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

IVIA PST THEATRE.
• Abe ,A; grei d romantic opera, in four acts, entitled
Cusilla, the music by his Reyal Highittssethe-Dake
of Sago Coburg Gotha, was produced tit thetthotaa
theatre last night, with every aid which an _excelleat
cast, new end beaudful decorations,
.and unusually
numerous rehearsals could give. A better " first
night" ensemble there has probably never been, and
each ecene made manifest the careful training end
hearty good will of the various performers. Nor was
this kindly feelieg confined to one side of the lamps,
for the audience generally testified wilt censiderable
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 clevetly
written, especially for the instruments, is deficient in
decision style. There it a patchiness throughout
which frustrates our attempt to trace the author's in-
spiraticns to any one model. We remarked frequent
reminiscences of Meyerbeer, of Donizetti, Fiotow,
Clapisson, Auber, &c., &c., mixed up edoly enough
with little tormenting snatches of fugal counterpart.
Much of the concerted music, moreover, is badly •
voiced, and the orchestration occasionally confused,
and overwhelming for the singers. Notwithstanding
these defects, however, there is still a great deal of
merit in his Royal Highness's work. It contains
meny agreeable phrases, ingenious harmonics, and:.
frequently evidences a strong feeling for dratnatic
tff-ct. We have heard worse operas by professional
writers, even of celebrity ; and amongst the theatrical
compositions of amateurs, we assuredly know of
nothing better. The " book" of Casilda is not bril-
liant, but it gets pleasantly enough, and affords ample
scope for scenic effect. The scene is laid in the pic-
turesque land of Spain ; and we have interesting °lel
Mootish buildings, pretty costumes, characteristic
deuces, a sunny sky, luxuriant vegetation, and
band of gipsies, who play an important ipart iri
the action. The plot runs time :—Alfonso, a
young noltlemen (Signor Ca!zolari), has fled in
di'guise from Madrid, in consequence of having (as
he imagines) killed his adversary in a duel. Arrived
at Seville he joins a hand of gipsies, of whom Ca-
silda (:mdse. Chartou)„, a beautiful young creature,
gifted with extraordinary vocal and poetical powers,
is the queen. Fascinated by her genius and loveli•
ness, he cffers 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 give 3 at his palace in honour of 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 Anna, and that it was in defence of her honour
that he engaged in the supposed fatal duel. Gomez
flow works 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•devant 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
e short,te
dand thea piece is so judiciously con-
structed, eanyof the " situations" so interest-
ingnatrm
and effective, that we can remain to the end witha
out ennui. Mdme. Charton, as the heroine, never ap-
peared either as actre. sor singer to greater advantage
The fair artist was warmly appleuded in all her.
efforts; - but it was in the second act, where Casilda,
smarting under the prigs of newly-awakened je.a-
lousy, extemporises a song, in which she allegorically -
describes the feelings which rack her bosom, that
Mdme. Charton was most admirable, and excited the
greatest enthusiasm. Mdrne. 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 litle merit
in itself. Signori de Bassini and Calzolari are
also entitled to high eulogy for the artistic man-
ner in which they supported their respective charac-
ters; and the band, chorus, and corps de ballet, were
even snore 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 seen 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. Bette
conducted with his 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 Magic," in which the accomplished
Caroline Rosati displayed her rare talent to the
greatest possible advantage. The house was crowded.