The Sun.
London, England, 1865-03-25 00:00:00

TEE ROYAL ITALIAN OPERA.

Brilliant Prospects for the Season of 1865.
On Tuesday next, the 28th inst., Mr. Gye will
inaugurate—seemingly under the happiest auspices
—another of his notable seasons as Director of this
great Lyrical Establishment. Year after year his
Programme might be filed very judiciously as an
authoritative record of the progress and develop-
ment of Musical Art in Christendom. This year
it possesses in many respects an interest peculiar to
itself, an interest and a value upon one or two points
of a really exceptional character. As has been notice-
able before now so conspicuously with regard to the
majority of its predecessors, it is full of promise—but
that, we had almost said, as a matter of course !
Mr. Gye has accustomed us somehow to these radiant
promises, but he has accustomed us as well—almost
equally as a matter of course—to their fulfilment.
It is difficult, no doubt, for any Operatic Director to
illustrate—to the very letter—those household words
of Shakspere's about such as " keep the words of
promise to the ear and break it to the hope."
The difficulty of course, with them, lying in
the simple fact that promises of their's when
kept to the ear cannot by possibility be broken
to the hope! Without, however, resorting to
ingenious quibble or evasion of any kind what-
ever, it so happens that the promises put forth in
Mr. Gye's annual prospectus, as Director of the
Royal Italian Opera, are, as a rule—almost, as we
have said, as a matter of course—kept ! L'homme
propose, Dieu dispose—has its occasional exemplars,
to be sure, here, as elsewhere. Instance, only last
year, in the postponement until the season itself
was nearly over and done with, of the promised
production of " L'Etoile du Nord"—a delay be-
yond all the Director's powers of prevision,
howe'rer, seeing that it arose from the un-
fortunate illness of Madlle. Pauline Lucca, to
whom had been allotted the part of Catarina.
Nevertheless, turning now from the past to the future
—heartened in our anticipations of the future by
our remembrance of the past—let us scan for a
moment the fair prospects opened up to our view
by the Director's Programme for this present, or
rather immediately approaching, season at the
Royal Italian.
As only befits him in his capacity as the Director
of The Royal Italian Opera at Covent Garden, Mr.
Gye's first words in setting forth his programme
for the season of 1865, are words of homage and
gratitude to the memory of Giacomo Meyerbeer. At
the Royal Italian, under Mr. Gye's management,
the whole of the GRAND OPERAS of that great origi-
nator of the particular style of lyrical drama, now
known and world-famous, under that' imposing
but most appropriate title, have, one after another,
been produced. And they have been, there, so pro-
duced, moreover, with a completeness and a splendour
alone attainable through the resources of a lyrical
establishment, as vast and as perfectly organised
as that of Covent Garden. Meyerbeer's Five
glorious operatic masterpieces—Grand Operas not
only in name but in very truth—L'Etoile du Nord,
Les Huguenots, Dinorah, Roberto Il Diavolo, Le
Prophete—have they not been here produced, each and
all of them, in a manner not only worthy of them-
selves but of the marvellous genius of which they
are the strangely varied exponents—at this very
lyrical establishment, under this very manage-
ment ? And, now, yet another of these chefs
d'oeuvres is to be added to the wonderful
catalogue—alas! that we should have to bear only
too painfully in mind, as the very last that can ever
be added to it—the darling work of all by this great,
dead and gone composer, his capo d'opera, accord-
ing to his own estimation of it—his long-promised, his
eagerly looked for, his often delayed, but at length,
quite perfected masterpiece, L'Africaine ! The pro-
duction, for the first time, of this great posthumous
work of Meyerbeer's, L'Africaine, is, in point of fact,
the event par excellence of the Season of 1865
—not for London alone, not for Paris merely, not
for both of those great capitals together, but for all
Europe ! In the musical world,. among all the civi-
lised races, the production of Meyerbeer's posthu-
mous opera of " Africaine" is an affair of state—it
is an event to which all are now looking forward with
breathless eagerness and expectation. The manu-
script-score of this last and grandest of his
Grand Operas, Meyerbeer is known to have retained
for fourteen years in his portfolio—touching it, re-
touching it, perfecting it with all the resources of
his refined and experienced genius—loth to part from
it as a work of art actually done with and completed.
Yet, completed this great work of art most happily was
nevertheless—in spite of all these delays—before the
lamented death, last year, of Giacomo Meyerbeer.
Completed even down to the affixing of the very
last note of emendation by his masterhand upon the
manuscript-score but very shortly before the great
maestro breathed his last ! It is touching to bear in
remembrance, now, immediatelybefore the production
of " L'Africaine"—first of all, yonder at Paris upon
the boards of the Academie Royale de Musique and
directly after that, here in London, upon the boards
of the Royal Italian Opera, Covent-garden—it is
exquisitely touching to remember at this moment
the fact that shortly after Meyerbeer's death there
was discovered among his papers, in his own
handwriting, a solemn prayer to God that his life
might be preserved long enough to permit of his
beholding the performance of—his most cherished
work—" Africaine !" The performance, however,
thus at last of that great work—the witnessing
of which was denied to Meyerbeer himself !—we
have now, all of us who may please to do so,
a , very fair prospect of beholding in a few
weeks time within the noble area of Mr. Gye's great
lyrical establishment. The production thus of
" L'Africaine" upon the boards of the Royal Italian
is obviously, therefore, the one grand attraction
held out to us, at the very commencement of the
programme of his new season, by the Director. It is
to be the achievement of the whole season—beyond all
the others, though many of those others are of consi-
derable importance. The exact time when we may
hope to witness " L'Africaine" is alone left a matter
of uncertainty, but it is so left quite unavoidably.
It is contingent, in other words, upon the precise
date at which the opera can be performed at the
Paris Academie Royale de Musique. As to the
other novelties of the coming season, they are, in a
manner, visible to us through a less hazy atmos-
phere—they are looming in the future, so to speak,
just a trifle more distinguishably. For example, early
in the ensuing month, and not as last year at
the very end of the season, we are to have repro-
duced " L'Etoile du Nord "—with all its superb
adornments in the way of scenery, costumes, and
mise-en-scene 1 After an interval of fourteen years—
during which that charming opera has been unheard
in London—we are to have revived for us once
more the Linda di Chamounix of Donizetti! After
an interval of seven years—during which it also
has been inaudible to us—we are to have revived,
for us, quite as acceptably in its way, Auber's sprightly
comic opera of Fra Diavolo 1 Again—a
good many years having elapsed, during which
Mozart's wonderfully beautiful, but also wonder-
fully difficult chef d'oeuvre, Il Flauto Magic° has
remained unrepresented in this country—that famous
opera is, this season, to be added to the Royal Italian
re'pe'rtoire. A repertoire, nevertheless, otherwise so
marvellously comprehensive in its character as to
comprise within it no leas than three-and-thirty operas
by the greatest masters of the divine art—one by
Mercadante, one by Herold, one by Beethoven, two
Gluck, one by Gounod, one by Mozart, one by
by Auber, two by Flotow, three by Benin', four by
Verdi, four by Rossini, five by Meyerbeer, seven by
Donizetti !

As to the Artistes still retained or newly engaged
by the Director for this the Nineteenth Season of
the Royal Italian Opera, the mere catalogue
of them is something magnificent. Foremost
among them, there is the young Prima
Donna, Madlle. Adelina Patti, who is pledged
to add as many as four fresh leaves to her already
umbrageous laurels—performing this year for the
first time in England Bellini's Elvira in the " Puri-
tani," Donizetti's Linda in the Opera already par-
ticularised, besides two of Mozart's bewitching
heroines, Susanna in the " Nozze di Figaro," and
Pamina in the nauto Magico." Madlle. Pauline

Lucca again, hitherto only known to us here in Lon-
don as a tragic or pathetic songstress—namely, by
her noble impersonations of Margherita in Gounod's
"Faust," and Valentina...in :Meyerbeer's "Hugue-
nots,"—will perform in comedy this year as Mozart's
Cherubino in the " Nozze di Figaro," and as
Auber's Zerlina in "Fra Diavolo." Conspi-
cuous among the acquisitions to the Royal
Italian company, in the new season about to
commence now immediately, is that ensuring the
services of Madame Miolan-Carvaiho, who will
not only rival Madlle. Lucca as Margherita, and
resume her part of Catarina, in the " Etoile du
Nord," but who will also perform one of the principal
characters in the eagerly looked for " Africaine."
The rare honour and responsibility of per-
forming the chief tenor part in that
grand posthumous opera of Meyerbeer, will
devolve, meanwhile, upon Signor Wachtel, already
renowned in this country as the impersonator of
Rossini's Arnold and Verdi's iTianrico. Beyond
which, Signor Wachtel will undertake the part Of
Donizetti's Edgardo in " Lucia di Lammermoor,',
as well as that of Mozart's lamino in Flauto
Magico." Signor Graziani will not only this year
repeat his impersonation of Guglielmo Tell, he will
for the first time perform Mozart's R Conte in the
Nozze di Figaro," and Verdi's Rigoletto in the quaint
opera so entitled—besides this—most onerous duty
of all—he will impersonate the principal baritone
character in the " Africaine" of our dead and gone
Meyerbeer. Herr Schmidt, the great German Basso
Prof undo,who last season achieved so radiant a success
upon his then debiit in London will this year per-
form for the first time Mozart's Leporello in " Don
Giovanni," as well as two of Meyerbeer's famous
characters, Bertram in " Robert le Diable," and
Marcel in the " Huguenots." As we began, here, with
the mention of Madlle. Adelina Patti, so let us end
now with two others among the chief glories of the
Royal Italian—Kings of Song, still, after how many
memorable seasons !—Signor Mario and Signor
Ronconi ! Each of those two renowned lyrical
performers, as though each were but an aspir-
ing beginner instead of a laurelled veteran in the
art, undertakes it will be seen to add, this season, a
new role to his already ample re'pirtoire! Signor
Mario for the first time performing Fra Diavolo—
Signor Ronconi for the first time assuming the
part of Don Pasquale ! Seven more or less well-
known songstresses from Lisbon, from Moscow,
from Munich, from Berlin, from Milan, will
make, this season, their first appearance at the
Royal Italian, while five male singers of high
reputation will in their turn make their de'bilt upon
the same boards in 1865, two from Milan,
two from Naples, one from Paris, another of
the five (M. Gassier, to wit) removing simply from
the boards of Her Majesty's to those of the Royal
Italian ! To Madame Isabella Galletti's first ap-
pearance, we will acknowledge that we look
forward with eager expectation, and this simply
because of the repute already acquired by her in
her native land (par excellence the land of song),
among Italian connoisseurs. As a wonderfully at-
tractive commencement of the new season, it will
be seen that Gounod's renowned five act opera
of Faust e Margherita is set down for the very first
night's performance, two debutantes appearing in the
cast of parts, namely Madlle. Honora, as the Siebel,
and Madlle. Berini, as the Margherita—Mario, as
hitherto, being the Faust, Graziani the Valentine,
and Attri the Mephistopheles. The matchless
Orchestra and Chorus of the Royal Italian
will still be presided over by the magical
wand of Mr. Costa, himself at once Composer, Di-
rector of Music, and facile princeps among Conduc-
tors ! With Mr. Augustus Harris retained as
the stage manager, and Mr. William Beverley
as the principal scene - painter, the splendour
and completeness of the mise-en-scene may still,
of course, be counted upon with implicit confi-
dence. Having added that Madlle. Salvioni is
happily continued by the management at the head
of the danseuses in the corps de ballet, (though
threatened with a rival in Madlle. Johanna Selling,
who is announced as being about to make her first
appearance) it remains for us only to wish all
success to the Director in this his new season, but,
above all, every imaginable success to his chief en-
terprize, the production that is, for the first time,
of the " Africaine" of the peerless Meyerbeer !

Destruction of the Sheffield Theatre by Fire

SHEFFIELD Saturday Morning.

The Surrey Theatre was burnt down at half-past
2 o'clock this morning. A small fire had been dis-
covered in Burgess-street half an hour previously,
and the engines had been called out. The firemen
of the Royal Fire Insurance Company's brigade
were in the act of backing their engine into the sta-
tion, when a bright light was observed in the direc-
tion of Westbar. How long the theatre had been
burning it is impossible to say, but when discoverd
the flames were blazing through the roof, illumi-
nating all the neighbourhood. The fire spread
with frightful rapidity, threatening to destroy
the entire square formed by Westbar, Spring-
street, Hick's-lane, and Workhouse-croft. The
flames had spread from the rear towards the
front of the building, destroying the least hope
that any considerable portion of it could be saved.
It is impossible to ascertain whether any lives have
been lost. _

The entire building is destroyed the walls are
hanging over, threatening to fall. All the people
have been got out of the surrounding houses.
The premises are insured in the Royal-office.
Immediately on the fire being discovered the
Royal engines were quickly on the spot, but the
flames had obtained such a hold of the building that
it was quite impossible to do anything to arrest their
progress. The fire brigade, therefore, directed their
engines to throw immense columns of water on the
adjoining property, in the hope of preventing the
flames spreading beyond the walls of the theatre.

CRYSTAL PALACE.—At this afternoon's concert
the vocalists are Madame Rudersdorff, Madame Parepa,
Mr. George Perren, and Herr Fass. The programme in-
cludes Mozart's operetta " L'lmpressario" and Mendels-
sohn's overture to "Ruy Bias." After the concert the
usual promenade will take place.
ILLNESS OF MR. DOULTON.—For the last few
days Mr. Doulton, M.P. for Lambeth, has been labouring
under illness, having been confined to his bed, and, though
now stated to be somewhat better, ho is not likely to be
able to attend to his Parliamentary duties for some time.
During the absence of the hon. member, the Right Hon
W. Cowper has been provisionally appointed to officiate
as chairman of the committee of inquiry respecting the
open spaces in and around the metropolis.

" L'Africaine" has been fully rehearsed to the end
of the fourth act. The scenery, costumes, &c., are in a very
forward state. The fifth act alone has yet to be " got up."
It is expected that it will be performed in Paris about the
20th proximo.—The Orchestra.
THE EDMUNDS SCANDAL.—Mr. Hastings, Secre-
tary to the Social Science Association, has stated, at a
meeting of the society, that he is authorised by Lord
Brougham and by Mr. William Brougham to declare that
there is no foundation whatever for the reported scandals
in the Edmunds' case, and that a complete refutation will
be given of them. This is as we ventured last week to
anticipate.—Law Times (this day).
ARCHEOLOGY.—M. Mariette, the distinguished
adept in Egyptian hieroglyphics, had added two
more to his numerous discoveries. The first is that of a
Specs-temple, situated at Assouan, and dedicated to Isis-
Sothis. This denomination, in M. Mariette's opinion, is con-
nected with the position of Syene, which was believed to be
under the tropics; and it was perhaps in one'of the temples
of that city that the rising of the star which was to fix the
beginning of the year used to be observed. M. Marlette also
gives some new particulars concerning the excavations of
Abydos, which continue to bring to light walls decorated
in a splendid manner ; a great number of proskynemata, or
votive inscriptions, attest the admiration of the Greek visi-
tors to this:temple, which is particularly mentioned by Strabo.
M. Marlette believes he has found the well mentioned by that
geographer, and is now getting it explored. Denderah also
has been the scene of a most interesting discovery. Here M.
Marlette has found crypts wherein statues, cast in precious
metals and other rich offerings had formerly been
deposited, as the inscriptions on the walls show.
The niches containing these offerings hall been walled 1113
never to be opened again, but this of course is by no means
the case, and they are all empty. The inscriptions, how-
ever, mention historical facts of great importance. The
temple had been founded by Cheops, and subsequently em-
bellished by the Pharaohs of the sixth and twelfth
dynasties. Rhamses 11. had repaired or finished it.
Under Ptolemy (Neon Dyonysos), it was in such a
dilapidated condition that it ,had to be rebuilt en-
tirely. Such is the short history of this monument; and
it is only the prelude to more important disclosures to be
expected from the inscriptions not yet deciphered. In a
letter to the President of the Academie des Inscriptions et
Belles-Lettres, M. Mariette announces that the Viceroy has
granted him the necessary funds for the publication of the
principal discoveries he has made during the 14 years he
has been exploring the ruins of Egypt.

LATEST INTELLIGENCE.

(REUTER'S TELEGRAM.)

CALCUTTA AND CHINA MAILS.
MALTA, MARCH 24.
The Ellora will leave at 4 p.m. and the Massilia
at 9 p.m to-day.
The former may be expected at Marseilles on the
27th inst., and the latter at Southampton about the
2d April.
The Nemesis reached Suez on the 19th inst.