The Sun.
London, England, 1854-06-16 00:00:00

ROYAL a

TY-LANE.

The production of Mozart's comic opera, Il Seraglio,
with a German company, at this theatre on Wednesday
evening was an occurrence of no small interest ; for thus
opera, notwithstanding its celebrity and its many beau-
ties, Las remained almost a stranger to the English pub-
lic., It is the earliest but one in the series of Mozart's
operas which still keep their place on the stage. The
Seraglio was written at a time when he was fresh from
his studies in the Italian school and his labours for the
Italian stage, and before his dramatic style had undergone
those changes which soon became so apparent.
The drama of the Seraglio is of slight construction, bat
the story is pleasant and well fitted to be the subject of a
comic opera. The incidents are extremely simple. Bel-
montoandConstance area youngcouple betrothed to each
other. Constance, in her voyage to Sicily to be married to
her lover, is taken by an Slgerine pirate, sold to a Pacha,
and carried to his seraglio, along with her attendant
Blonde., and Pedrillo, a servant of her lover's. Pedrillo con-
trives to convey to his master the tidings of their misfor-
tune ; and Belmonte, determined to effect his mistress's
rescue, arrives in disguise at the Pacha's place, and finds
means to get into his service. The Pacha is in love with
his fair captive ; bat more magnanimous than Pashas
are usually represented on the stage, he desires to win
her affections by kindness alone. Blonda and Pedrillo,
of course, are lovers, like their master and mistress; and
the soubrette, like her lady, is persecuted by the adres-
ses of Osmin, the Pacha's steward, and the buffo of the
piece--a ridiculous old Turk, whose jealous vigilance
thwarts the attempts of the two pairs of lovers to effect
their escape. This situation gives rise to a number of
sufficiently comic incidents of the usual kind. When the
lovers are ready for their elopement, Pedrillo, by way of
getting Osmin out of the way, tempts him to indulge in
a little conviviality, and after a scene of ludicrous jollity,
makes him dead drunk, and thinks he has got rid of him,
The lovers meet at midnight, and are making off toge-
ther; but the old Turk has by this time got sober enough
to be able to intercept them. They are seized, and
brought before the Pacha, who at first is furious, and
threatens them with death and tortures; but his genero-
sity prevails He gives them freedom, and orders Osmin
to convey them in safety on board their vessel.
The music, though much of it is of a diffuse and flo-
rid character, is full of charming things. The airs be.
longing to the part of Constance are of excessive diffi-
culty, and demand a singer of the greatest powers of
voice and execution. But all the airs, even the most
elaborate and ornate, abound in those simple and ex-
quisite touches of tenderness and feeling which Mozart,
above all other composers, knew how to breathe.

.
The representation was admirable. The part of Con-
stance gave full scope to Madame Rudersdorfre vocal
powers, while she looked and acted the character do-
lightfully. Her principal morceaux, particalarly the
great aria in the second act, were applauded with enthu-
Mdlle. Bury was highly and deservedly suc-
cessful in the part of Blonda. She acted the lively
waiting-woman with playful archness and grace, ana
sang brilliantly. Formes' Osmin was one of the finest
pieces of buffo acting and singing we have ever enjoyed.
The parts of Belmonte and Pedrillo were well sustained
by Herr Peaz and Herr Castelli, who acted intelligently
and sang like good musicians. Herr Holzel, as the
Paella, had not much to do, but did it with propriety
and good effect. The orchestra and chorus were very
good, and the whole 'wise en scene was most creditable
to the thgatre.