The Sun.
London, England, 1848-05-03 00:00:00

ROYAL ITALIAN OPERA.

Last night Alboni achieved her most brilliant triumph
on the London boards. La Cenerentola is one of the most
popular of Rossini's operas, and deservedly so, since it
is only second to 11 Barbiere as a work of art, and
second not even to that chef ceuvre as au inspiration of
genuine comedy and untiring spirit; it overflows with
fresh and spontaneous melody, and is replete with the
most vivid and dramatic colouring. The part of Cene-
rentola has been the test of many a celebrated prima
donna's highest powers—Sontag and Malibran among
others; but perhaps, take it all in all, the music was
never executed so well from beginning to end as by
Alboni last night: it suits the quality and peculiarities
of her singularly beautiful voice to admiration, and is
equally adapted to her style of singing, both in regard to
expression and execution. It is unnecessary to specialize
all the fine points of her performance, but we must par-
ticularly allude to the genuine feeling which marked her
delivery of the passage, " Jo vorrei saper ~erchl" (en-
cored), previous to the duet " Pa: lar voglie;" the winning
persuasiveness that accompanied the phrase " Signore,
una parole," in the concerted morceau when Cenerentola
tries to coax her father into letting her ride in the
Prince's carriage; the facile delivery of the bravura pas-
sage " Sprezzo quci don the versa," in the finale to act
I ; and the combination of ease and playfulness imparted
to the charming mot ceau " Parlar, peusar, vorrei.' But
all this, and much more worthy to be remembered, was
forgotten in the final great display—the recitative, aria,
and rondo of the last scene, terminating with the popu-
lar " Non pin meats;" further than this it were difficult
for the vocal art to be carried; the expressive largo,
" Nacqui all'affanno," delivered with exquisite
pathos,
was not less to be admired for the prodigious facility
and extreme finish with which fioriture were accom-
plished, demanding the united resources of a soprano
and a contralto voice (for Alboni's voce di testa of itself
is almost a complete soprano in compass and flexibility);
this was tumultuously re-demanded, and repeated
with still greater effect. Nothing fatigued by
this unusual exertion, Alboni followed it up
by an execution of the rondo which surpassed,
in neatness, brilliancy, roundness, and equality of tone,
anything and everything we have heard tier previously
accomplish; the first delivery of the phrase was notatim
Rossini's text, but, in the last verse, bravura passages
were introduced, as remarkable for their difficulty as for
the unerring fidelity and faultless intonation with which
they were accomplished.' Among others, we noted skips
of double octaves—a sort of coquetting betweenevery
note was as round, crisp, and powerful is tone, as though
the simplest possible phrase were being executed, in-
stead of the most elaborate and perilous vocal feat. The
applause was tremendous, the effect electric, and Alboni
was obliged to re-appear twice before the curtain, amidst
the loudest cheering and acclamations from every part of
the house. By this performance Alboni has placed her-
self on the very top of the tree, as a worthy
.compeer of
the greatest singers, living or dead.
The other principal characters were ably sustained.
Salvi's Don Ramiro was graceful and unaffected, and
Itovere's Don Magnifico a careful and excellent per-
formance. Tamburini's Dandini has long been pronounced
inimitable; no other baritone can execute the music of
this part—the most florid ever composed by Rossini—
without altering or omitting many passages; still less
can another be found to act it with such genuine humour
and unflagging spirit. The great comic duet of the
second act, " Un segreto d'importanza," where Dandini
reveals his real condition to Magnifico, was admirably
sung and acted both by Tamburini and Rovere, and ex-
cited the utmost hilarity among the audience. Polonini
made much of the small part of Alidora, the philosopher,
and the band and chorus were perfection. Nothing was
wanted to render this a thoroughly irreproachable per-
formance but the substitution of two more competent
artists in the characters of the sisters, Clorinda and
Thisbe, whereby many of the most beautiful and im-
portant concerted pieces would be materially strength-
ened. Why not Corbari and Steffanoni? M. Costa
must be praised emphatically for having restored several
pieces to the score, which brought the Cenerentola before
the public as nearly as possible in its integrity. The
house was crowded.
Owing, we understand, to the great success of La-
Cenerentola, it will be repeated on Saturday, and Madame
Pauline Viardot Garcia's debiit will be deterred.