The Sun.
London, England, 1846-01-28 00:00:00

HER MAJESTY'S THEATRE.

THE APPROACHING SEASON..
The earlier arrival of the beau monde In the metropolis, and the
remembrance of the extraordinary feats of last season, have com-
bined to excite the most intense curiosity as regards the Opera
season. Informeion has been demanded before, as we should guess,
engagements were completed. Some of our contemporaries, drawing
upon their imagination for their facts, have exerted themselves to
meet the demand for information. We have been contented to re-
main quiescent, and 'gm: ant of what did not exist ; and the follow-
ing details will show we ware right—they resemble in nothing that
whiclywas most solemnly predicated.

Formerly the difficulty of pleasing the public at her Majesty's
Theatre was, that it had so bad a name, and that there prevailed so
general a conviction that it was a doomed institution. For tt is
season, on the contrary, the critics most friendly to this establish-
ment had misgivings, because last season too much had been done ;
and we were amongst the number. The spirit and fastidious sense of
enjoyment in society, like that of an overture, constantly require a
crescendo; and if in the last composition resources have been abused
—trumpets and trombones, double drums and ophicleides have
sounded their utmost—then defeat is certain. " When shall we see
such a season as the last again ?" Adieu to the pas de quatre and the
other scenic wonders ! We have lived on the quintessence of good
things; now comes the "stale, flat, and unprofitable," said we, and
so said the world. Fortunately, having manifold other thoughts and
duties to distract us. we had forgotten that the Italian Opera House,
In spite of its apparent perfection and recent triumphs, was only two
or three years old in its vigorous " second infancy" of regeneration ;
and there was a maturity of power, in several directions, to bs ac-
complished, independently of the pas de quatre and such feats being
now of more possible achievement. And so it has come to pags,
we are to trust to our information. _ _ _

Regard to the public at large, and to the noblemen and
gentlemen who have now become proprietors of boxes,
demanded serious outlay. It has been undertaken in
a style which, we suppose, may involve from • 10,0001.
to 20,0001. before the work be completed. In its proper point of
view, the opera is a temple of pictorial, as well as dramatic and
lyrical illusion. The greatest artists have consequently been called
into council ; amongst others, one who in the broad effects of scenic
painting, as well as in his own peculiar department of his daily
avocations, is unquestionably unrivalled. They consulted, and the
plans once matured, the younger artists mustered under their leaders,
and the work is on the eve of completion. No plan has been thought
more auspicious than that of uniting under the same roof the pic-
torial thought of the great masters Italy once realised in an heroic
age, and the works of the composers, the only produce she yields in
these days of woful decline. The marvellous frescoes of the palatial
abodes of Italy, still the objects of pilgrimage of every lover of art,
have consequeutly been adopted as models. The other parts of the
works undertaken have given occupation to the supple industry of
our English mechanics ; and our manufactures have had their share
in the undertaking, through many thousand yards of rich tissue,
having been ordered to be elaborated at Spitalflelds. One of
tho circumstances which has must efficiently promoted the
undertaking, is that, not only the great artists, but the most
eminent men of seieuce, considering the Italian Opera as a
great temple of art, have been most prompt in affording their kindest
assistance. Our great scientific characters have most generously con-
tributed counsel and aid in improving the ventilation of this immense
edifice, from the vaults below to the gallery above, where the less
affluent, but must resi-ectable classes of society, acquire the love of
exalted art, and crowd in such numbers, that the heat was hitherto
suffocating. We are happy to be informed for the sake of those who
come " swetatum," to behold the marvels of the place, and no less
for the fair votaries who likewise wish "spectentur ut ipsce"— and we
confess that the living pictures in the box frames, must, whatever be
effected, eclipse the goddesses in fretted gold on the roof—that the
system of lighting the theatre has also undergone great additional
improvement. In] a word, everything has been done to snake the
edifice reflect the directing spirit; correspond to the station of her
Majesty's Theatre, the highest in the world, and render it worthy of
its audiences, consisting of the most august, as well as the noblest
members of society, and no less of all persons of good taste and high
refinement in every class of society.
Another reformation which we have repeatedly demanded for se—
veral years, is now to be effected. Instead of ungenerously seizing upon
operatic productions other theatres on the Continent have paid for, or
giving us the tozgours perdrix of old works, every barrel-organ has
grinded to satiety for a quarter of a century or more, we are to have,
at last, an Italian composer brought over, with a new opera, pur-
posely composed for ourselves. Verdi, the greatest amongst the
rising composers, is the man chosen. The subject of his opera is
King Lear, and the great Lablache is to impersonate the hero ! The
fact speaks for itselt,—all praise would be superfluous. Those who
remember— and who does not ?—the " swelling sorrow" of the great
lyrical Titan in Elmiro, and his withering malediction, may prepare
for an extraordinary rendering of Lear's " Hysterica passion," and a
hurling of " Vengeance ! plague death I confusion !" with lightning'
vehemence. An Italian librettist could not catch the philosophical
beauties and delicate traits of Shakspeare, but these will be readily
interpreted.
The lyrical company will once snore embrace the great artists of
former seasons—Grisi, Brambilla, Mario, Lablache, Foniasari,
F. Lablache, Corelli. Castellan, so fashionable in the parts of youth-
fel heroines, was engaged at the end of the last season to re-appear
during the present ; Signora Sanchioll, a prima donna well known in
Italy, is likewise engaged. Signora Sanchioli is now singing at the
Argentine at Rome. We hear from Italy that she is twenty-three
years of age, has a well-formed person, an expressive face, and in-
dependent of her vocal talent, great dramatic powers, to which her
saperior education greatly contributes. A young comprigiaria has
also been secured in the person of Signora Corbari. Hopes are enter-
tained of possessing Rubini for a few nights. According to his last
letters he will, at all events, visit his old friends and admirers in
London this season. Treaties are on the tapis to secure the presence
of a certain illustrious composer, and also seine lyrical artists of
European celebrity.

The ballet will, in all probability, equal, if not surpass, its past
triumphs. Gralm, C. Grist, Cerito, who have each separately
sufficed, since they parted here last season, to fill continental
theatres to suffocation, will meet again on our Anglo-Italian stage.
It is likewise most confidently expected that Taglioni will come
once more, so that the marvels of the pas de quatre will be renewed.
San Carlo will part with its graceful danseuse, Louise Taglioni, the
cousin of the modern Terpsichore. She is young and full of promise,
and comes from the best school—that of her father, Salvatore
Taglioni, the master of the revels of Neapolitan ballets. Madame
Petit Stephan remains engaged ; also, Moncelet and her fair col-
leagues. To the latter are added the young and pretty danseuses,
Mesdemoiselles Lenore, Julienne, Tavenean, lamortux, &c. St.
Leon is expected, and M. Carey, another male dancer, is engaged.
Perrot, the most graceful of male dancers, and the most original of
ballet masters, is already arrived, and is at this moment engaged in
ballet preparations. At the request of some of the most influential
subscribers, the Interesting importation of last year, the little Dan•
seuses Viennoises will re-appear once mere at the beginning of the
season.

There are many other plans and engagements in contemplation,
but they arc net as yet matured.
The preparations are going on apace. The Opera is the scene of
incessant motion, noise, and activity; every crypt and corner has its
busy inhabitants, and as soon as the whole is concluded the season
will begin earlier than heretotore.
If we are to trust to our own private sources on the Continent,
and those from the best informed, the season will begin with Nahum,
Verdi's celebrated opera so successful this season in Paris, and a new
ballet, of which the plot is written by one of the most imaginative
poets of our times. At present, however, such is the flood of news
poured down upon us, that we can only say, like the Cardinals in
conclave when a new question is submitted to them, " Vedrenuno r
One circumstance that will excite astonishment is that Signor
Costa is no longer the leader. We beg to refer to the letter annexed.
We have always done justice to the skill of this gentleman ; but
when circumstances require the withdrawal of a leader, it would be
extraordinary indeed if in our age, where musival talents, in his
peculiar department, is so abundant, such a void should not be
easily remedied. The manner in which it has been filled up meets
with our warmest concurrence. Mr. Balfe combines with the na-
tive genies of his country a thorough familiarity with Italian
music. In Italy (at Rome), he spent the last six years of his ar-
tistic education, and as composer or singer, he has figured there
on all the first stages, from Palermo to Milan. Such is the protean '
power of his genius, that he has moulded his style to that of all the
countries he has visited ; whether for the theatres of Germany, for
the Opera Gomique, or for the Academie de Musique, in France,
where he has justachieved another triumph. He is popular in every
country at this moment; besides England and France, his operas are
performing in Italy; his Quatre fils Aymon is triumphant in Vienna,
where, at the moment of receiving this new engagement, he had been
summoned to bring out his Bohemian Girl, which is also now
studying at the Academie de Muslque in Paris. He brings
another title to her Majesty's Theatre, where his opera Ri/stoti
enjoyed well-merited success ; and some pieces of his composition,
such as the trio of the three women, continues to this day one of the
most triumphant and popular specimens of his genius. Aided to
this, Mr. Balfe, as a singer, knows well the aids and requirements of
the vocalists he accompanies ; and with him it is a golden rule, we
have often observed, never to make the orchestra shine at the ex,
pense of the singer. With such talents and such popularity achieved
in foreign lands with no support but his talent, it would be extra-
ordinary indeed if he did not attract the same patronage at least at
home; and, we consider the choice of him, as a successor to M.
Costa, as an act of ge,ed taste as well as good feeling.
We have been favoured with a copy of the following letter from Mr.
Ltunley to Al. Costa, which explains the circumstances which lead
to his retirement :
" January 23, 1846.
" Sir,—My opinion of the course you have pursued is unalterable,
and I regret I cannot come to any other conclusion.
" I returned from the continent confiding
de-
votion, and at the eleventh hour, on the eve of beginning the season,
in your professions of
into an you have, four months ago, entered .
IToticetl)toleamyee, me without resource, not only do I find that, without
engage-
ment,the
terms againste yourwl d c h
past I h avelong
engagement,slu e pernoateswtedithasyeinurcomduptiaetieblaetWthithe
Opera ; but that, relying mien what might naturally be considered
iorciug upon me the production
my helpless position, you insist upon
of your operas.
'i Yee State that no consideration In the world would induce you to
renew your engagement, unless I pledge myself to produce operas of
your composition, at stated intervals. To this I reply, that nothing
ould Induce me to give such a pledge.
" The preference that composers naturally give to their own works
s theof writtent heir owrun
lceo.mo -1.
has created an almost invariable practice in Italy of preventing the
Pthttflo°rmns osfowneorokf
pr
• Musique at Paris. In good feeling to you, however,
oductione,ibely:zsoxeiwn
tyhoantr
position
401 A.cjetnie d
I overlooked this palpable objection, and at an immense sacrifice of
time and mosey, and to the exclusion of other new works, I brought
out an opera of your composition which absorbed the Utile
and exhausted the energies of the great artistes to such an extent,
that, without ffirther sacrifices in effecting new engagements, I should
bare
I,a position of serious difficulty. Besides, lam
ee unfortunately happens that, in spite of your
beentc placedsair
thatin I t
unquestionable musical science, your operas are not popular with the
public. Don Carlos made no return for the sacrifices made, and was
performed but five times, and in spite of my wish, and of what Other-
wise would have been my interest, I could not give it again last year
without acting in defiance of ,1 tl
~general feeling. I must conclude
also, that it enertenced the same want of favour abroad, not having
bawl brought eat at any theatre, not even in Paris, where it would
have been the palpable interest of director and artists to produce an
opera already studied.
" With respect to your acceptance of an engagement in
another
establishment, the extent of business at her Majesty's Theatre de-
mands of its musical director uncliilded 'attention. The matter was
so fAlly 4.15qqe4 Wtti4il his last year, and you so well know my
tenti;peuts an the subject, that I could only construe this step on
your part as a foregone determination to retire from her Majesty's
Theatre, particularly when last year I increased your salary by 2001.,
being the sum you stated was the amount of salary offered you. _

." Nor can I overlook the fact that this occurred during-my rapl(l

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