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

ROYAL OPERA, DRURY-LANE.

The production of Mozart's comic opera, II Siraglia;
with a German company, at this theatre on Wednesday
evening was an occurrence of no small interest ; for WO
opera, notwithstanding its celebrity and its many bean-
ties, has 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 oonstruction, bat
the story is pleasant and well fitted to be the subject ofa
comic opera. The incidents are extremely simple. Bel-
monte and Constance are a young couple betrothed to each
other. Constance, in her voyage to Sicily to be married to
her lover, is taken by an Algerine pirate, sold to &Paella,
and carried to his seraglio, along with her 'attendant
Blonda, and Pedrillo, a servant of her lover's. Pedrillo con-
trives to convey to his master the tidings of their mister-
tune ; and Belmont; 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 lave with
his fair captive ; but more magnanimous then Paellas
are usually represented on the stage, he desired 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 addres-
ses of Osmin, the Pacha's steward, and the buffo of the
piece--a ri liculous 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'llis got rid of him.
The lovers meet at midnight, and ate making off togs-
ther; but the old Turk has by this time got sober enough
to be able to intercept them. • They are seised, and
brought before the Paella, who at first is furious, and
threatens them with death and tortures; but his genera.
city prevails. He gives them freedom, and orders Osmia
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 airg, 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 Rudersdorfra vocal
powers, while she looked and acted the character de-
lightfully. Her principal morceaux, particularly the
great aria in the second act, were applauded with enthu-
siasm. Ilidlle. Bury was highly and deservedly sue.
cessful in the part of Blonda. She acted the lively
waiting-woman with playful archness and grace, and
sang brilliantly. Formes' Osmin was one of the finest
pieces of buffo acting and singing we have ever
,enjoyed.
' The parts of Belinontoand Pedrillo were well sustained
by Herr Peaz and Herr Castelli, who acted, intelligently
and sang like good musicians. Herr 'Holael, as the
Pacha, had not much to do, but did it with propriety
and good effect. The orchestra and chorus were very
good, and the whole miss en scene was most creditable
to the theatre.