The Sun.
London, England, 1854-06-09 00:00:00

ROYAL ITALIAN OPERA.

Meycrbeer's grand opera of the Prophate was presented
last night for the first time this season, and drew a very
crowded audience. The occasion was one of more than
ordinary interest, since, in addition to the never failing
attraction of the opera itself, it was the first appearance
since 1851, of Madame Pauline Viardot Garcia, the origi-
nal representative of the character of Fides, in Paris and
in London. Her Majesty the Queen and the King of Por-
tugal were among the audience.

Madame Viardot was received with the enthusiasm which
is a just tribute to the merits of a great artist and a popu-
lar favourite. Her Fides has lost none of that histrionic
excellence and elaborate vocal finish which have made it
celebrated among the most admirable performances of the
modern operatic stage. Her general conception of the
character of the Prophet's mother is as striking as it
is correct ; though gloomy and somewhat triste, it is
gland, impressive, and earnest, and the whole presents
a picture which remains long fixed in the mind after
it has been witnessed. Madame Viardot is eminently
an intellectual artist; there is never an approach to
common-place in what she attempts, and even her
faults spring from an over-anxiety to do all that can
possibly be done, which occasionally leads her to sacrifice
broad and natural effects to an excess of minuteness, and
a superfluity of pointmaking. Her performance last night
was in all respects the same as formerly, and produced the
same effect. The audience warmly appreciated her exer-
tions, and recalled her twice after the coronation scene,
amid the loudest applause from every part of the house.
Signor Tamberlik's Jean of Leyden has decidedly im-
proved, and may now be ranked among the most ad-
mirable performances of that deservedly popular artist.
He sang with great power throughout the opera. Ma-
demoiselle Marai was as good a representative of Bertha
as we have ever seen, and sang the music with equal faci-
lity and effect, fairly dividing the applause with Madame
Viardot in the grand duet (Act iii.), where Bertha recog-
nises Fides in the dress of the mendicant, and in the trio
of the last act, which terminates with her death by her
own hand. Mademoiselle Marai introduced the air com-
posed by Meyerbeer expressly for Madame Castellan in
Paris. It is not, however, one of the most striking pieces,
and would scarcely bo missed if it were omitted. The ge-
neral execution of the opera was very efficient. Signor
Stigelli as Jonas was again of great value to the "ensemble"
of the Anabaptists; M. Zelger, the bass, was weighty
and correct in the music of Zaccharia, Signor Poke-
nini careful and painstaking as Mathisen, and Signor Tag-
liafico, as usual, all that could possibly be desired as Ober-
thal. The trio in the tent of the Prophet, where Oborthal
is made prisoner by the Anabaptists, was well sung and
acted—which was the more to be rejoiced at, since it is
the finest concerted piece in the opera. The chorus was un-
usually effective, and the " All'armi" went to perfec-
tion. The skating scene exhibited all the bustle and
excitement of former years ; the dances were irre-
proachable, and the whole stage business was managed
even better than on previous occasions. The band was
admirable throughout. The coronation scene was remark-
able for the customary pomp and magnificence ; and alto-
gether the audience appeared greatly pleased with the
performance, which was not surprising, since it was one of
more than ordinary excellence.