The Sun.
London, England, 1862-08-18 00:00:00

HER MAJESTY'S THEATRE.

L'ITALIA.

A patriotic and lyric ode, composed by Signor I
Guiglini, under the title of " L'ltalia," was pro-
duced for his benefit on Saturday evening, after
the performance of the opera of " Marta." It
achieved a very great success, and what
is more to the point, a deserved one, Its
music for the most part is equally vigorous and
appropriate, and enjoyed also the great advantage
of being very well delivered. As its subject is
nothing less than the deliverance and union of
Italy under the guidance of Victor Emmanuel, we
may premise in a few words some of the difficulties
of such a task in order to afford a tolerable test
of the merits of its execution. It must
always be borne in mind that, in any artistic treat-
ment of great cotemporaneous history, the treat-
ment, however able, can never rise to the height of
the subject; since the latter's reality is much too
great, and its dignity too impressive, to render
it capable of being heightened by any
art-transcription, which would deal rather
with the spirit than the facts of the event—
whereas it is the facts and not the spirit which
immediately absorb us. It is the facts which fill
our minds, and which as they cannot be reproduced
by either picture, poem or music, in their ade•
quate dimensions, require therefore the lapse of
a few years to intervene, during which their phy-
sical impression would gradually die out—in order
to enable art to deal with their spirit wtich would
still be surviving. It will be inferred therefore
from these remarks that Signor Guiglini's music
were it ten times what it is—could scarcely add to
or reflect even our impression of the greatest
event of modern history—and that its highest
possible merit would be its thorough accord-
ance with what we feel to be the spirit of the event,
and its avoidance of any violence to our sense of
its reality. All this merit the music may unques-
tionably lay claim to. Melodious and vigorous
throughout it entirely accords with, if it cannot
convey to us the form and soul of what it
celebrates, and of which we doubt not in years to
come it may be received as a due memorial.
The scene of the Ode is laid in a grand square of an
Italian city, which is adorned by a national statue,
and crowded by an excited populace who are cele-
brating by song and dance the assembling of the first
Italian Parliament. The entire arrangement of this
scene, as well as the effect of its ardent groups with
their waving flags, French and Italian, and their
display of Garibaldian shirts, was highly striking
and picturesque. After a spirited opening chorus,
" an Italian mother (Madame Titiens) who has lost
two sons in the national struggle, advances, and
adjures them in a very vigorous recitative, and in
a still more impressive aria, to maintain their
efforts for their country's freedom—when the music
of the army is heard on its march to the
last and decisive assault on Gaeta. Victory is soon
announced by an influx of populace and soldiers,
which leads to a very striking chorus, and then the
" genius of Italy" (Signor Guiglini), in the semi-garb
of an Italian soldier, advancing, reminds the people,
in a very pathetic solo, of the old oppressions of
their country, as well as the wish of
Dlnte, that it should one day be united, and
then conducts them to a concluding chorus, ad-
dressed to their king and leader, in which they
pledge themselves to his support, and paint the
glory that is in store for him.
The execution of this music, as we have said,
was meritorious in the extreme. Madame Titiens'
delivery of her recitative and aria was marked
by a noble breadth of feeling ; whilst
Signor Giuglini —an Italian was evidently
inspired by the subject—whatever the force of his
own strains—and declaimed his own solo and reci-
tative with an ardour and enthusiasm that roused
the audience to the warmest sympathy. The choruses
were also sung with the greatest possible ani-
mation, and nothing could be better than
the playing of the band—which, under the
guidance of Signor Arditi, seemed fully to share
the Italian furor. In conclusion, nothing could
possibly exceed the reception of this music—which
was applauded at every passage—and won for its
composer at the close one of the most fervent de-
monstrations which we have ever witnessed in a
theatre. Signor Giuglini was twice called for—
the first time appearing with his companions,
and on each occasion received the loudest acknow-
ledgments and greetings.
We have only to add that the ode will be re-
peated every evening.

ROYAL ITALIAN OPERA.

CLOSING OF THE SEASON.

The memorable season of 1862 was brought to a
close at this house on Saturday evening, in a wan-
ner worthy of its course by the fifth performance of
its last and almost noblest revival—that of " Ma-
saniello." Having so amply recorded in these
columns the chief features of the season, we can
have no occasion now to do more than cursorily
allude to them. The great distinction of
course has been the extended success of Madlle.
Patti, who, so much improved in voice and person,
has converted into a triumph every fresh character
she has essayed. With these advantages, in addi-
tion to her extraordinary dramatic feeling, her
Norina and her Dinorah were such great and dis-
tinct successes that either of them would have con-
stituted the ordinary attraction of a season. Their
repetition, therefore, in the ensuing, together with
the other characters for which she is announced—
more especially the " Figlia"—must attach to it an
expectation of more than an average character.
Among the minor successes we must refer to the
debut of Mdiie. Fricci, who, in the " Huguenotsj"
and the " Trovatore," exhibited the attrac-
tion of a pleasing voice, and considerable
energy if not much dramatic feeling. Among
the productions we must refer to that of
" Robert le Diable," which in many respects
contributed to sustain the great fame of the house.
Among the defects of the season, on the other hand,
was the absence, through illness, of Signor Ron-
coni, which prevented the production of " L'Elisir
d'Amore," and impaired materially that of "Don
Pasquale." Another abatement of its promised effect
was the brief engagement of Madlle. Csillag, and
the non-production of the "Fidelio " and the
" Orfeo," to both of which all lovers of music •cs ere
looking forward to so anxiously. These omissions
in the ensuing season we have no doubt will be
amended. The second " revival," " Masaniello,"
and in all respects the greatest, gave to the
successes of the season a worthy culmination,
and its last performance on Saturday evening,
which was given with if possible increased spirit,
convened one of the fullest houses of the season, and
elicited some of the loudest demonstrations.