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

POOR REMOVAL BILL.

ceedu _.
The house then went into Committee un this Bill.
M. BAINES explained that the object of the Bill
was to remove the anomalies and difficulties which
existed under the present law. At present, before a
pauper could be removed to his parish a good deal of
expense had to be gone into in prosecuting legal pro- ,
away with the necessity for resorting to these expen-
sive proceedings.
After some further discussion, clauses up to 4 were
agreed to, with some verbal amendments. I

(LEFT SITTING.)

ROYAL ITALIAN OPERA•

most
g(p)
eon
npLtuuhail senaaternLnd(oc:
of Rossini's
London
onsAlbonisbi
onai,rs
d so.achieved
p Le eras
as
Cenerentola
athi ed r
dmesoes
rt
ivs,be(rd)inll
yl, i, aesnot t,
the tsrii un
mcm:psihtt 1,11
riesnotnol sheacsondbeetonneall Barbiere as a work of art, and`
(s)tornsd; nbouttevpeenrhtao that chef dieuvre as an inspiration of
Alboni last night:
of her singularly
equally adapted to her fresh ' gll t :
beautiful
onuds u
tnetsi
trion
of many
melody,
msapanni spirit; ti
a•s,
The icrt replete
epvibeeatrireafittueo:dfi st
prima
rwei
ntmi
the)
and exec
all the fine points of the dramatic colouring.
donna's highest powers—Sontag and Malibran among
y allude to the genui nveofieclitnog
takestyl
style
oft all
singing,i n all,
b ot
thhe i
omruesgi ca r wasd
never executed
it well from beginniniz to end as by,
t isouni
.t s
It the i s qu a
unnecessary y sod
to peculiarities
spe e ia i i z e ,
her performance, but we must par-
ticularly expressionwhich
m admiration,
ark
ticularl
delivery of the passage, "Io aedndheirs
vorrei saper perche" (en-
cored), previous to the duet "P
persuasiveness that accompanied arlar voglio;" the winning
una parole," in the concerted the phrase " Signore,
morc
tries to coax her father i eau when Cenerentola
n
Prince's carriage; the facile delivery
of the bravura pas-
letting her ride in the
sage " Sprozzo quei don the '
1; and the combination of e versa," in the finale to act
ease
to the charming morceau,,
p•asria r pensar, vorrei.' But
and playfulness imparted
all this, and much more worthy to, be remembered, was'
forgotten in the final great dis2Y la
and rondo of the last scene, terminating t --at the recitative, aria,i
with h
lac " Non pin meats;" further than this it weree popu-I
for the vocal art to be carried; the difficult:
" Nacqui all'affanno," delivered with expressive largo,
exquisite pathos,
was not less to be admired for the
ro
and extreme finish with which fioraPtdigious facility
acre were accom-
plisheJ, demanding the united resources of
a soprano;
and a contralto voice (for Alboni's voce di testa
is almost a complete soprano in compass and flexiobfiliit-
itself?
p
this was tumultuously re-demanded, and re
with still greater effect. Nothing fatigued
3di
this unusual exertion, Alboni followed it u3lp
by an execution of the rondo which surpassed,)
in neatness, brilliancy, roundness, and equality of toned
anything and everything we have heard tier previously,
accomplish; the first delivery of the phrase was notating
Rossini's text, but, in the last verse, bravura passages!
wire introduced, as remarkable for their difficulty as tort
the unerring fidelity and faultless intonation with which'
they were accomplished. Among others, we noted skips
of double octaves—a sort of coquetting between the con-
tralto and soprano register of the voice, in which every
note was as round, crisp, and powerful in 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
Rovare's Don Magnifico a careful and excellent per-
formance. Tambov ini'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'importan2a," where Dandini
rev< als his real condition to Magnifico, was admirably
sung and acted both by Tamburini and Revere, 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 Steff.moni? 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-
Ceherentola, it will be repeated on Saturday, and Madame
Pauline Viardot Garcia's debut will be deterred.

HAYMARKET THEATRE.

The performances last night commenced with a little
unpretending piece, evidently from the French, entitled
A Confidence. The principal characters are a couple of
middle-aged city gentlemen and their young wives.
Each of the ladies has a pEnchant elsewhere, and the
interesting objects both possess the name of Arthur.
Here, however, the resemblance ceases; for, while one
lady regards her husband with terror, and keeps the
state of her heart a secret from him, the other lady
sees in her husband a legitimate guardian ; and, avow-
ing her feelings, implores him to protect her honour
and his own. A comic scene arises from the confiden-
tial husband (played by Mr. Webster), taking one Ar
thur for the other. At the er.d all is satisfactorily
cleared up, both " Arthurs" are dismissed, and an im-
pression is left on the audience of the superiority of
kindness over terror in conjugal affairs. The piece is
elegant and ingenious, but too slight to produce any
remarkable sensation. •

Mr. Sterling Coyne's farce of Lola Monte: has been
suddenly withdrawn, from circumstances over which the
manager had no control, and which are totally uncon-
nected with its merits or its success.