The Sun.
London, England, 1838-02-02 00:00:00

OPERA BEJ,yc'EUM.

The establishment of a comic opera at the Lyceum Theatre, and tha
liberal support it has received, are events equally creditable to the spirit
and foresight of the projectors, and the good taste of the public at large.
Some of the chefs-d'ceuvres of operatic composition have been produced
here; and although, in a comparativay small undertaking like this, the
splendid materials of the Italian Opera have, of course, riot been at
their command, the pieces have been played in a style so finished mil
efficient, as to excite the attention and command the admiration of the
musical world. Such may be remarked of several of the efforts
of the present and preceding seasons, and such may be
said of Figaro, recently produced. But, in reviving the opera of
last night, the Claudio e Elisa of Mercadante, we do not think
the managers entitled to any particular praise for their taste in the se-
lection, whatever they may be for the desire it seems to evince of sup-
plying their visitors and patrons with a succession of somethin g like
novelty. Mercadante is one of the " thousand and one" imitators of
the brilliant and versatile Rossini, and, in our cpinion, by no means the
most successful one, although he may have produced some very agree-
able music, when heard in a detached shape. An opera, however, is IL
very different affair, and requires powers to insure complete success far
beyond what this composer appears to possess. We were wearied with
the eternal repetition of the same musical phrases from the beginning
of the opera to the end, and satiated with the perpetual recurrence of
the same harmonies, and an instrumentation almost identical. Scarcely
any part of the composition, either chorus, recitative, air, or scena, stands
prominently distinguished, and the attempt to carry away a melody in the
memory would bee vain effort. Added to this, the story, or whatever it may
be called, is of the most meagre character it is possible to conceive,
where mere nonentity is only relieved by utter absurdity; for instance,
where a band of ruffians, shout thirty in number, dressed a la brigand,
with sugar-loaf hats, and each armed with a formidable poignard, rush
upon the stage, and after a "roaring chorus," carry off the infant
children of a solitary, unprotected female, whom the son of a grandee
has clandestinely married, and thus excited the anger of his father, the
single incident on which this jejune vehicle for merely pretty music
turns. The part of Elise, the heroine of the piece, was supported by
Mademoiselle Scheroni, a young lady of very considerable ability, but
by no means of powers sufficient to undertake with any chance
of complete success the quantity of music incident to the cha-
racter. The weight seas too great for her, and although she
displayed a gooddeal of feeling, she sank under it and failed in several
of the concerted pieces, particularly when force and rapid articulation
were required. Miss F. Wyndham, as Carlotta, her confidante, although
encored in an introduced song, appeared to be out of her sphere in this
opera; her tall person and robust appearance (ill contrasted with tbt
petite Scheroni, who ought to have looked the most important personage
of the two) had an effect bordering on the ridiculous. The Co' nt was
well supported by Signor F. Lablache, as was Clandio by Catone ; and
the well-known duett commencing " Claudio, Claudio," in the first act,
was splendidly sung, and was perhaps the best thing in the opera. It
was deservedly encored. The Marquis was played with a great deal of
humour by Sanquirico, and we regretted that the part did not afford mc,re
scot e for the display of his talents. The lover of Silva (Mademoiselle
Varese, a mere cypher) aas personated by a gentleman whose name it
it will be charity to pass over in silence. He more than one excited the
risibi ity of the audience, a.,cl we hope, if the opera be played again,
the management will find amongst the company some one whose de-
fects may not be quite so prominent. The chorusses were not so
well sung as we expected to have heard them, but the accompaniment
of the select but splendid orchestra, was beyond all praise. The house
was filled by a most fashionable auditory, but although a strong disposi, tion to applaud wherever there was an excuse for it, was evinced, no.
thing like enthusiasm was elicited by the imitative efforts of Merca-
dente, and upon the whole, the opera may be said to have been but coolly
received.

The following account of the " plot" of this opera is given in a
Morning Contemporary, from whose favourable strictures, however, w e
beg leave to differ:—

" Count Bernaldo (F. Fablache), an awful tiranno, has discovered
that his son Claudio (Catone) is clandestinely married to Elisa (Made.
moiselle Scheroni), a damsel of humble station. This marriage is the
more annoying, as he had destined his son for the daughter of the Mar..
quis Tricotarlo (Sanquirico), who pays him a visit. The Count strives
to conceal all the domestic disagreeables, but the Marquis soon begins to
suspect that all is not right. Claudio is closely confined, that he may
not visit Elisa, and his amiable father sends a party of robbers to the
young lady's cottage, who carry off her children. She naturally feels
indignant at this transaction, flies to the Count's mansion, meets the
Marquis, whom she takes for the tyrannical Count, and gives the asto-
nished old gentleman a pretty sharp lecture. The Count persuades the
Marquis that she is deranged, and then tries to accommodate matters
by generously offering Elisa another husband if she will renounce
Claudio. The damsel again flies into a passion, and both reprehend
each other in pretty unequivocal terms. At last the Count hits on the
felicitous expedient of confining Elisa in a subterraneous dungeon
when the Marquis, discovering the whole plot, takes the lady's part, and
gives the Count a gentle hint that if he pursues this line of conduct,
he may stand more chance of being executed himself than his own
plans. This threat, united with a very convenient gleam of pity,
touches the Cuunt, and he joins the hands of " Elise e Claudio."