my despair !
On the hills where I should be,
Brothers, sisters, call fur me
'Tis there ! 0, there l
I would be there !
Or let me die in my despair !
By the stream I loved so well
Pines for me the young gazelle:
'Tis there! 0, there !
I would be there !
Or let me die in my despair!
The violin obligate accompaniment is one of the most
pleasing efforts of taste within our recollection. Of the
remainder of the composition we cannot give any opinion :
a song by the Midi, a finale atsd chorus, not having been
lung—why, we shall presently take the liberty of enquir-
ing.Bishop has in this instance most ably sustained
his character, and we venture to predict that, although
there may not he any air which may become so generally
admired as " Sweet Home," or a duet equal to either of the
" Pages," still there is so much sound judgment and
ability displayed in this opera as to entitle it to great con-
sideration.

We now some to the question why Mr. Sinclair did not
appear 'luring the latter part of the last act. We presume
he was not suddenly taken ill ; because, if such had been
the case, it would have been announced.' But that, on the
first representation of an opera, the principal male singer
.hould absent himself without finishing his part, appears
most extraordinary; and we are much surprised the house
did not call for an explanation—at least that part of it who
saw the dilemma in which the piece was thrown by his
absence. We ask if such a circumstance, if wilful, does
not betray a most unwarrantable disregard of common de-
cency to the public, and an act of outrageous injustice to
the composer? We hope a satisfactory explanation of this
circumstance will be given, which is certainly due both to
the audience then present as well as to Mr. Bishop. Miss
Stephens, in Aladdin, was every thing that could be (le-
anest ; and with the occasional lapsus of a curtsey instead
of a bow, which caused a little pleasantry, was per-
fection. The debutante, Miss Johnson, a niece of Miss
Stepht ns, was most successful. In person sbe is taller
than her aunt, but her voice is certainly " one of
the family," and indeed so much resembles the ori-
ginal, ithat at a distance it was difficult to detect the one
from the other. It is, however, upon the whole, neither
so mellow nor so clear as Miss Stephens 's ; but there is a
Power about it, which indicates that, when time and prac-
tice shall have reduced it more to the control of the pos-
actKor, it will be little inferior to that upon the model of
%Inch it is formed. In her principal song she was =mad;

and, upon the whole, her debut was eminently successful.
We think Mrs. Davison would have been far more suc-
cessful if she had played the Mother after nature, and not
after Mrs. Davenport. We have the highest respect for
both ladies, but we must condemn the adoption of the
manner of the latter on this occasion. The effect of the
scenes between Aladdin and his mother were wholly de-
stroyed in consequence. Mr. Horne played and sang the
Enchanter with much effect, though his poisoning and
death excited some risibility. Harley bustled as usual, but
it was about nothing; and the other characters, if not worth
mentioning, must lay the blame to the author.
Ihe scenery was beautiful in the extreme. That of the
Gardens of the Genii of the Lamp had the peculiarity of an
angular staircase reaching to the top of the stage, up and
down which the procession passed, on its way to the palace
of the Schah; also the Imperial Gardens, Aladdin's Magic
Palace. and the Gardens and City of Ispahan, by Stanfield,
particularly the last, are highly deserving of observation.
The dresses of the principal characters arc good, but not so
the others; they are not in keeping. There is always a
fatality attending the machinery at this house, and whether
it is a palace to be moved, or a mist to be drawn away,
some difficulty arises; and this was the case in both in-
stances on Saturday night. The general getting up of the
piece, however, reflects high credit on the management ;
and we have only to regret that so much expense should
have been lavished, both as regards scenic decoration as
well as music, upon so unworthy a subject as this tale has
become in the hands of its present adapter.
Mr. Bishop presided at the piano-forte, and was most
enthusiastically greeted on his entrance. M. Von Weber
was in a private box, and most heartily joined in the ap-
plause, as also on the conclusion of the overture, which was
encored. During the second act some unwelcome feelings
expressed themselves, which increased during the third.
However, at the close the applause was pretty general, Old
Mr. Wallack• announced the Opera for representation this
evening to certainly the most indulgent audience that ever
graced a theatre.