The Sun.
London, England, 1852-04-21 00:00:00

ROYAL ITALIAN OPERA.

I Martini, Donizetti's celebrated opera, was brought
forward last night with brilliant success. The drama is
a lyrical version of Corneille's celebrated tragedy of
Polyeuete, founded on the persecution of the Christians
ander the Roman empire. The scene is laid in the ca-
pital of the Roman province of A.rminia, of which Felix
is governor. His daughter Pauline is the wife of Po-
lyutus, a noble Romeo, who has secretly embraced the
Christian faith. Polyutus and his fellow Christians are
in the cuatem of pursuing the rites of their religion in
the subterranean catacombs of the city. One of them,
the nearest friend of Polyutus, is discovered to be a
Christian, and to have converted a Roman to his faith.
Though exposed to torture, he refuses to divulge the
name of his convert, on which Polyutus publicly declares
himself the friend and convert of Nearchus, and shares
his doom. Pauline, hitherto ignorant of her husband's
religion, and holding it in horror, visits him in his prison,
and, being herself converted, becomes along with him
and his friends a martyr to the faith, being thrown to
wild beasts in the public amphitheatre.
The first two acts of the opera are somewhat heavy,
yet the ensemble was unquestionably most brilliant. The
opening scene is in the catacombs, in which the Chris-
tians are - assembled for devotion. The hymn sung by
them in unison is plain, simple, and solemn. Pauline,
attended by a number of Roman ladies, comes to the
same place to perform some religious rites at the tomb
of her mother. They sing a hymn to Proserpine, the
light character of which is well contrasted with the
Music of the Christians. Pauline, left alone by the
tomb, sings an invocation to her mother's spirit, an air
of greet beauty arid expression. In this air, Mdme.
Julienne, the new prima donna, made her first impression
on the audience, which went on increasing to the end of
the opera. This lady, who is from the Grand Opera of
Peas, is young and pleasing in appearance. Her Voice
is a high and powerful soprano, very clear, and somewhat
French in its quality and formatioe. She seinetimes
Overstrains it, when it becomes Leo piercing; but it is a
fine organ. and she possesses brilliant and finished_ exe-
cution; with great energy and passion. While Pauline
remains by the tomb, she hears the Christian hymn at
a distance, and 'is about to fly in terror, when her
husband and the Christians enter, and she discovers
with grief and horror that he belongs to the
hated sect. The situation firms the finale to the first
set, which is written with great breadth, vigour, and
energy of instrumentation. In the second act, the pro-
eonsul Severus makes his triumphal entry, one of the
most splendid end beautiful pageants we have ever seen
upon rho stage, en which, as it seemed, the whole re •
sources ot this great :establishment were exhausted.
Troops, priests, lictors, musicians. filed past in endless
succession, in the midst of multitudes of spectators; the
costumes of every class being admirably aeptopriate.
Dien there was a ballet for the entertainment of the
dignitary. The music of the second ect is not in a very
happy vein. A passionate scene between
,Pauline and
Severus, which opens the third act, forms a duet which
contains many beauties, and was very finely given by
Mdlle. Julienne- and Ronconi, whose whole performance
of the character of Severus was worthy of his high re-
putation. Still finer is the subsequent, scene between
Pauline and her husband. The air sung ,by Tamberlik
in this scene, "Supremo oggetto," is exquisitely tender,
and deliciously accompanied by two violoncellos and the
soft wind instruments. In the next scene, when Polyutus
resolves to devote himself to death for the sake of his
friend, the air " Si audronel loro tempio," was sung will
astonishing energy, and received with reiterated Reda•
mations from all parts of the house. The prison scene
between the husband and wife in the last act con-
tains several beauties both of melody and expression
At the fall of the curtain Madlle. Jullienne, Tamberlik;
and Ronconi were obliged to re•appear, accompanied by
Signor Stigelli, whose careful and correct execution of
the music altottedto the secondary, but not unimportant
part of Nearco, was of great consequence to the general
effect. Mr. Cots was then unanimousiy summoned be-
fore the curtain. In the fourth act the great duet bee
tween Pauline and Poliutus renewed the enthusiasm of
the house. The last movement, ". 0 manta melodia," was
'sung by both artists with extraordinary energy, and the
sustained and reiterated high notes in the cadence gave
a wonderful brilliancy to the climax. Not content with
encoring the movement, the audience compelled Signor
"Tamberlik and Madame Julienne to come forward once
again after the repetition.
Mademoiselle Joanna Wagner has arrived, and will,
we are informed, make her first appearance on Saturday,
in the Prophets, with Signor Mario.

-_ex-taeTtsehinietetpneptnr,RodadenduUdcwißtihiatnehYpcol:mißoAperlmeeNtthanejboe've
performance, both
itlsh:iaEdseiAr/,iehogTe,
regards
tst(ithoveneniwng,
vocalas
and instrumental departments, most creditable to the
'resources of the-establishment. Mr. Fedor as Florestan,
Mr. Drayton as Rocco, and Mr. Whitworth as Pizarro,
acquittiA thernagves to the complete satisfaction of the
audience. Madame Falconi made her deb& on the En-
gli'h stage Lin the Fidelio, avid must bo pronounced a
-vocalist of considerable power and accornplisbmeNt.
possesses a str.,ng and rich soprsno, particularly full and
powerful in_themiddle and lower register. She betrayed
a considerable but ezcu,,able nervousness, despite of
which her vocal capabilities were strongly apparent.
•The opera was followed by the ballet of The Devitt()
Pay, and the house wa3 well attended.

issued by the directors, it
.shareholders were
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forma-
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1 eXiStence. The ro-opooiog is to take place neat Weeak.useful