Northern Times.
Liverpool, Merseyside, England, 1857-08-19 00:00:00

RI GOLETTO.

" Rigoletto" was performed last night, Ronconi playing
the part of the Court Jester. Despite a failing voice and
weakened frame, he showed himself a great artist, and
elicited the most enthusiastic applause. Signor Neri
Baraldi took the part of the Duke with great success,
hiving a rich, full-toned tenor voice, very highly culti-
vated, and used with great taste. Signor Tagliafico was,
as usual, admivably made up for Sparafacile. and sang his
music with his accustomed skill. Signor Polonini was
grand and effective as Monterone, and delivered the male-
diction npon Rigoletto with great energy and power.
Md'ile Tagliafico executed her little part of Giovanna
well. Millie Nantier Male acted Magdalena, and sang
the music in the most satisfactory manner ; but we can
find no words to express the completeness in acting and
singing of Mdlle B'ssio, in the unfortunate and ill-used
Glide. A lovely voice and most finished and expressive
style; a fine person, with most graceful and impassioned
action, combined with the utmost refinement of taste,
would still leave much untold. The duet between herself
and the Duke was enthusiastically encored, as was her
solo, immediately after it. The quartett to which we
alluded in our account of the opera yesterday was
very effective and but fer the lateness of the hour, near
eleven, would have been encored. The Trio immediately
preceeding the murder of Gi'der was also very powerfully
given. "La Dolma e Mobile" was encored and repeated
with great success. Whatever may be said of Verdi as a
musician, it cannot be denied that he has produced a most
effective opera. Whether the music be original or not, it is
suited to the situations, and full of melody, and we cannot
wonder at the popularity of Rigo'etto in Italy and else
where. The audience, not so large as it ought to have b sea
with so fine a representation of a new work, exhibited a
tendancy to check an absurd custom which has crept in
with the star system, that of "receiving" the principal
singers with applause in the middle of a piece
of music. We are quite sure that the singers would rather
not be interrupted in an impassioned entrance, but would
much prefer being allowed to complete their performance
and receive the applause after it. The music is spoiled,
the action and expression weakened, and the simzers
robbed of their enthusiasm, to acknowledge plaudits
which had much better be reserved till they can do no
harm. We would urge upon the public this reservation
of their own enthusiasm. so as to give fair scope to that
of the performers. This is especially to be requested in
the ease of Don Giovanni and Le Nozze de Figaro. In both
the principal performers commence the Operas with beau-
tiful music, which is sacrificed. The introduction to Don
Giovanni, the most dramatic thing that Mozart ever com-
posed, is destroyed by this absurd custom, and it is
in consequence utterly unknown, except to those who
have heard it in private. " Cinque Diece," the pretty
duet with which:Lc no:ze de Figaro commences, is placed
in the same predicament, and the performer inconvenienced
and interrupted by what is intended to be very c mpli-
mentary, but is, in fact, impertinent, would be omitted
with benefit to all parties. We hope we have heard the
Itst of it. " Fra Diavolo" is the opera to night, in which
Madame Bosio will take the part of Zerlina; Madame
Parepa that of Lady Alleash; Roaconi that of Lord
Atic,asli; Neri Baraldi, Lorenzo ; Gardoni, Era Diavolo ;
T glisfieo, Polonini, and Zelger complete a very
ong cast. The opera is so well known in
its English dress, that we need not describe it.