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

ROYAL a

FRY-LANE.

The production of Mozart's comic opera, Ii Seraolio'
with a German company, at this theatre on Wedne's'day
evening was an occurrence of no small interest ; for this
opera, notwithstanding its celebrity and its many beau-
ties, I!a3 remained almost a stranger to the English pub-
lic. It is the earliest but one in the series of Mozart's Ehr
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 st,
Italian stage, and before his dramatic style had undergone 20
those changes which soon became so apparent.
The drama of the Seraglio is of slight construction, but 50
the story is pleasant and well fitted to be the subject of a 13;
comic opera. The incidents are extremely simple. Bel- "
o,
monte and Constance area young couple betrothed to each
other. Constance, in her voyage to Sicily to be married to 27.
her lover, is taken by an Algerine pirate, sold to a Pacha, '
and carried to his seraglio, along with her attendant 22
Blonda, and Pedrillo, a servant of her lover's. Pedrillo con- 25
trives to convey to his master the tidings of their misfor-
tune ; and Belmonte, determined to effect his mistress's St,
rescue, arrives in disguise at the Pacha's place, and finds a
means to get into his service. The Pacha is in love with r"
50
his fair captive ; but more magnanimous than Paehas
20
are usually represented on the stage, he desires to win 20
her affections by kindness alone. Blonda and Pedrillo, 10
of course, are lovers, like their master and mistress; and rk
the soubrette, like her lady, is persecuted by the addres- 21
ses of Osmin, the Pacha's steward, and the buffo of the
piece—a ridiculous old Turk, whose jealous vigilance V.
thwarts the attempt of the two pairs of lovers to effect 2!
their escape. This situation gives rise to a number of 11
sufficiently comic incidents of the usual kind. When the 2
lovers are ready for their elopement, Pedrillo, by way of P`"
getting Osmin out of the way, tempts him to indulge in s
a little conviviality, and after a scene of ludicrous jollity, 2
makes him dead drunk, and thinks he has got rid of him. s
The lovers meet at midnight, and are making off toge- s
ther; but the old Turk has by this time got sober enough 1
to be able to intercept them. They are seized, and E
brought before the Pacha, who at first is furious, and 1
threatens them with death and tortures; but his genero- E
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 fie- St.
rid character, is full of charming things. The airs be-. g;.
•
longing to the part of Constance are of excessive diffi- 12
culty, and, demand a singer of the greatest powers of 50
voice and execution. But all the airs, even the most 10
elaborate and ornate, abound in those simple and ex- 16'
quisite touches of tenderness and feeling which Mozart, St.
above all other composers, knew how to breathe. 19,
The representation was admirable. The part of Con- 14
stance gave full scope to Madame Rudersdorfrs vocal ;.(0)
powers, while- she looked and acted the character de-
-11
lightfully. Her 'principal morceaux, particularly the 10
great aria in the second act, were applauded with enthu- st.
eiasm. Mdlle. Bury was highly and deservedly sue- St.
cessful in the part of Blonda. She acted the lively 20
waiting-woman with playful archness and grace, and 10
sang brilliantly. Formes' Osmin was one of the finest 12i
pieces of buffo acting and singing we have ever enjoyed. St.
The parts of Belmonte and Pedrillo were well sustained 50
by Herr Peaz and Herr Castelli, who acted intelligently t°s
and sang like good musicians. Herr Holzel, as the 25
Pacha, had not much to do, but did it with propriety St.
and good effect. The orchestra and chorus were very 8/ 2
good, and the whole raise en scene was most creditable St.
to the theatre. *St,
CA