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

HER MAJTSTTS THEATRE

SIGNOR SCHIRA'S NEW OPERA.

The well known story of Nicola de Lapi, the
republican chief of Florence, written by the patriot
D'Azelio, when the hope of a united Italy was
again beginning to revive—as a warning against the
source of its disunion in plat ages—the fatal selfisms
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 mediaaval 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 ism the noble
portrait of Nicolo—the venerable ideal of Italian
patriotism—the youthful ardour of Lamberto, and
the bluff devotion of Fanfulla, as contrasted with
the profound craft of the aristocratic traitor
Troilo, and the vindictive passion of Stivag-
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 he
imfolds 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 instructio❑

and its interest.
Little wonder, therefore, can be felt that Signor
&hire, an earnest Italian, should hove been temptei
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
if 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 i❑
Selvaggia, there were elements of dramatic power
that opened a wide &id 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
Majesty'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 opening
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
a.° 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 li
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 not
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 few
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 Madlle.
ritiens, 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
4riefly indicating its leading features.
The first act opens in Florence in 1531, when
under the rule of Nicolo de L ,pi, and when the
marriage of his daughter Latioomia is about to
occur with a young Florentine, L imberto, who
n Ads a post in the republican army. Selvaggia,
woma❑ 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 Lambert° at
once to his post and delays his intended nuptials.
['he 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 feelivg and ad-
mirably delivered by Mr. Santley, form the
features of the first act. In the second, Florer.ce is
discovered rejoicing in consequence of the success
of its army—a gladness wilier. is enhanced by the
arrival of the veteran Fanfulla 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 Nicolo, 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 Madile. Trebelli, that it was warmly
re•demanded, Lamberto's description of his

leader's death, which was most earnestly given
by Signor Giugliui, and the oath t ken by the citi-

tens, which had considerable merit, and was w&

sung. Toe third act is by far the most dramatic
of the opera, and the only one that supplies any

and in consequence o scope to Madlle. TitienB,

ner brilliant exertions, as well as those o

Signor Giuglini, may be said to have decided the
tortunes of the night. Opening on the court-yard

of a castle, where Nicolo 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 -Linger, however,

awaken all her deeper feelings, her love for lain,
returns, quenching the mastery of her rage; and

she not only sets him free, but delivers also his in-

'ended bride, thus securing the happiness she had

bound herself to overthrow. It we ean9ot BAy h

was strikingly original, the whule of the music o

his act showed a true dramatic feeling, which

brought into play a great amount of good mus.ea

resource, and delivtred as it was by its supers)

singers with a passionate force that cow°

not be exceedtd—served to produce a deep
impression, that was in every way deserved

the opening aria of Selvaggia, in which she enjoys

her triumph—the uuet witiiiamberto—in which her
love rises to frustrate her revenge, and which proven

sufficiently exciting to win the singers a loud re
call ; and ttie ensuing trio Of the three
iovers, in which their happinets becornee.

mutual—had each features of strength and
tenderness that could not but be appreciated.

the last act G f the opera is a mere scene devoted :0

,he death of Nicolo, which contained a pathttic aria.

sung by Signor Giuglini, aEd a prophecy b.%
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. Sintley with

a strength of feeling that formed one of the bew

things of the night:-
Ali the artists, as we have said, exerted themselves
to the utmost os this occasion. Madlle. Miens, if.

her warrior's dress,also greatly charmed the audieoc,
by her novel andchivatric appeal-a:lce. Nor was Mr.
SAntley less surprising in the great success with
which he eu bodied the venerable City Chet--hi,.

identity at first being hard to be detected. The
scenery of this act was also very striking—that of

he last act especially—the dungeon of Nicol()
and its massive staircase on
one side down which
the characters descend, was one of the most Effective
efforts that we remember for some years. The

entire work, however, has been produced with the
greatest care and liberality, and, as a first in -
etalment of the pledge contained in his pro-
gramme, does the highest credit to Mr.
Mapleson. We have only to add that, in the second
act, Madlle. Ferraris introduced one of her most
delightful and distinctive dances. The house wa,.
roll in every part, and its satisfaction, as we have
already stated, was as marked and ccrdial as could
Possibly be,

LATEST INTELLIGENCE.

(REUTER'S TELEGRAMS.)

DEFEAT OF THE RUSSIANS.
PRZEMYSL RADYMNO, MAY 7.
Yesterday Jezioranski gained a brilliant victory
over the Russians at joseforo, in the province of
Lublin.
The Poles had 48 killed and 50 wounded. The
Russians had 300 killed. The number of their
wounded is not known.

ST. PETERSBURG, MAY 3

The effect which the Polish insurrection has pro-
duced here stands in wonderful contrast with the
sympathy it has met with abroad. The outbreak
in Poland has excited the spirit of patriotism to a
state of enthusiasm. Young and old, great and
small, are prepared to shoulder the musket and
meet the enemy whoever he may be. This feeling
has extended itself to all classes. The nobility of
Moscow, in a recent address to the Emperor,
begged to be permitted to be the first to take the
field should it be necessary to uphold the integrity
of the Empire. The merchants have placed their
property at the disposal of the Government. The
orthodox party, who were said to be ill disposee
towards the administration, have also offered
40,000,000 of roubles. The Cossacks of the DJ!,
propose to raise 100,000 men, and even the
nobility of the three eastern provinces have just

presented an address expressing their loyalty.
In St. Petersburg demonstrations, manifestoes,
deputations and addresses are the order of the
day.

This extraordinary display of enthusiasm i•
caused by the Russian Government, which availb

itself' of every opportunity to excite public opinion
against the Polish insurrection, and against those
parties at home who may favour the grant of a con-
stitution. Thus deputations and addresses urging
the Emperor :o make any s..crifice rather than the
Polish provinces should be separated from the
Empire, are favourable received, and the promoters
rewarded, while the promoters of those addresses,
having in view the grant of a Constitution, meet
with a very differer.t reception, and are, in some
instances, prosecuted.