The Sun.
London, England, 1863-11-23 00:00:00

ROYAL ENGLISH OPERA.

BLANCHE DE IVEVERS.

The pleasant recollection of what Mr. Balfe has already
done as a musical composer would of itself be quite suffi-
cient to attract a brilliant and overflowing audience on the
production of a new opera from his pen, even supposing
there was no previous interest attaching to the story dealt
with, but, coupling the fact of the immense patronage that
has been showered upon the great sensational drama, " The
Duke's Motto," at the Lyceum, unusual interest was excited
on Saturday evening to witness how the popular composer
had dealt with the subject in his last new opera, " Blanche
de Nevers." Our own impression is that the story was
too complicated to afford materials for an opera, although
the services of Mr. John Brougham, the adapter of the
drama, had been secured to furnish the libretto for Mr.
Balfe. In that opinion wa are now confirmed, although it
must be confessed great tact and ingenuity has been exer-
cised in the adaptation. The characters are precisely the
same as in the "Duke's Motto." Fechter's great part,
Lagardere, of course is sustained by Mr. W. Harrison, the
rest of the cast being as fOllO% S : —Philip of Orleans Cite.
gent of France), Mr. A. St. Albyn ; the Prince de Gon-
zagues, Mr. W. H. W eiss; Cocardasse, Mr. Henri Cord ;
Peyrolles, Mr. J. Rouse; ..zEiop (the Hunchback), Mr.
Ansley Cooke; Narvailles, Mr. C. Lyall ; Diego, Mr.
Friend ; Chavernay, Mr. Arthur ; Notary,- Mr. Goodwin ;
the Princess de Gonzagues, Miss Emma Heywood; Zillah
(a Gitana), Miss Anna Hiles ; and Blance de Novero, Miss
Louisa Pyne,
After a short, but effectually composed, symphony the
curtain rises upon a very beautiful scene, an encampment of
gipsies—the first act of the play being entirely omitted—
when, after every good chorus and pretty dance by the corps
de ballet, Prince Gonz agues enters in search of Blanche
de Nevers. Zillah, the Gipsy Queen, is told she is the
missing lady, and then we have the sensation incident—the
duel between Lagardere and the Hunchback, 2Esop, and
the departure of the parties to Paris. In this act there is a
song for Zillah, "A Gipsy Queen am I," which Miss
Hiles sang with great vivacity, and although it was but a
very ordinary effort of musical composition, the audience
vociferously applauded it, and of course it was repeated.
Mr. Harrison's opening song is one of those which is
invariably found in the first act of all operas
produced under his management; in this instance,
it is " I'm as happy as a king." There is not
much in it as a musical composition, although again the
audience applauded it most lustily, and demanded its rope-
tition. To this demand, however, there was a strong oppo-
sition, but the dissentients were silenced by cries of " turn
him out." The great feature of the act was a florid piece of
vocalization by Miss Pyne, " Ever unwearily, singing so
merrily," and a pretty duet, "Oh what boundless joy,"
sung by Miss Louisa Pyne and Miss Hiles. The composer
evidently had taken great pains with these two composi•
tions, and as a natural result they were worthy the applause
they elicited. The act closes with a well-scored unaccom-
panied quartette by Misses Pyne, Hiles, Mr. Harrison, and
Mr. Wiess, which is perhaps about one of the best things in
the opera.

The second act, in which it will be recollected Lagardere
informs Blanche of his love for her, opens with rather a
vulgar comic song by Mr. Rouse, " Oh what an unfortu-
nate humbug am I," and then comes that which we
presume must be considered the tenor song of the
opera, " Wilt thou think of me." We much question
whether it will ever become a favourite, although there is
here and there a momentary melody, but the opening notes
of it are in fact neither more or less than the first bar or
two of the piece of dance music known as " the Schottische."
The accompaniment is pretty and telling, and of course it
was encored, but whether, as a musical composition, it
deserved that honour, is more than questionable. Miss
Pyne's cabelleta, "As when a sun burst from the sky," is
one of those peculiar compositions of Balfe which
invariably evoke unanimous applause, and Miss Emma
Heywood's contralto solo, " Time with reluctant step moves
on," was given with a beauty of intonation and intense pathos
that stamped it as one of the triamphs of the evening.
The other incidents of the drama are worked up in the
two succeeding acts of the opera, the most noticable musical
compositions being a duo for Miss Pyne and Mr. Harrison,
Must we part ;" a capital bacchanalian song for Mr,
Weiss, "The Old Vine Tree;" a chorus of soldiers, "A
cup to soldiers' trade fill high," and the finale for the
prima donna, although the latter was nut heard to advan-
tage, owing to the noise and confusion created by the de-
parting portion of the audience. This, however, must for
the future be provided against, as at present the opera is
much too long, and no better proof of that assertion is
wanted than the anxiety of the audience to quit the theatre
before the curtain had descended.
The opera, taken as a whole, will not add another laurel
to the wreath Mr. Balfe already possesses ; but at the
same time it is but just to remark it will not diminish his
reputation as a composer. It is, speaking from first im-
pressions, wanting in that sustained melody which marks
the greater part of Mr. Balfe's former productions. As far as
acting is concerned, nothing could be better. Indeed, Mr.
Harrison as the gallant Lagardke, and the Hunchback
.tEsop was astonishingly good—in fact, it quite took the
audience by surprise, and from first to last he drew down
the most unbounded applause, by the pathos and anima-
tion he threw into the part. Miss Pyne seemed to like
the part of Blanche, while the other performers, Miss
Emma Heywood more especially, acquitted themselves
with the utmost excellence.

The "calls" were frequent; and after the drop scene
descended at the first act, Mr. Harrison, Miss Pyne, Mr.
Weiss, and Mr, Cooke had to bow their thanks. Mr. Balfe
had also to appear and personally acknowledge the applause
of the audience.

The scenery, dresses, and appointments were magnifi-
cent. The scene of the illuminated gardens of the Regent,
on the occasion of the masque ball, was beautiful beyond
description.

The house was crowded in every part, and from first to
last the reception of the opera by the audience was most
enthusiastic and highly satisfactory.