The Sun.
London, England, 1849-07-13 00:00:00

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1 P. U. Lawrence

4210 7 11

HER MAJESTY'S THEATRE.

The Sontag furore is at its height, it is full as in-
tense as was the Lind furore, and promises to be as
lasting. Yesterday evening a dense crowd was gathered
around the pit and gallery doors of the theatre as early
as six o'clock, albeit the doors did not open until half-
after seven. The crush was terrific, and within ten
minutes from the time the doors were open the theatre
was completely crammed. Every stall, every box was
occupied, and we do not believe that the most in-
genious packer could have crammed half a
dozen persons additional into either pit or gallery.
The occasion, it must be acknowledged, was worthy of
the sensation which it had crested. It was the first ap-
pearance since her return to the stage of Madame Son-
tag in the character in which she had originally made
her debalt in 1828, And in w hich she had at once esta-
blished her reputation as the first singer of her time.
It was her first re-appearance in the character of Rosins,
and those who had twenty years since listened with
thrilling delight to her wonderful vocalisation, were,
although satisficd from the performance of Linda
us to the general perfection of the voice, anxious
to ascertain whether the organ still possessed that
marvellous flexibility—whether. the singer still possessed
that marvellous power over it which had made her exe-
cution of Rode's air one of the traditions, of the opera.
They were not disappointed. The curtain rose for the
performance of II Bar biere di Siviglia, and after the
chorus and the Count's aria the lattice opened, and
Sontsg appeared, looking as ladylike and as gen-
teelly coquettish as she did twenty years ago. And
hark! Yes! It is the same voice, the same sweet,
bird-like voice as ever. Henriette Sontag is Hen:
riette Sontag still. It was not, however, until
she appeared on the stage that the full extent of the
taste which she infuses into her representation of Rosins
could be appreciated. She dresses the part in a novel and
most picturesque manner, amid her white satin dress with
scarlet trimmings gives her the most fascinating sir imagin-
able. Her execution of the far-famed "Una voce
poco fa" was wonderful. Her fie:it:ire was most
lavish, and at the same time most grace-
ful, most original, and most correct; never did
bird warble more sweetly—never did the most
perfect musician perform more accurately upon the most
perfect instrument than did Sontag upon that most per-
fect of all musical instruments, her own sweet voice, into
which she threw
a grace and an expression, of which
any mere musical instrument must be necessarily inca-
pable. She was enthusiastically applauded, and the
repetition of the air was redemanded, a request, how-
ever, with which Sontag did not comply, but contented
herself with curtseying her thanks. Seldom have we seen
such enthusilsm exhibited within the walls of this
most aristocratic of theatres as was caused last night
by Sontag's execution of the " Una voce." But
the enthusiasm thus excited in the first act was
coldness itself in comparison to the furors created
by her performance of Rode's air with variations,
which was given as the singing lesson in the second
act. Never have vice heard anything that could
be at all compared to her execution of the second varia-
tion. Every possible musical difficulty seemed to have
been conjured up by the at fist solely for the purpose of
proving how delicately perfect was the voice, and how
marvellous was the power of the executant, who could
so easily overcome them. Never base we heard
chromatic scales end arpeggio passages given with
such delicacy, such briliiancy, such grace, such
distinc ness, such l erl4 ction. The house was hushed into
a silence of delight by this marvellous exhibition, and at
the conclwi( n there was one loud enthusiastic
shout tor the repetition of the air, accompanied
by abh •wrr of bouquets. The air was repeated, again
.sire the bouquets showered on her, and again was the
repetition t,detuamktl, and again was the demand com-
plied with; this tt.it d pia formance was to the full as
d: zzlin~ b) its brilliancy, as pleasing by its delicacy
and its finish as the two former performances had been;
wain the applause was rapturous, cg in the bouquets
were showered on her, and when, alter a lapse of some
minutes, the applause ceased, it was renewed upon
tae "bravissima" of the Count, which the whole
house took up, exclaiming, as in chorus, " bravissima.”
She was called on at tl e conclusion of each act, and on
the fall of the curtain she was led on by Gardoni in
obedience to the call of the audience, and on her re-
tirement was again calla d on alone. The opera was
admirably cast. Gardoni was the Count, Beletti the
Figaro, and Lablache Dr. Bartolo.