The Sun.
London, England, 1847-07-23 00:00:00

HER MAJESTY'S THEATRE.
A new opera by Verrii, composed (.xpressly for her
ll,jesty's Theatre, conducted by' the Maestro himself,
Jenny Lind a- the prima donna, and including in
its cast L,,blache, Coletti, and G4rdoni—such was the
a'tractiou which drew lest night greater crowds than
ever to rho doors of this theatre. Last night was not an
extra night, albeit it was a Thursday. Her Majesty
and Prince Albert, who honoured the theatre with their
presence, were in their box long before the commence-
ment of the overture, The opera" I Masnadieri" is an
adaptation of the "Robbers" of Schiller, the plot of
which is admirably adapted to operatic pur-
poses. Verdi has been fortunate.", in securing the
services of such a poet as the Chevalier Maffie, the
author of the libretto who has rendered many of the
most magnificent passages of the original, and who has
constructed one of the most interesting lyrical dramas
ever represented on the stage. With such a libretto
failure would be all but impossible, under any circum-
stances. The chef dmuvre of Schiller is so familiar to
every lover of the drama, that we need not detail the plot.
The following was the cast of last night -a cast which,
for strength, has never been approached:—

Carlo Moor Gardoni.
Francesco Moor Coletti.
Massimiliano Moor Lablache.
Moser
Arminio
Amalia
Verdi, on his appearance in the orchestra, was received
with repeated bursts of applause, which were gracefully
acknowledged by the Maestro. There is a beautiful
violoncello solo in the overture, which contrasts exqui-
sitely, by its softness and melody, with the more noisy
parts of the composition, and which was listened to with
breathless attention. The opening scene is in a tavern
on the confines of Saxony, and Carlo is discovered read-
ing Plutarch. In a recitative, in which Touch of the
beautiful poetry of Schiller is preserved, he expresses
his disgust at the " age of cowards," in which he lives,
and his gloomy reflections are interrupted by a lively
chorus behind the scenes ; then follows a beautiful
cavatina, " O mio cartel paterno," in which he antici-
pates with joy his return to his father's house, and which
was exquisitely rendered by Gardoni, and procured for
him a well-deserved round of applause. The robbers
enter ; a letter is brought to Carlo. It is from
his father, casting him off for ever. His agi-
tation is extreme. His friends propose to form them-
selves into a band of robbers, and to choose him as their
chief, and the scene ends with a spirited cabaletta by
Carlo, " Nell' argilla maladetta," which was given with
great spirit by Gardoni, who was called on at the
conclusion of the scene. The next scene is in the
castle of the Moors, and we find Francesco, the younger
brother of Carlo, rejoicing at the success of his machi-
nations for the ruin of Carlo, and plotting the death of
old Massimiliano, his father. This scene aas superbly
acted by Coletti. His manner of giving the con-
eludieg words of the scene, " Trionfo, trionfo col-
pito ho nel segno," was the very acme of the
expression of triumphant villany. He then in
structs Arminio (the Hermann of Schiller) to forge
the story of Carlo's death, and relate it to the old
man, and the scene concludes with a spirited aria, " Tre-
mati o miseri," which was given by Coletti with great
spirit and immense power. The scene then changes to
another part of the castle, where old Massimiliano is
discovered asleep. Amalia enters, and gently approaches
his couch, and the appearance of Mademoiselle Jenny
Lind was, of course, the signal for reiterated plaudits.
Her seena d'intrata, " Lo sguardo even iiegli angeli," (a
literal translation from Schiller) was exquisitely given;
nothing could exceed the beautiful simplicity and pathos
with which she warbled this exquisite aria. The applause
at the conclusion was enthusiatic. Then follows
a duet by Lablache and Jenny Lind (our readers may
imagine the treat which it must be to hear the two most
accomplished artistes in the world singing together), and
the act concludes with a quintette, in the course of which
the news of Carlo's death is told by Arminio, and which
was magnificently sung and acted by Mademoiselle Jenny
Lind, Lablache, and Coletti. At the fall of the curtain,
all the artistes were called for and bouquets innumerable
were showered upon the Lind. When she retired there
were loud calls for the Maestro, and Verdi made his
appearance, led on by Lablache. The second act
opens with Amalia at the tomb of Massimiliano.
She has left the infamous banquet of Francisco to pour
forth her sorrows sit the neglected tomb of his father.
She is interrupted by the chorus of bacchanals within,
who are drinking with Francesco, This chorus is un•
accompanied, and the dramatic effect produced by the
contrast of this joyous chorus, with the plaintive notes of
Amalie, is very fine. The music of this scene too is
perfectly original, and is worthy of the situation. This
scene is a great triumph for Verdi, and the concluding
aria, " Volasti alma beata," for Jenny Lind, one of
the most expressive melodies in opera, was given with a
sweetness and feeling which left nothing to be desired.
Arminio enters, and tells her that Carlo yet lives, and
after a moment's stupor, she bursts out into the most
exuberant expressions of rapturous joy, in the aria
" Carlo vive ! 0 taro accento," which may be regarded
as the gem of the opera. Nothing could exceed the
acting and singing of Jenny Lind in this aria. Verdi
had afforded her an opportunity of bringing all
the resources of her art into play, an oppor-
tunity of which she well knew how to avail
herself. She imparted her own enthusiasm to her
audience. Never had such enthusiastic applause been
heard within the walls of her Majesty's Theatre as
greeted her at the conclusion of this aria. She
was obliged to repeat it, and again at its
conclusion was the applause resumed, and after
that she was called on twice, and bouquets without
number were thrown to her. A fine scene fol-
lows, in which she rejects with scorn the suit of Fran-
cesco, and which was superbly acted by Coletti and
Jenny Lind. This scene concludes with a spirited
duet, " Ti scosta, impudente," which was much applauded
The last scene of the second act is laid in the neighbour-
hood of Prague, in the robbers' camp, and the act con-
cludes with a spirited but somewhat noisy chorus of
robbers. The third act is, perhaps, taken as a whole,
the best in the opera. The first scene is in the forest,
in which Amalia has sought refuge from the pursuit of
Francesco. Here she meets Carlo, and the duet " Tab-
bracio," by Jenny Lind and Gardoni, is one of the most
effective bits (both musically and histrionically) in the
opera. The Cabaletta. "Lassit risplendere," with which
it concludes, is exceedingly beautiful, and at its conclusion
they were both called on. Then follows a chorus of
robbers, a fine massive composition, and then the dis-
covery of old Massimiliano in the cave, in which he had
been confined by Francesco, who had spread the report
of his death; and the oath by Carlo and his band to
avenge his wrongs. The description by Lablache of his
suffering was one of the most effective pieces of musical
declamation ever beard, and the oath of vengeance by
Carlo, and the chorus, which is the finale to the act,
was magnificently given, and insured fur Lablache
and Gardoni, and for the Maestro, Verdi himself, the
honour of a call at the conclusion of the act.
The fourth act opens with the interview between the
Priest and the conscience-stricken Francesco, in
which the acting of Coletti, as he describes the terrific
dreams by which he is haunted, is quite appalling. The
chorus of robbers attacking the castle is then heard be
hind the scenes, and Francesco flies in despair. The
last scene is in the wood—Carlo has asked a blessing
of the old man (who knows not his son) as his
preserver. He has received it, when the band enter
dragging in Amalia. She flies to the arms of Carlo for
rescue, and discovers that her lover is the captain of the.
robbers. Horror-stricken at her situation, she demands
death at his hands ; and, to save her from the insults of
the robbers, he stabs her. Nothing could exceed the
enthusiasm of the audience at the fall of the curtain.
Three times was Jenny Lind called forward, and then
Verdi was led forward to receive the applause
of the house. Her Majesty remained until the
conclusion of the opera, and then left the theatre, ac-
companied by Prince Albert, and her suite. The Royal
party seemed delighted with the opera, and the applause
bestowed on the various artistes by the party in the royal
box must have been most gratifying to them.
pres ce.AlTbeirlet
h oTn ohuer eQd tehe en paenrdfo rhmi s a nßcoeys Royal
with lt Highness
their Prince
Royalsuiteinede pa
included the
theeiCou In. m
ntelosof Mountiss Murray, h
Edgec? mtbee,
tHohen .Baroness.
Miss M‘Donald, the Earl of Morley, Colonel
Buckley, Colonel Zeymuret, ann Mr. Ormsby Gore.
Her Majesty the Queen Dowager, accompanied by his
Serene Highness the Prince of Saxe Weimar, the Che-
valier Corre de Sa, the Countess of Sheffield, and Lady
Susan Halroyd, and attended by the Hon. Miss Eden,
the Hon. Mr. and Mrs. Ashley, and Mr. Taylor, also
honoured the theatre on this occasion with her presence.
Their Royal Highnesses the Duke and Duchess of Cam-
bridge, attended by the Ladies Honoria and Augusta
Cadogan. Lord Frederick Fitzclarence, Baron Tusbeck,
Mr. C. St. John Mildmay, and Dr. Quinn, were also pre•
sent. Amongst the company were—the Duke of Wel-
lington, the Prince Louis Napoleon, the Duke of Leeds,
the Duke and Duchess of Cleveland, and Lady Augusta
Paulet, the Duchess of Sutherland, and the Ladies Levi-
son Gower, the Marquis and Marchioness of Douglas,
the Princess Mary of Baden, the Marquis and Mar-
chioness of Douro, the Mar quis of Huntley, the Marquis of
Donegal, the Marquis of Kildare, the Marquis and Mar-
chioness of Worcester, the Marchioness of Westmeath,
the Earl of Munster, the Earl and Countess of Bective,
the Earl Belfast, the Earl and Countess of Essex and
Miss Johnstone, the Earl of Chesterfield, the Earl of
Westmoreland, the Countess of Stackleburg and Madlle.
Stackleburg, and Madlle. Alga De Lechner; Viscount
Morpeth, Viscount Cantilupe, and Viscount Raneleigh;
Lord and Lady Templemore, Lord Sandys, Lord Sal-
toun, Lord and Lady W. J. D'Eresby, Lord Charles
Wellesley, Lord Harry Vane, Lord W. Lennox, Lord
and Lady Fitzroy Somerset and Miss Somerset, Lady
Dashwood, Lady Whitbread, and Lady Gardner; Baron
Nicolay and M. C. de Koudriaffsky; the Right lion. the
Lord Mayor, Lady Carroll and the Misses Carroll, Lady
Palmer. Colonel and Lady Arabella Harding, General
the lion. A. P. Upton, Hon. G. Byng, M.P., the Hon.
Mrs. Ryder Burton, Sir H. Webb, Sir 11. Meux, Sir
R. and Lady Grant, Sir Alexander and Lady Woodford
and the Misses Woodford, Colonel Finnis, Major Baring,
Major Buckley, Captain Blaine, Colonel Mandle, R.N.,
Color el Rey nolds, Colonel Smith, Mr. and Miss Holford,
Mr. Hubert Deburgh, Mrs. Hodgson, Mrs. Grote, Mr.
and Mrs. W. Williams and Miss Williams, Mrs. Murray,
Mr. Broadley, Mr. and Mrs. Dentt, Mr. and Mrs. Peele,
Mr. and Mrs. C. Phillips, Mr. and Mrs. EA ing and Miss
Ewing, and the Hon. J. Lane.

ROYAL ITALIAN OPERA,
CO VEN T-GARDEN.
Mozart's Nozze di Figaro, which has been for some
time in preparation, was produced here last evening,
with a degree of care and splendour worthy of this
wonderful composition of the " Gran Maestro." The
cast was as follows:
Susanna Madame Grisi.
The Countess Mdlle. Steffanoni.
Cherubino Mdlle. Alboni.
Marcellina Mdlle. Bellini.
Count Almavivu—Signor Tatuburini.