The Sun.
London, England, 1855-04-20 00:00:00

ROYAL ITALIAN OPERA.

Last evening the Royal Italian Opera was the
scene of a manifestation of unusual, and, as far as
the present generation can judge, of unprecedented
enthusiasm and magnificence. It had • been an-
nounced that the Queen, had commanded the per-
formances' and that her Majesty would visit the
theatre inState, accompanied by the Emperor and
Empress of
~theFrench.,_ On such an occasion, it
was to be expected that the very "elite of London
society would be present, in order to add one more
to the many ptiblic'greetings offered to our Imperial
guests. -
The director of the Opera, Mr. Gye, bad made
arrangements worthy- the occasion. The salle,
always brilliant and magnificent, presented a novel
and still more gorgeous aspect., The whole of the
theatre has been re-decorated for the occasion; the
solid spaces between the several tiers of boxes were
covered with white satin damask, and hung with
festoons of flowers. An effect of lightness and ele-
gance pervaded the whole area. Of late years,
the old arrangements on the occasion of Royal
visits to the Opera had been changed. Formerly,
the State Box was at the side of the theatre, ad-
joining the proscenium ; but her Majesty has in-
troduced the Continental custom—that.of placing
the royal visitors iLjthe centre of the halsae,:i
°. facia the stage. The theatre was, in this re-
spect,° arranged last night as on the occasion of the
royal visit in 1848. Four boxes, two on the grand
and two on the first tier, were thrown into one
grand state box, immediately over the central pit
entrance. Thus a space was left large enough to
accommodate the royal party and their respective
suites. The box was hung with a canopy of cherry-
coloured satin, embroidered with gold, and sur-
mounted with an imperial crown. In front were
four chairs of state. _ _

As the Emperor and Empress had returned
somewhat late from the City, and as there was
afterwards a grand dinner at Buckingham Palace,
the royal party were not expected until towards
half-past nine o'clock. The opening of the doors
and the commencement of the performances were
delayed, in order to afford the more time. Soon
after eight o'clock the theatre began to fill, and by
half-past it presented a scene of unsurpassed bril-
liancy. The stalls were a parterre of beauty and
gay colours ; and every box was crowded with oc-
cupants, formed of the choicest, of London society.
Shmtly after half-past nine, and after the
curtain had fallen on the first act of Fidelio, a
stir and a buzz of expectation announced the arri-
val of the royal visitors. A moment after and Queen
Victoria was seen entering from the back of the
royal box, leading by the arm the Emperor Napo-
leon, whom she thus, as it were, conducted to the
front, and in a manner presented to the audience.
Prince Albert escorted the Empress Eugenie. The
reception was enthusiastic. The whole audience
rose, and the effect was magnificent. As cheer on
cheer greeted the imperial guests, they repeatedly
acknowledged these marks of honour. While they
were still standing, the orchestra performed the air
" Parta,nt pour la Syne r and then the national an-
them -was sung, Mdlle.2Bogo singing the pincipal
verses, supported by Formes Gardoni, and the
other chief singers. At the close of the opera, a
similar scene of enthusiasm occurred. Then, "God
save the Queen " preceded the " Partant pour la
Syne," with an additional, or rather a substituted
verse, expressly composed for the occasion. En-
thusiastic manifestations of loyalty to the Queen
and of welcome to the iniperial visitors accompanied
this display. .
Such an occasion does not afford much opportu-
nity for a critical notice of the performance.
Fidelio, the opera commanded by her Majesty, has
already been produced at. the Royal Italian Opera
in a manner fully sustaining the high reputation of
this great lyrical establishment. The feature of
the evening's performance was the first appearance
of Mdlle. Jenny Ney as the' heroine.: This lady
comes to u 8 with .a high reputation gained in the
first lyrical theatres of Germany. Her performance
last night sustained it, whetht:r she be regarded as,
a singer or as an actress. The character, we need
scarcely say, taxes the highest powers of a lyrical
artiste. Mdlle. Ney is thoroughly German in her
style of singing and acting. ''he possesses consi-
derhble histrionic power, and is an accomplished
vocalist. With a lull soprano voice of great range,
power, richness, and volume, she is fully capable
of developing the deep passion with which the
music of the part of Leonora is charged. We shall
have other opportunities of critically noticing her
performance of this character. The scene of last
evening is rather to be regarded as a demonstration
—as one'_ more phase of the ovation offer ed to the
Emperor and Empress of the French on the part
of the people of this country, and in this respect it
was fully equal to those other receptions in which
the people at large have taken the principal part.