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

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cellent artist has imprnfed both in volume i6dflexibilit of
voice ; although the is still some tendency to a nasal tone.
his singing last " t was most musician-like, and the open-
ing aria, .‘ Qu oil cor," was unanimously re-demanded.
In Maria we had back Madame Fiorentini, who was warmly
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," which forms her
first aria, was very sweetly sung and capitally accompanied.
Madlle. Ida Bertrand is increasing in stage aplomb and
effectiveness, and her voice was also in excellent order.
She gave her arch contralto song in so musicianly a man-
ner, and wi'.ll 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 Area" at once established Signor Ferlotti's footing. The
concluding 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 condoning 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 Siztior Ferlotti's acting and singing, and we have little
to add, save that his delineation of theuli
of genuine
ou tragedhupsobwaenrd.
was at once pathetic, manly, aril f
The burst of pa‘sion 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.
(Flom 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 ( 1) of the works ascribed to Docizetti, 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 has given the
principal character its chief vogue, is at hand to embody
i . 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 Rooconi'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 disap•
Pointed. He depicted the anguish and remorselessness of
jealousy with power and invention. Nor was the portrayal
wanting in those niceties of colour which we 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 tignalb fine and striking _
An encore rewarded his reading of the " Bella a di aol Tea-
tita," which overflowed with sensibility, notwithstanding be
solidity and gravity of the tones. The personator 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-pessession. In the air " Cups 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.
Calzulari, who opposes Tamberlik at the other house
as the representative of the Duke, was smooth, correct, and
earnest. His execution of the opeiiing romance" Quando it
cor" was sufficiently sentimental, and his duet with the
Duke in the second act sufficiently emphatic. The perform..
ante, 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 at the
amorous Gondi agreeably and tastefully. The ballet has not
yet put forth its strength. Mademoiselle Gay 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'Aturore, 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 Gendil, which came after. In the latter,
the scene and sentiment of which is purely Spanish, Guy
Stephan was seen to excellent advantage. In 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 buoy ant, 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'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 unw, rthy to be compared to Kean, in
Othello. It is no disparagement, therefore, to the new corner,
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 only a 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. lie 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 perlormed 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
as much effect as it seems capable of receiving. Madlle.
Ida Bertrand was excellent, and highly successful, in the
divertissement, and there
munacteruiptsofagboloedcaonnt well-
trainedo r
part of De Gondi. The opera was splendidly put upon the
stagettlh,oeicceh::raurs
Mr. Balfe, did its duty well. Between the second and third
was another after the opera. In these .31 dile. Guy Stephan
acts there was a long and brilliant
made her appearance
dw Is e,strong orchestra, and
was most warmly welcomed • . _ . She is as charming as ever,
t and seemso have gained additional finish and refinement as
an
artist.M.
matbieu, syL..o appeared along with her, is a
handsome young man, and dances with extraordinary agility
and lightness. ..1,._„....___,--..„.„..

ROYALITALIAN OPERA.
hisf,lo t as Arnoldo.
The Guglielmo Te.ll,
uw.as produced here last evening, Herr
.akienrgat Vienna had pr The high reputation
preceded him, and the antici-
a ently
patio's cl)naeu-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 style and intonation. In the duet in the first act
oAfntdbeirs Insing
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 Castoffs ,who
gave the romance '. Sombre fork"
exquisitely; The choruses were superb, and Wig need eless to
swahyOsehowLgtnhieficZmntispicerfolrvmasancheanodfledthe obvyer
.ttuhree I
voa
sr c huensatnr ai
..,
mously encored. One of the most striking effects produced
was the assembling of the cantons to take the confederate
oath of.ireedom 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 as a Great dramatic singer, and his singing of the great
duet with Tell in the first act satisfied MI 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
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
last night."
no doubt that future performances will confirm the success of

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.

wthhe i e
Cathedral,
houses, -
the interior_ yOf the
the
EXTENSIVE CLEARANCE OT TRE.t.EthPSTeashuNiamsills AthlNeAthCiLrTd
FOREsT.—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, Hainault Forest,
the necessary instructions have been given by the Right
t Rwilia,anggate
has been
Hon. Thomas Francis Kennedy, the Commissioner in arech
of her Majesty's Woods and Forests. The tress,
sist of oak of a peculiarly fine growth, said to be well
adapted for ship and general building purPoieh
Improvement
amount in
number to fourteen thousand.
CITY IMPROVEMENTS.—EXTENSION or CANNON.
STREET.—The materials of
Basing-lane, and Bread-street,
,e e n requiredQ uee
nf for t ttr I the eee t egrcnowt euoheni
or slide;
plo.
sold,
leo
CommitteewC ae nr
enosn sold
l street tr eoeenf t
the
e,
eCd thejlost
reis.,:paoindocuaretayohtr. i
toefinbnnytgori afronagrLsed
apnordtitotan
teirnmthiaetidonir.
aworkmen commencedmaking
preparations
BILLINGSGATE IMPRoVEMENTS.
closed to permit
sale of fish, making a total of
the laying down a new granite roadway previous to the nen
fixeocif
icrionthtaining additional arcades for the
pulledi og thoroughfare.
doo :llreow of
thL eol
iweirepergil'3iersit9tgimli Thames-street,Billingsgate
nenrotfoliznftt aNg.o%r.oklo,,
Within the last few
days a cunsderable
five, exclusive of the area for
the shell-fish market, formerly the old dock; an immense
force pumps, for flushing, cleansing,som
portionwate rhoafs tixh:eennew ma r ket eiscaelnrtereed
yo f
usedthe nfoerwt
iron tank, capable
eAtch.ouAsancednegaildloernasbolef
a few days it ve
Bali 111 be
Billingsgate Ward entirely opened. The inhabitants of
mraarffic.keat'owditinh
Council to form have resolved to petition the Common
northwards, _ a new street from Billingsgate-market,
A. through Saint Mary-at-hill to Fenchurch-street.
.foreign vessel is now lying at Liverpool which
wig iron ialitelid of wooden mato, Imlay bet bleu