The Sun.
London, England, 1854-05-15 00:00:00

On Saturday Beethoven's Fidelio was given here, in
the German language, and, on the whole, in such a
manner as to both sustain the credit of the theatre, and
to make a valuable and lucrative addition to the
repertoire. The house was filled in every part by
lovers of the beau ideal of German dramatic music. The
great feature of the performance, and one of the most
elaborately finished and graphic impersonations ever
seen, was the Rocco of Herr Formes. In the hands of
this fine artiste the part of the gaoler was made the promi-
nent and abiding figure of the drama. The stern and
anti-human qualities which may be supposed to belong to
one who has been for years employed in the wretched occu-
pation of a gaoler to a state prison, were so artfully blended
with that original kindliness of nature which length of
service in a degrading office has been inefficient to eradi-
cate in Rocco, that the picture appealed irresistibly to
the sympathies of the audience. From beginning to
end—in the familiar conversations with Fidelio and
Marcellina, as in the sombre and terrible scenes where
the dungeon of Florestan is preparing to be his grave—
the acting of Herr Formes was natural, earnest, genial,
and hearty, and, although full of striking and picturesque
effects, did not exhibit one solitary instance of what is
technically called "point-making." His make-up,
too, was perfection, and his singing throughout was
admirable. Not to enter further into details, those
who desire to see a striking ,example of what is sterling
and good in the representation -of the modern German
lyric drama should not fail to go and see Herr Formes in
the character of Rocco. The Florestan of Herr Reichardt
was a sensible and thoroughly artistic performance ;
and he sang the great air of the prison scene with such
true passion and. sentiment, that it was unanimously re-
demanded by the audience. The musician-like qualities of
Herr Reichardt, moreover, proved of the highest conse-
quence in all the concerted pieces where Florestan has a
part. Mme. Caradori's Fidelio displays an intimate know-
ledge of all the traditions derived from Madame SchrOder
Devrient, •f whose performance it is a very close imita-
tion. In the first act Madame Caradori was much less
successful than in the last ; and in the grand and diffi-
cult scena, which contains the apostrophe to hope
her singing was somewhat tame, which rather sur-
prised us, since in her Italian characters she has
shown more than ordinary energy and power. In the
grave scene, however, Madame Caradori's acting
and singing were equally good, and all the stage
business was done to a nicety. In the last
finale, Madame Caradori's singing, and, indeed,
that of all concerned, was excellent. The chorus, which
in the prisoners' chorus was sadly out of tune, completely
redeemed its laurels ; and the ensemble generally was so
. good that the finale was encored with enthusiasm, and
Herr Lindpainter, who had left the orchestra, was forced
to come back and begin again.
Mademoiselle Sedlatzek did her best with the music
of Marcellina, and Herr Holzel was careful and efficient
as Don Pizarro. The small parts of the Minister and
Jacquino were allotted to Mr. Hamilton Braham and
"Herr Lane." The opera was completely successful, and
all the singers were recalled after the repetition of the
finale.

BATH AND SOMERSET COUNTY MEETING.
TUESDAY, MAY 23.
The MEMBERS' STAKES (Handicap) of n sovs. Once
round.

Age st lb
Odiham (h b) 6 8 7
Ireland's Eye 4 8 7
Bordeaux a 8 4
Willsbourne (h b) 5 8 4
Ilybla
Magnet 4 8 0
Georgey 4 7 13
Waterfall
The Friar
Massaroni 4 7 7
Battery
Rose of Ellel 4 7 4
Montague
Calamus 3 7 4
Nonsuch (h b)
St. Spiro 3 7 0
Balmoral ...... 3 7 0
Bridesmaid

Age st lb
Finny
Hermitage 3 6 12
Sir George 3 6 12
Lina
Postulant
Albert
King Alfred 3 6 9
Roebuck
Cable 3 6 8
F by Sir Hercules,
out of Miss Shir-

ley
Queen of Egypt 3 6 6
Red Rose . 3 6 0
Betty Pockets 4 6 0
Farsa 3 6 0
Stonehenge
Danube (h b) 3 5 7