The Sun.
London, England, 1863-05-08 00:00:00

HER MAJESTY'S THEATRE

SIGNOR SCHIRA'S NEW OPERA.

The well known story of Nicol 3 de Lapi, the
republican chief of FlorEnce, writ' en by the patriot
D'Az,:lio, when the hope of a united Italy was
again beginning to revive—as a warning against the
source of its disunion in past ages—the fatal selfiAns
which in so many forms postponed the general to
the personal good—has an attraction for liberal Ita-
lians which cannot require to be explained. Nor is
that attraction lessened by the manner in which
the novelist has filled up the rugged and ruthless
outline of medieval life in Italy, by the vivid colours

of a fervid and picturesque humanity, and thus ren-
dered, as it should be, the human interest of his
story, the true centre from which is evolved, and by
which is governed, the historical. It is i❑ the noble
portrait of Nicolo—the venerable ideal of Italian

patriotism—the youthful ardour of Lambert°, and

the bluff devotion of Fanfulla, as contrasted with
the profound craft of the aristocratic traitor
Troilo, and the vindictive passion of S-Avag-
gia—a woman who, in her ungovernable impulses,
is put forward with great truth as a type of the

worst influences of her time, that the modern
Italian sees the key to Italian history, past and
present, and as he penetrates to character feels be
'enfolds the mystery of events. It is the identity
of man in the 19th with man in the 16th century
of our era, that forms the great aim of this story,
and bestows on it accordingly both its instruction
and its interest.

Little wonder, therefore, can be felt that Signor
Schira, an earnest Italian, should hove been temptel
to transfer this favourite work to the lyric stage,
where music presents a vehicle that could
so vividly convey its spirit, and enforce
its lesson by a more vehement expression
of its passions. In the calm devotion of the old
and generous ardour of the youthful patriot, as
contrasted with the craft of their enemy, and the
burning and repelled love converted to hatred in
Selvaggia, there were elements of dramatic power
that opened a wide field to the artist. We discharge
a pleasant duty when we announce that the attempt
has been entirely successful. The grand opera of
"Nicole de Lapi," produced last night at Her
Nlsjesty's Theatre, after several months of pre
partition, and with a richness and completeness
that marks an era at this theatre, excited the sym-
pathies of the audience almost from its openi❑g
scene, elicited many re demands—however, pru-
dently not complied with—and led to the summons
of the composer and the leading singers at
the end of the first and the third act, as well as at
the close of the opera. As far as external evidence
could go, certainly no success could be more com
plete. Nor is it to be denied that in many respects
this success was well deserved. There is much that is
ingenious and impressive in the composition of this
work—much that shows the ample resources of the
competent musician, if, at the same time, it must be
admitted, that it has been contemplated rather too
much from the earlier Verdi point of view, in which
strength subordinates rather than adjusts the equally
important point of delicacy, and the orchestra is
permitted to bear down many of the best features
of the vocal portion. Its fr quent impression, we
confess, is that of a superfluous force, which nor
merely impairs the effect of what is really good in
the work, but becomes in itself a wearying
monotony. This is a defect which we think Sig-
nor Schira might very easily remove by a tew
excisions and abatements in some of the choruses
especially—and so afford the opera the chance of a
fairer estimate. Another source of its success was,
undoubtedly, its brilliant execution. When we
state it was supported by four such artists as Midlle.
Titieus, Madlle. Trebelli, Signor Guiglini, and Mr.
Santley—all of whom were in admirable voice, and
exerted themselves to the utmost—we need add little
more to account for the night's impression. Reserv-
ing for a further hearing a detailed view of its
merits, we shall content ourselves at present with
sriefly indicating its leading features.

The first act opens in Florence in 1539, when
under the rule of Nicolo de L ipi, and when the
marriage of his daughter Laudomia is about to
occur with a young Florentine, L imberto, who
h lds a post in the republican army. Selvaggia, a
woman he has rejected, having gone over in conse
quence to his enemies, enters the city in the
disguise of a warrior, bearing an order from the
republican general, which summons Lamberto at
once to his post and delays his intended nuptials.
nee grief and surprise of this separation, and the
concealed triumph of Selvaggia, form the finale of
the first act—which is very well constructed, and,
together with an aria of Nicolo addressed to the
young lover, written with great feeling and ad-
mirably delivered by Mr. Santley, form the
features of the first act. In the second, Florence is
discovered rejoicing in consequence of the success
of its army—a gladness wilier, is enhanced by the
arrival of the veteran Fenfella from the field of
battle, who has brought home a wine-keg of the
enemy, and is thus prompted to sing a rataplan—
when the city bells, tolling suddenly, announce
that the enemy is approaching. Lamberto enters
to detail the news of a recent defeat and their
leader's death ; and Nicole, summoning the citizens
to take an oath to resist their foes, the latter rush
on and overpower them, making prisoners of Nicolo
and his friends. The best impressions of this act
were a romance, pleasingly written, and so charm-
ingly sung by Madlle. Trebelli, that it was warmly
re•decuanded, Lamberto's description of hie
leader's death, which was 1130 St earnestly given
by Signor Giuglini, and toe oath t ken by the eiti
zees, which had considerebie merit, and was we i
rung. Tile third act, is by far the most dramatic
of the opera, and the only one that supplies any
scope to Madlle. Titiens, and in consequence of
aer brilliant exertions, as well as those of
Signor Giuglini, may 1-e said to have decided the
fortunes of the night. Opening on the court-yard
of a castle, where Nicola and his daughter are con
veyed to dungeons by the trader Troilo, who seizes
Laudomia as his prize. Selvaggia then appears
to enjoy her triumph over her own victim,
Lamberto, who is accordingly conducted into
her presence alone, and bound like his com-
panions. His misery and his -Langer, however,
awaken all her deeper feelings, her love for him
returns, quenching the mastery of her rage ; and
she not only sets him free, but delivers also his in,.
tended bride, thus securing the happiness she had
bound herself to overthrow. If we cannot say it
was strikingly original, the whole of the music of
this act showed a true dramatic feeling, which
brought into play a great amount of good musical
resource, and delivered as it was by its superb
singers with a passionate force that could
oot be exceeded—served to produce a deep
impression, that was in every way deserved
Fhe opening aria of Selvaggia, in which she enjoys
her triumph—the duet with Lamberto—in which her
love rises to frustrate her revenge, and which proved
sufficiently exciting to win the singers a loud re-
call ; and the ensuing trio of the three
lovers, in which their happiness becomes
mutual—hid each features of strength and
tenderness that could net but be appreciated.
the last act of the opera is a mere scene devoted to
the death of Nicole, which contained a pathetic aria,
sung by Signor Giuglini, and a prophecy by
Nicolo, on the eve of death, as to the
ultimate fate of Italy, which was a very true poetic
conception, and was declaimed by Mr. Santley with
a strength of feeling that formed one of the best
things of the night.
Alt the artists, as we have said, exerted themselves
to the utmost ori this occasion. Madlle. Miens, it,
her warrior's dress,also greatly charmed the audienci
by her novel and chivalric appearauce. Nur was Mr.
Santley less surprising in the great success with
which he embodied the venerable City Chief— his
identity at first being hard to be detected. The
scenery of this act was also very striking—that of
the last act especially—the dungeon of Nicole
and its massive staircase on one side down which
the characters descend, was one of the most e fictive
efforts that we remember for some years. The
entire worse, however, has been produced with the
greatest care and liberality, and, as a first in -
stein:lent of the pledge contained .in hie pro.
gramme, does the highest credit to Ir.
%lapieson. We have only to add that, in the second
act, Madlle. Ferraris introduced one of her most
lielightfut and distinctive dances. The house wa,
cull in every part, and its satisfaction, as we have
elready stated, was as marked uad cordial as could
possibly be.