The Sun.
London, England, 1863-04-15 00:00:00

HER MAJESTY'S THEATRE,

I PURITANI.

A striking performance of this most melodious of
all Bellini's operas was given at this theatre last
evening, and served to confirm the brilliant im-
pression made by the opening night of the season.
Its attraction was also enhanced by the fact of
its leading feature possessing somewhat of the
zest of novelty. Though Elvira is a cha-
racter Madlle. Titiens had already assumed
• in England, she had been seen in it so seldom that
many who witnessed it on this occasion must
have been lel to view the effort in the light of a
debut. Our admiration of that effort is scarcely
weakened by the exceptions which may be taken to
its merit. Elvira is certainly not to bs numbered
among the conceptions most adapted to the powers
or soul of this great singer. The florid style of its
music as little accords with her ideal training, as
the subtler expression demanded by the light
and shade of the demented scenes is in harmony
with the more massive depth and fervour of her
genius. Elvira is a being whose mental fragility
yields at once to the shock of a great suffering, and
who wakes our sympathy in the very measure that
her frenzy sports with her hopes and happiness.
She is the passionate wreck that the fitful wave
lifts and plunges down at will. With Mdlle. Titiens,
on the contrary, she rather combats the shock than
yields to it, and lays b ire the depth of her misery,
rather than displays the force of her madness. Never-
theless, such is the mastery with which this view is
put before us that we cannot for the time reject
the impression of its close approach to truth.
We may object to her delivery of the polacca—
that, like a singer ill at ease, she overlays its fiori-
ture, in order to show how she can command it
—and that she is also over-tanciful in the caba-
letta of the " Qui la voce," considering the expres-
sion it is meant to convey of a mind entirely
crushed by grief; but we are compelled to admit
that in her superb share of the noble finale of the
first aet she reveals a depth of passion that
elevates the character far above its intended
level, and not lees in the affecting duet
of the last act, the " Nel Mirarte un solo in-
stente," and its culminating transport, "Parole
d'amor," her voice and feeling make us conscious
only of a spirit worthy to sustain and to be requited
for its trial. Her Elvira may not be classed with
ner Lucrezia Borgia or her Leonora, but it has a
power after all which is only to be found in Mdlie.
ritiens. The Arturo of Signor Guiglini is, on the
contrary, to be numbered among his happiest
assumptions. It has all the mingled force and
tenderness which the character demands, and
which, supported by his splendid voice, gives
him at present, in serious opera, his peculiar
distinction. This was exhibited in his share of
the exquisite " 0, Te Cara"—in his vigorous sup-
port of the encounter with Riccardo before the
Queen—and more especially in his entire rendering
of the music of the last act, every note of which
was given with a truth that was only equalled
by its fervour. Hie delivery of the passionate de-
nunciation of his pursuers, " Elle e Tremante," as
he defends and points to their tenderer victim,
Elvira—mingled a pathos with i:s fury which has
not been given to it in our knowledge since it was
first poured out by Rubini. The Riccardo was
Mons. Gassier, whose excellent voice and superior
skill always render him so acueptable in every-
thing he undertakes, and whose good qualities
were never more manifest than on this occasion.
His one aria—the Fior D'amore—was given with
a degree of tenderness that contrasted strikingly
with the vigour of his singing throughout the night.
Of the band and chorus, saving that at times they
were a little too emphatic, no praise can be too
great. The miss en scene is also entitled to com-
mendation.

On the whole, this was a performance which did
great credit to the theatre, and amply deserved the
approbation which it elicited throughout. It is to
be repeated on Thursday evening, when it will be
followed by the new ballet," La Farfaletta, in which
Nlad tie. Ferraris will make her first appearance,
and the entire resources of the establishment will
be brought into play.