The Sun.
London, England, 1851-04-10 00:00:00

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ASSETS.

ITALIAN OPERA. I AR's.
We have already announced in brief sentence th
flattering reception accorded to M. Alary'e new opera,
77-sy4e-,Spz.-e, and, apart from the friendly pattialities
which involuntarily manifest themselves on the first
representation. of a work from a young artiste very
generally known, and as generally esteemed, we
are enabled to bear testimony to its genuine merits.
As it is, we regard the advent of a young composer like
M. Alary as an -event of a certain importance—always
supposing that his future works will keep the promise r's
made by the present. The subject of Le Tre Piazze is i a% •
amusing, and pleasantly carried on from beginning:to end. sit
The pivot of the plot is the mystification of a pompous ,
old baron (Lablache), who, Proud of his wealth and his
ancestors, comes from the provinces a suitor for the
hand of Luisa (Mme. Sontag); but, the young lady
having given her heart to a handsome' cavalier (Gar-
doni), the lovers, with the aid of Cricca (Ferranti), a 4111.
smart intriguing kind of Figaro, and the camerista
of Luisa (Mme. Giuliani), • enter into a plot to mys-
tify and frighten the old gentleman out of his
absurd pretensions, and they succeed so well
that he gives up the daughter and ' marrirs her
mother, the Marchem di Peril (Mlle. Ida Bertrand),
The scene being laid at Naples during the carnival,
gives carte blanche to every kind of disguise and extrava-
gance, and the unfortunate Baron, a mixture of Don
Magnifico and PaEquale, inimitably acted by Lablache,
is alternately duped and mystified by all parties, the great
blow being, however, given by the camorista, who at the
wedding party throws herself at his feet in the guise of a
victim, and, demanding justice in the name of her out-
raged innocence, hints something of a little pledge of af-
fection, who has particular chime upon his paternal
care. The indignant Alarchesa on this discovery breaks
off the marriage with her-datighter, and after some fur-
ther adventures as we have already said, weds him
herself, the younger quartette of loves making up
matters at the same time, and hence the'title of the
piece—Le 'lre Aozze. Ic will be seen from this
sketch that it is completely an opera-buffs. The
music—light, tasteful, and aboundiz?g in pasiages of
graceful melody—will speedily find' it
,It is trues rbay
at to
everYpiano and concert-room.
reminis-
cences frequently' present themselves, not exactly in
the form of imitation; but„ every now and then a
little passage drops in unmistakeably of the family
of Donizetti, Bellini, or Rossini. Notwithstanding this,
however, the opera is by no means without originality,
and nearly every aria displays a vein of animated
and sparkling melody, while the ' morceaur
d'ensenible and the instrumentation sho*etlp hand
of an accomplished musician. The first -sir, " Phi
bel sole," sung by Ferranti, at once won the favour of
the audience for the composer; the style is large.
and very well executed by this rising young singer;
it was warmly applauded. The next striking inar•
ceau is the aria d'intrata of Lablache, very
effective, with a spirited chorus of .masquets,
and a trio " Negliastri," which follows between
Mesdames Sontag and Giuliani, disguised as Bohemians,
and Lablacbe, were both admirable. The second act
opens with a chorus and one of the prettiest airs in
the piece, sung by Mademoiselle Ida Bertrand, though
'of far too sentimental a cast for the occasion ;
the Marchese being simply scolding her ser-
vants and ordering an excellent dinner, which
the composer has' thrown into an air of touching sensi-
bility and tenderness. It -was much applauded. The
capital scene of the piece follows, in which Lablache
essays a lesson of love-making; and the young lady in re-
turn undertakes to give him a lesson of bon ton and credal
Judaus ! to teach the Leviathan basso to trip the polka!
Bad the success of the opeta been at all doubtful, this
scene would at once have decided the public in its favour.
The acting and singing of Mme. Sontag and Lablache were
fairly matched, and the result was an ovation for both
these great artistes. The finale of this act is conceived and
written in a large and truly musician-like style, and was
justly received with the loudest demonstrations of favour.
In the third act we must notice a charming chorus in a
staccato movement, " Nella Berra, " spiritedly sung
and greatly applauded; a comic duo between Lab-
lache and Ferranti, "Io imbroglione," was simi-
larly honoured; a graceful solo, well sung by Gar-
doni, and a brindisi by the same singer, with a
chorus, were likewise most favourably received. A
striking sextuor, "I miei giuri," is noticable for com-
mendable breadth of style, and as a finale, the polka air
above-mentioned, sung as a rondo with variations by
Mme. Sontag, in her own inimitable style, brings the
opera triumphantly to its conclusion. The principal
artistes were all recalled at the fall of the curtain with
the composer, an honour which had been already thrice
bestowed upon M. Alary during the representation.—
Galignani.

BANK OF FRANCE.
The following is a return of the situation of the Bank
of France on April 3:—