The Sun.
London, England, 1862-09-30 00:00:00

THE SUN, LONDON, TUESDAY EVENIN'i, SEPTEMBER 30, 1862.

ROYAL ENGLISH OPERA.

SATANELLA.

Of all the characteristic products of the first
French Revolution, not one was more illustrative
of its vigour and audacity, than the story of " Le
Diable Amoreux," by Jean Paul Cazotte, which
enjoys the distinction of having originated the
" Supernatural" School of Fiction, that became so
popular in Germany at the hands of Fouque
and Novalis. The novel conception of the
" Devil in Love," had a fantastic force
about it which of itself was quite suffi-
cient for the volcanic taste of the day ;
but it had the advantage, in addition, of consider-
able skill and humour in its treatment, which ex-
it acquired in other countries.
eof this story, we must remem-
ber,the popularity
was not the Evil One himself, but a demon
who at his bidding assumed a lovely female form,
in order, with other attractions, to ensnare a young
Italian cabalist ; but who was punished by being
caught in the very trap she had prepared, and made
to love and save the victim it was her business to
destroy. This idea, whch has been often repeated,
was highly original and poetic, and only required
to be divested of a little of the excess of its present-
ment to have adapted it especially to the vivid field
enough, however, it has never of the drama. Oddly
attracted the French dramatists themselves, though
they are always on the hunt to discover new and
good material, and only found its way to their stage
in the emasculated form of a grand ballet, which
was reproduced at Drury-lane some twenty years ago
when under the title of the " Devil in Love," it was
brought forward by Mr. Bunn, in order to enchant
us with the wonderful pantomime of " Pauline
Leroux." When, at length, Mr. Balfe resolved to
adapt the subject for an opera, his librettists unfor-
tunately went to the ballet for their materials in-
stead of to the book. By so doing, they not only
lost nearly all the poetic notion of the story,
which would have supplied very supe-
rior opportunities for music, but they
hampered themselves, in addition, with a train
of disjointed incidents, which, however well adapted
to introduce a variety of dances, was directly op-
posed to the essential unity and growth of a
dramatic interest. Again, in the book there is
but one heroine, whilst in the opera there are
three—a further division of the interest, which
sadly weakens its impression; whilst in the very
scene of the original—its magnificent opening in
the Bay of Naples, with its highly poetic incan-
tation amidst the ruins of Baize (here discarded
for the worn-out notion of a devil's chamber,
and a sliding picture), presented resources that
were just as superior for the musician as the painter.
Mr. Balfe's success, therefore, in treating this sub-
ject, must be measured by his difficulties, and the
very meagre opportunities that were placed within
his reach. Adequately dramatised, we believe that
the " Diable Amoureux" would have become the
medium of one of the most signal and enduring of
his achievements. As it is, it contains music which
few of his contemporaries could have written, and
which, whether on the score of its skill or melody,
must always make the work accceptable.

Of its performance last evening we are only able
to speck in measured terms. Produced chiefly with
the view of presenting Miss Sara Dobson and Mr.
Perren in the leading characters, it subjected both
of them to the kind of trial which they are most
unable to sustain. Both the Count and Satanella
require the highest, dramatic expression, whether
to develops the force of the music or to sup-
port the interest of the story. And we
need not say this is precisely the quality in which
the new and young singers are deficient. It would
be very difficult, we fancy, to find even experienced
lyric artists who would impart to the one Mr. Har-
rison's spirit or to the other Miss Pyne's emotion,
and the test therefore must be proportionately fatal
to any substitutes who are in their noviciate. Miss
Dobson's best successes were in the lovely ballad,
" Let not the world disdaining," which she sung with
a grace and tenderness which were highly meritori-
ous, and her two songs in the third act, the
buoyant air, " Sultana Znlema" (taken bodily, we
mast remind our readers, from one of the Irish
melodies) and the sparkling rondo at the close,
which she delivered with considerable spirit. Her
singing was also so praiseworthy in the scene with
Ahrimanes, that it is obvious this young lady is
already beginning to strengthen. Mr. George
Perren was most successful in the buoyant effu-
sion, " The glorious vintage of champagne,"
in which he won a deserved encore, and in
" An angel form, in dreams beheld," in the refrain
of which he was equally and justly complimented.
Miss Thirlwall was an agreeable Leila ; Mr. Rouse,
a comic Hortensius ; Mr. Corti, a vigorous Pirate ;
and Mr. St. Albyn, an excellent rustic lover, sing-
ing his one song, which was encored, " Oh, would
she but name the day," with great humour and ani-
mation. The best feature of the performance was
unquestionably Mr. Weiss, who resumed, on this
occasion, his original character of Ahrimanes,
and alike by his commanding bearing, and
noble use of his noble voice, restored that personage
to the level of its original importance. His entire
scene with Satanella was a mingled flow of force
and dignity. Of the merits of the band and
chorus, or of Mr. Mellon, on this occasion, we can
only use our old expressions. The house was toler-
ably attended, not withstanding the disastrous night.

HER MAJESTY'S THEA7RE.

CHEAP NIGHTS.

Mr. Mapleson reopened this house last evening,
for a series of four cheap performances, in order to
catch a further portion of the still flowing tide to
the Exhibition. The first of the series was
" The Trovatore," in which Madame Titiens
and Signor Giuglini sustained their usual
characters, the only novelty being the appearance
of Signor Badiali in the Count di Luna—an artist
whose excellent voice, superior dramatic feeling,
and thorough musical accomplishment, made him
so prominent a member of the Italian Opera at
Drury Lane. We have so often discussed the
merits of these singers we can have no occasion to
renew our praises, so content ourselves by saying—
that they never exerted thennsel-ies with more suc-
cess—to a house which, despite the wet was very
well attended

cver.ing is given " Marta," in which Herr
_,,rmes appears as Plunkett—his first assumption,
we believe, of that character in London.
On Thursday, " Lucia de Lammermoor" will be
performed, and on Saturday one of the above
operas will be repeated.