The Sun.
London, England, 1863-04-24 00:00:00

"GUGLIELMO TELL."

Last evening " Wiiiiam Tell" was produced for
the first time this season, and with all that gran-
deur and completeness which have so deservedly
stamped its performance as one of the most signal
achievements of the theatre. The band, the chorus,
the mise en scene, and much of its special execution
still sustain the memorable impression of its revival
two years since, and raise a doubt whether this
opera, the greatest work of a great composer, was
ever rendered on the whole so perfectly under any
other roof. The chorus was especially ad-
mirable, and among its many opportunities in
this broadly-constructed work lett no point
of merit untouched—from the lovely chant of
the shepherds in the second act to the kind-
ling vigour and character of the music of the
Meeting of the Cantons, the culminating burst of
which, "All armi," was one of the most electrical
that we ever remember to have heard. The band
also was superb, and gave the overture particularly
with a discriminating energy which could not fail
of a re-demand. M. Faure was again the Tell, a
character which he sings and acts with a perfection
that removes it from all comparison at present;
and Herr Formes was again the Walter, and lent
the unequalled aid of his rugged bearing and noble
voice to the trio of the second act.

Two novelties contributed to the attraction of the
evening—the first appearance of Ma.dlle. Marie
Battu, in the character of Mathilde, and the debut
of Signor Caffieri in the character of Arnold. The
pleasing voice, the careful method, and the agree-
able appearance of the young lady, have lost none
of the good effect which they produced in the past
season, and served to sustain her through the
ordeal of Mathilde with considerable efficiency.
Her " Selva Opaco" especially was a very pleasing
effort. The severer test of the gentleman was
scarcely so decisive. To assume the greatest cha-
racter of one of the greatest of living singers will
be thought by many a boldness that only the very
highest talent could justify. It is but due to
Signor Caffieri to say he was not insensible to such
a fact, and displayed a nervousness at the attempt,
which probably deprived him of half of his power.
His voice is high and resonant, and he exerts it

with much energy, but with a tendency to excess,
which, presuming it was caused by a first appear
ance, compels us to defer to another hearing any
opinion of his claims, whether lyric or histrionic
The house was very fall, and the general satisfac-
tion very great.

On Tuesday next a grand festival entertainment
will be given at this theatre, by command of ber
Majesty, on which occasion their Royal Highnesses
the Prince and Princess of Wales will be present.

HER MAJESTY'S THEATRE.

LUCREZIA BORGIA.

Titiens resumed, last evening, one of her
most perfect and attractive characters, and with no
abatement of the power which has made it so ex-
clusively her own. Every great quality which
denotes her—force, dignity, rage, pathos, find the
amplest scope and purpose in the vehement strug-
gles and terrible passions of the guilty but com-
manding Princess; and not the least of their ex-
pressions was left unrealised last night, from the
delightful tenderness of her "come e hello," and the
maternal fervour of the " Ama tna madre," to the
indignant and fearful fury of the grand denuncia •
tion, " 0 to bada." Throughout the mabterly
second act, which affords such a climax to
her Efforts, she was never in finer voice
or finer feeling than on this occasion. 1
Signor Giuglini was, of course, the Gennaro,
and here again the audience were fortunate in bear-
ing this favourite artist in a character which has
become his own. No one else has the voice and
passion which can do justice to its music now, and
as if conscious of his claims to it, Signor Giuglini
sung throughout with the nt blest evidence of hiE
distinctions. On the truth and beauty of his "D►
Pescatore," and of his share of the trio in the second
act, we can have no occasion to dwell.

A novelty was added to the interest of the night
in the first appearance of Madame Therese Ellenger,
in the character of Maffeo Orsini. Though this
lady bad made a great impression on her debut at
the Philharmonic Concerts, and excited some
anxiety as to her success in the dramatic field—her
substitution for such a favourite as either Madame
Aiboni or Madlle. Trebelli, was considered by most
judges a hazardous step for her and the manage-
ment. Madame Ellenger, however, succeeded in
sustaining the ordeal. She trod the boards
with much self-possession, and sung the " Brindisi"
with so much merit as to obtain a warm encore.
The house was very full, and the enthusiasm very
great.

Lancashire Distress and Emigration,