The Sun.
London, England, 1852-08-06 00:00:00

T E 8U N,

HER MAJESTY'S THEATRE

A nee/ •graed remereic opera, in four acts, entitled
his Reyal Htginees the Duke
Casilo'a, hi, music by
of
Sexe echure• Gotha, was produced at the ahave
theatre last nieeht, with every= nil which an excellent
cast, new and beautiful decoration,, and urn:lsm:ly
numerous reherkreale could give. A better " first
eight" ensemble there has probably :never been, and
each scene made manifest the careful training and
hearty gaud will of the various performers. Nor was
this kindly feeling confined to one side of the lamps,
for the audience generally testified with considerable
warmth, on every possible occasion, their earnest de-
sire to give the music of his Royal Highness a cordial
reception. The music, though on the whole. cleverly
written, espettielly for the instrutrients, is deficient in
decision of style. There is a patchiness throughout
which frustrates our attempt to trace the author's in-
spirations to any one model. We remarked frequent
remiaiscences of Meyerbecr, of Donizetti, Fiotow,
Clepisson, Aube:, &c., &c., mixed up oddly enough
with little tormenting snatches of fugal counterpart.
Much of the concerted music., moreover, is badly
voiced, anti the orchestration occasionally confused,-
and overwhelming for the ringers. Notwithstanding
these defects, however, there is still a great deal of
merit in his Royal Highness's work. It contains
many agreeable phrases, ingenious harmonics, and
frequently evidences a strong feeling for dramatic
effect. We have heard worse operas by professional
writers, even of celebrity ; and amongst the theatrical
compositions of amateurs, we assuredly know of
nothing better.. Toe " book" of Casilda is not bril-
liant, but it acts pleasantly enough, and affords ample
scope for scenic effect. The scene is laid in the pic-
turesque land of Spain ; and we have interesting old
Moorish buildings, pretty costumes, characteristic
dancer, a sunny sky, luxuriant vegetation, and a
band of gipeies, who play an important part in
the action. The plot runs thus :—Alfonso, a
young nobleman (;signor Calzolari), has fled in
disguise from Madrid, in consequence of having (as
he imagines) killed his adversary in a duel. Arrived
at Seville be joins a band of gipsice, of whom Ca-
silda (Sidme. Charton), a beautiful young creature,
gifted with extraordinary vocal and poetical powers,
is the queen. Fascinated by her genius and loveli•
ness, he effers her his hand, which she accepts, to
the great dismay of Gomez, one of the gipsies (Sig-
nor Susini), also her suitor, who vows vengeance
against his rival. An opportunity soon presents
itself for the execution of his malicious purpose ; for
Casilda being summoned by Don Luigi, Governor
of Seville (Signor de Bassini), to sing at a fete
which he gives at his palace in honour o the birth-
day of his betrothed, Donna Anna (Mdme. de la
Grange), the discovery is made that Don Alfonso,
who accompanies the gipsy, is a former lover of
Donna Anne, and that is was in defence of her honour

that he engaged in the supposed fatal dud. Gomez
now wotks successfully upon the jealousy of
Luigi and Casilda. Many unhappy contretemps and
" hair-breadth 'stapes " consequently take place, but
everything is eventually set right by the arrival of
news from Madrid that Alfonso s antagonist, though
severely wounded, was not killed; and that the gipsy's
affianced husband has been pardoned by the King.
Alfonso now declares publicly his determination to
wed Casilda ; and Donna Anne, contented to see her
ci•derant lover and chivalrous defender happy with
another, fulfils her engagement with Don Luigi, who
possesses the next claim to her affection. These are
slender materials for a "grand opera," but the acts
are short, and the piece is so judiciously con-
structed, and many of the " situations " so interest-
big and effective, that we can remain to the end with.
out ennui. Mdme. Charton, as the heroine, never ap-
peared either as actre. s or singer to greater advantage
The fair artist was warmly applauded in all her.
efforts; but it was in the second act, where Casilda,
smarting under the pcegs of newly-awekened
lousy, extereporisee a song, in which she allegorically
describes the feelings which rack her bosom, that
Charton was most admirable, and excited the
greatest enthusiasm. Mdrue. de la Grange had but
an insignificant " walking-lady" kind of part ; but
she contrived to make it very prominent, and by
her wonderful vocalisation to elicit a rapturous
encore for an air which has but hide merit
in itself. Signori de Bessini and Calzelari are
also entitled to high eulogy for the artistic man-
ner in which they supported their respective charac-
ters; and the hand, chorus, and corps de ballet, were
even more than usually efficient. The mise en scene
reflects the highest credit upon Mr. Harris, the clever
stage director. It is replete with colour and cha-
racter, and nothing better of its kind has been Been in
any London theatre. The principal performers were
called for three times in the course of the opera, and
a most enthusiastic encore was awarded to a lively
chorus, excellently sung in the third act. Mr. Belie
conducted with bis customary spirit and precision ;
and the general performance was most honourable to
the management. The entertainments concluded
with the highly-popular ballet, entitled Zelie ; ou
l' Amour et la Illagie," in which the accomplished
Caroline Rosati displayed her rare talent to the
greatest possible advantage. The house was crowded.