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

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cellent artist( has improved both in volume and flexibility of
votteeeelthough there is still some tendency to a nasal tone,
his singing t night was most musician-like, and the open-
ing aria, " ando it cor," was unanimously re-demanded.
- _R.ll:l,_e_eia ad back Madame Fiorentini, who was warmly
jrs
greeted. She was in her best and most powerful voice, and
her execution was more rapid, brilliant, and correct than
ever. The graceful melody, "Cupa Fatal,"'vehich forms her
ati.llasat.Hfl.rei.a,lwdaasßveertryrasowdeetlyinseurneagetngd ciaopistatitgllyeaccoopmananiet
effectiveness,' and her voice was also in excellent order.
She gave her arch contralto song in so musicianly 'a man-
ner, and with 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 into the air " Ah.
non Avea" at once established Signor Ferlotti's footing. The
concliuling concerted music was satisfactorily performed. In
the second act Mdlle. Ida Bertrand's piquant and saucy song,
" Zu scherzi o conte," very narrowly escaped an encore; and
the concluding duo between Maria and Chalais, esaellently
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- Sighor 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 paesion 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 licrald.)
We could have desired something better for the inanga-
ration of the season then the Maria di Itohan, which, the
seventy-4'o\lllh ( !) of the works ascribed to Donizetti, 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 wbo has given the
principal character its chief vogue, is at hand to embody
ir. 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 Ronconi's. He is a tall hand.
some man. His voice is of thick and heavy ,
volume,
and not altogether so flexible as it might advantageoasly
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 disap-
pointed. He depicted the anguish and remorselessness of
jealousy with power and intention. Nor was the portrayal
wanting in those niceties of colour which we have been
taught to look for. His illustration of deep and absorbing
pas4on.wa.s clone and graphic, without the loss of_peLsonal
dignith while his attitudevisec F,,jgreally, Sipe and,Striltitig. ..,
ViVeletrie- reiiiirded his reading of the 't Belli h di sol vets-
tita," which overflowed with sensibility, notwithstanding the
solidity and gravity of the tones. The persortators of the
other characters were old acquaintances of the habitues.
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-peasession. In the air" Cape 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. His execution of the opening romance" Quando fl
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
Gay 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 rentrie.
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, but also in the fuller-grown
ballet Un Bailie de Goan, which came after. In the latter,
the scene and sentiment of which is purely Spanish, Guy
Stephan was seen to excellent advantage. In a "Vale.
Comique," and a "Madrilena, " her Castillian experiences
were brought into pleasant use, and the national
dancing 'of Spain was exemplified without the sophia-
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 Chevrense, presenting
a picture of jealous fury, wrought up to the utmost pitch of
intensity, demands a tragedian of the highest powers, the
qualified of the singer being of secondary importance. It is
Ronconi's 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 unworthy to be compared to Kean, in
Othello. It is no disparagement, therefore, to the new comer,
Signor Ferlotti, to say that his peformance is not of so high
an order, and iet 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 au excellent artist—not only a highly-finished
singer, but an actor of no ordinary ability. His voice is one of
the finest baritones we have ever heard, combininggreat 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 had 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
part of the heroine was performed by Madame Fio-
rentini, whose
forbeautiful
it. face,
shesang
graceful fie e
voice, were well fitted exceedinglyr andwefinll e;
. yet h
and though she did not rise to the pitch of tragicher
passion
which the concluding scene demands,performance
on the whole was pleasing and interesting. The part of the
Count de Chalais is an ungrateful one, and Calzolari gave it
seems
racawaspablespo.lfenrdeic.deliving. bladile.
as much effect as it
up
second
dd
and
dd
twheircl well-
trained its ableconductor,the
partlda BoferLreaGondnwdias.
The opera
and highly suyccpesostfuul,noinn
trained voices, and the orchestra,
Banetween theu
brilliant divertissement, and there
ngd made of - .
stage; the chorus was strong
Mr. Balfe, did its duty well.b .
absenesces Motadeellyee.raGluyyeSarete,phaannd
In these acts there
was anotherww:malylonwgelaconmd welcomed. She is as charming as ever,
made her appearance
was most
have gained additional finish and refinement as
M. Mathieu, wee appeared along with her, ie a
an artist.
handsome young man, and dances with extraordinary agility
and lightness.

N

ROYAL ITALI AN OPERA.
The Guglielmo Tell was produced here last evening, Herr
Ander making his debut as Arnoldo. The high reputation
of this singer at Vienna had preceded him, and the antici-
pations consequently formed of his merits were satisfactorily
fulfilled on the boards of Covent Garden. His voice is a high
tenor of considerable compass, and he possesses high excel-
lencies of sty:e and intonation. In the duet in the first act
and the trio in the second, he commanded a splendid triumph,
The remaining parts of the opera were most effec-
tively filled by Ronconi, Marini, Tagliafico Polonini, and
Madame Castellan, who gave the romance Sombre foret"
exquisitely. The choruses were superb, and it:is need eless to
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-
sini's 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
met aswiathgrTeaeltl drinamtahteicfisrsintgearc,t andsa
that we have
gained a new tenor of the first rank. Herr Ander's voice is
a hign tenor, answering readily the utmost demands made on
it in the strongest burst of dramatic passion; while his
cantabile singing is distinguished by great refinement and
tisfihisedsMaglling of the great
purity of style. So exquisitely did he sing the slow move-
ment of the trio to the second act, that it was unanimously. re-
demanded. Herr Ander is a valuable acquisition, and we have
no doubt that future performances will confirm the success of
last night."

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 HOLYHEAD.—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.
EXTENSIVfi CLEARANCE OF TREES IN HAINAVI.T.
the Right
FOBEST.—The Government having determined todisee o.t
dispose
a vast quaritit of timber, at present standing on
the necessary instructions have been given.ob)ex'
n in charge
and south-east sides of the King's Woods, liainanitthForest,
pobrrtedtoiwnve iii,isT3.
Yesterday the
Hon. Thomas Francis Kennedy, the Commissioner
which con-
of her Majesty's Woods and Forests. he
sist of oak of a peculiarly fine growth,
purposes, amount in
adapted for ship and general building
number to fourteen thousand. said to be well
CITY IMPROVEMENTS.
b— Eoxr lONdrezrfghsr .
Peal's
Basing-lane, and Bread-street, required
,f r the extension of
Queen-etreet, Ch 'd
STREET.—The materials of twenty for
in CoßaAotvelghlq-ela:rnigae,
Cannon- street to the south entrance
g as the materials were sold,
were sold on Wednesday, 3 of the Improvement
:mantling the interior of the houses,
:of
Committee of the Corporation London. This is the third
eapsi e,
andaportionnd
BILLINGSGATEmi workmentsk nnc termination.
preparations pe dnaircva tdsi iolidunmei s for razing
d (e' fr
at loew eprge ''r
Thames-street was closed to permit
the laying down a new granite roadway previous
gate mark • hitt the last few
e
ing of the New Billin et Wit
portion of Old Billingsgate bas been
pulled down for the •
tdhayorsouagiciofanrse
erecti-n of two additional arcades for the
sale of fish, making a
the shell-fish market, f
total of five, exclusive of the area for
formed the old dock; an immense
iron tank, capable of containing some thousand gallons of
water, has been fixed •
xed in the centre of the new market, with
force pumps, Az flushing,cleansing, &c. A considerable
portion of the new market'
is already
used
for traffic, and in
a few days it will he entirely opened. The inhabitants of
13illittgsgate Ward have resolved to petition the Common
Council to form a new street from Billingagate-market,
northwards, through Saint Mary-at-hill to Fenchurch-street.
A foreign vessel is now lying at Liverpool which
1141 404 jufnead of IVOOOII M 1147 54110tY 40 WO.