The Sun.
London, England, 1852-04-02 00:00:00

C
cellent artist has improved both in volume and flexibility of
voice ; although there is still some tendency to a nasal tone,
his singing last night was most musician-like, and the open-
ing aria, " Quando it cor," was unanimously re-denianded.
In Maria we had back Madame Fiorentini, who was warmly
greeted. She was in her best and most powerful voice, and
her
tive
executionna was more rapid, brilliant, and correct than
ever. The graceful melody, "Cups Fatal," which forms her
adfirst
rfria was very sweetly sung and capitally accompanied.
effee e. Ida Bertrand is increasing in stage aplomb and
se, and her voice was also in excellent order.
She
gave her arch contralto song in so musicianly a man-
ner, and wilt such dramatic propriety of sentiment, as to
call down a loud encore. In the first act there is little call-
ing for display in the part for the baritone, but the mingled
manliness and tenderness which he threw inte the air " Ah,
non Avea" at once established Signor Ferlotti's footing. The
concluding concerted music was satisfactorily performed. In
the second act 51dlle. Ida Bertrand's piquant and saucy song,
" Zu scherzi o conte," very narrowly escaped an encore; and
the concluding duo between Maria and Chalais, excellently
given by both performers, brought down the act-drop with
great applause. The third act is the strong ground for the
baritone. We have already characterised the general style
of Signor Ferlotti's acting and singing, and we have little
to add, save that his delineation of the outraged husband
was at once pathetic, manly, and full of genuine power.
The burst of passion addressed to the wife—the intensity of
the sneering words which succeed—the triumphant rage
when the husband finds his betrayer in his power- all this
was given with a vigour and artistic effect which quite took
the house by surprise, the singer remaining perfectly In
command of his voice through the long and trying scene.
(From the Morning:Herald.)
We could have desired something better for the inanga-
ration of the season then the Maria di Bohan, which, the
seventy-fourth (!) of the works ascribed to Doaizetti, is far
from being one of the strongest and most original of the
composer's efforts. Moreover, the edge of novelty has been
blunted by its contemporaneous performance at another
establishment, where Ronconi, the artist who Las given the
principal character its chief vogue, is at hand to embody
Signor Ferlotti, however, comes with a good reputation
from Italy. The part in question is stated to be one
of his masterpieces as it is of onconi's. He is a tall, hand-
some man. His voice is of thick and heavy volume.
and not altogether so flexible as it might advantageously
be. During the early part of the evening he made but
little impression, the hopes of the audience being especially
reserved for the last act. And- these hopes were not cisme-
Pointed. He depicted the anguish and remorselessness of
jealousy with power and in, ention.kNur was the portrayal.-
wanting in those niceties of ceroTrivhich fie- have been
taught to look for. His illustration of deep and absorbing
passion was close and graphic, without the loss of personal
dignity, while his attitudes were signally fine and striking.
An encore rewarded his reading of the " Bella e di sol yes-
tita," which overflowed with sensibility, notwithstanding he
solidity and gravity of the tones. The personators of the
other characters were old acquaintances of the habitue's.
Madame Fiorentini, who represented the heroine, has seem-
ingly made advances since she was here in 1851. We ob-
serve a greater degree of finish in her mode of delivery, a
superiority of style when compared with herself, an increase
of vocal ease and self-pessession. In the air " Cupa fatal,"
which first lets the spectator into the secret griefs of her
heart, Madame Fiorentini was eminently successful;
though her executive tact was more boldly displayed
in the cabaletta to the preghiera near the close of
the opera, which she sung with force and brilliancy.
Calzolari, who opposes Tamberlik at the other house
as the representative of the Duke, was smooth, correct, and
earnest. Hie execution of the opening romance" Quando it
cor" was sufficiently sentimental, and his duet with the
Duke in the second act sufficiently emphatic. The perform-
ance, in a word, if not distinguished by any of the surprises
of genius, was satisfactory, and did not fail to command ap-
plause. Mademoiselle Ida Bertrand sang the music- of the
amorous Gondi agreeably and tastefully. The ballet has not
yet put forth its strength. Mademoiselle Guy Stephan, who
was the " star" of the evening, was a "star" some seven or
eight years ago ; and a period of this dimension in the career
of a danseuse is little short of a lifetime. When Guy Stephan
was here during the early years of the Lumley dynasty, she
was liberally admired and talked about. Her piquant looks
and equally piquant style of dancing were good reasons for
enthusiasm ; and though the schools of " realism" and
" idealism" were not then determined by ingenious
critics, her graceful liveliness was a theme of copious
panegyric. Since those halcyon days of the ballet
Guy Stephan has been in Madrid, where she has
been a permanent favourite for several years; and she
is now lured back again to her Majesty's Theatre,
in the full odour of Spanish glory. Time does not seem to
have rifled this clever artist of her personal charms. We ob-
serve but little alteration in her appearance. Perhaps she is
a little stouter; but for that we care not. Between the acts
of the opera the divertissement entitled L'Aurore, identified
with the name of Dumilatre, was revived for her rents*.
She was welcomed with pleasure by those who remembered
her in her more youthful days, and with interest by those
who were cognisant of her continental fame. Nor were either
disappointed. Mademoiselle Guy Stephan evinced consum-
mate practical ability, displayed not only in the French arti-
ficialities of the divertissement, bat also in the fuller-grown
ballet Un Bailie de Candil, which came after. In the latter,
the scene and sentiment of which is purely Spanish, Guy
Stephan was seen to excellent advantage. Li a " Valse
Comique," and a " Madrilena, " her Castillian experiences
were brought into pleasant use, and the national
dancing of Spain was exemplified without the sophis-
tications and corruptions of the ballet master. Nothing
could be more buoyant, vivacious, and exhilarating. The
National Anthem was sung between the opera and
the ballet, the leading vocalist being Madame Fiorentini.
(From the Daily News.)
The principal character, the Duke de Chevreuse, presenting
a picture of jealous fury, wrought up to the utmost pitch of
intensity, demands a tragedian of the highest powers, the
qualities of the singer being of secondary importance. It is
Ronconi'a greatest part; for the defects of that great per-
former's vocal organ are unnoticed whenever he has full
scope for his dramatic genius. Ronconi, in the last scene of
this opera, is not unwcrthy to be compared to Keen, in
Othello. It is no disparagement, thereforexs,steetroyaoneatrrrhadmelinnaerwynaoginuaitry.
Signor Ferlotti, to say that his peformance is not of so high
an order, and that it has been placed at a disadvantage by
being brought into unavoidable comparison with a perform-
ance which is admitted to be unrivalled. Signor Ferlotti.
nevertheless, is an excellent artist—not onlya highly.finished
singer, but an actor of no ordinary ability. His voice is one of
the finest baritones we have ever heard, combining great power
with mellow sweetness. and almost the flexibility of a tenor,
His style is pure, and he sings with energy and passion.
He has expressive features, a good person, and that distin-
guished air which fits the actor for the higher walks of the
stage. In the trying scene of rage and despair which con-
cludes this opera, he made several telling points; but his
fault was a deficiency of impulse and abandon. He bad too
many of the conventional habits of the Opera stage; and
by not allowing the audience to lose sight of the. actor and
the singer, weakened the effect of what was, in
many respects, a very powerful performance. The
sesueznndtn)e.
ears,
sr third
part of the heroine was perforated by Madame Fio-
rentini, whose beautiful face, graceful figure, and fine
voice, were well fitted for it. She sang exceedingly well;
and though she did not rise to the pitch of tragic passion
which the concluding scene demands, yet her performance
on the whole was pleasing and interesting. The part of the
Count de Chalais is an ungrateful one, and Calzolari gave it
Ida Bertrand was. excellent, and highly successful, in the as much effect as it seems capable of receifvagi
aunr well-
sp
trainar teo:di t Dhv
eoe Gondi.
cche
s,rape c 7
t'lli;:he
se
ot
rroocpohegersaat
rot:
d,a was splendidly
ne
d.oev,rrthuteioist
and there
there was
did its duty
odnugt
Guy Stephan
was another after the opera. In these
Aacitrs.
and
was most warmly welc
yawndellirißllieatnwteedui
ever,
additional finish and refinement as
and seems to have gained ad
d
made her appearance after
om eadn. absaheencie.socat
„ appeared along with her, is a
handsome young man,
and lightness.
an artist. M. Alathieuen,
dwedeatiecPePs
withfable
oPlgeud.tc 0
nla de
,101 he

OPERA.
as A u rThelast i ehe nrienpgu,t
aHtieorrn
--- c-7-------ell
:va-s-roLdrnlocieAddoN.h e
n a had preceded him, and the antici“
Tho GINN!'" 1
b and he
o ed of his merits were satisfactorily
Covent Garden. His voice is a high
fopAufat Ander
illstfid this er
d 9
possesses high excel-
n . In the duet in the first act
and the in the o h commanded a splendid triumph,
sofilled by Ronconi, Marini, Tagliafico Polonini, and
Tha remaining parts the opera were most effec-
enofi :t:laira:oi Osnkoutcst:
achne:•. ri
sebahAetr onainsatdLr'id's:id.
e'eei bsnef
ti‘nootornfTmda,pAtai
ofoe n
The choruses
ownhisoe werev e the romance' aanncdeizionmeabdreefferata, tt;
Itteievanecoi
if,.
eldixaciduaimsiteeCiya.stTeilil
say how the music was handled by the orchestra,
whose magnificent performance of the overture was unani-
mously encored. One of the most striking effects produced
was the assembling of the cantons to take the confederate
oath of freedom in the second act. We trust the public may
be afforded more than another opportunity of hearing Ros-
sines master piece performed in so masterly a manner. The
critic in a Morning Contemporary has the following just re-
marks on the new tenor :—" Herr Ander had to contend
against the recollection of Duprez and Roger in the same
character, than which he could scarcely have undergone a
severer ordeal. So much the greater, therefore, is the tri-
umph of his success. His first recitative at once stamped
him as a great dramatic singer, and his singing of the great
duet with Tell in the first act satisfied all that we have
gained a new tenor of the first rank. Herr Ander's voice is
ait hiinguttheenoart,roanngswesetrinbgarraetadoiflydrthaomuatricosptafisidem9aldsmwmenhaitldeeahndoina
cantabile singing is distinguished by Grattrealan!
puritymenta of ft style.he trio t
oS exquisitelytoilaen second
act, d did
thath
acquisition, and we have
re-
demanded. Herr Ander is a valuable
eitswinaagahaansilmowaamityove
no doubt
night."
t.
thatl future performances will emir the success of
last

OPENING VICTORIA-STREET.—Yesterday this tho-
roughfare, which, in consequence of the dangerous state of
the roadway, was closed for traffic, having been thoroughly
repaired, was again opened to the public.
NEW HARBOUR WORKS AT HOLYIIEAD.—A large
number of vessels have availed themselves of the shelter
afforded by the new harbour works and breakwater at Holy-
head, good protection and a safe anchorage being secured
during the heaviest gales. Several severe accidents have
lately occurred at these works.
EXTENSIVE CLEARANCE OF TREES IN HAINAULT
Foarsr.—The Government having determined to dispose of
a vast quantity of timber, at present standing on the north
and south-east sides of the King's Woods, Hainanit Forest,
the necessary instructions have been given by the Right
Hon. Thomas Francis Kennedy, the Commissioner in charge
other Majesty's Woods and Forests. The trees, which con-
1
sist of oak of a peculiarly fine growth, said to be I°ll
adapted for ship and general building purposes, amount in
number to fourteen thousand. CANNON-
CITY IMPROVEMENTS.—ErrErrsrox or
Bow-lane
n
STREET.—The materials of twenty houses
Basing-lane, and Bread-street, required for the i
extension of
ratearitie)rriaolis
thvree rhaePous:oi (Ili,:
the a -
were sold on Wednesday, by order of ~,,sis Improvement
the third
d'erifil)::vie,lrortion of
Committee of the Corporation of Lopieenom. ",
street, Che
Cannon street to the south entrance of St. Paul's Cathedral,
portion in the division between (./
was closed to permit
workmen commence
for razing them to the ground.
and making preparations
and its termination. d Adcifrnoradnitnigin
EN
BILLINGSGATE ---Ye.eterday the
pew granite roadway
the laying down a P-•."' cate
gsl htehuien
previous to the open-
ing of the New 13'11“1“ market. Within the last few
ing
thoroughfare. 3iPtiliamOveSE-mstreeTtS.
Old
days a cons ,. , Billingsgate has been
down for the erecti, n of two
additional arcades for the
pulled
akin a total f G
sale of fish, m g . , o -ve, exclusive of the area for
the shell-fish marxet, formerly the old dock an immense
iron tank, capable of containing some thousand
gallons of
' water, has been fixed in the centre of the new market, with
force pumps, for flushing, cleansing, &c. Aconsiderable
portion of the 'for new marketused traffic, and is
a few days it Will be is already
entirely opened. The inhabitants of
Billingsgate Ward have resolved to petition the Common
Council to form a new street from Billingsgate-market,
northwards, through Sai •
foreign foreiSaint Mary-at-hill to Fenchurch-street.
A.
vessel
is now lying at Liverpool Which
11114 .1192
molted of wooden MO) seveaY 04 441