The Sun.
London, England, 1851-05-21 00:00:00

HER MAJESTY'S THEATRE.

The habitues of Her Majesty's Theatre have no doubt
vivid and most pleasing recollection of a certain Made-
moiselle Cruvelli, who made her debiit at the commence-
ment of the season of 1848, and who, notwithstanding
her extreme youth, maintained, and most creditably
maintained, her position as prima donna until the advent
of Jenny Lind threw every other artiste into the shade.
All, however, who had seen or heard Madlle. Cruvelli
Prognosticated for her a bright future; she possessed
every requisite for commanding success in her pro-
fession; with a fine person, a most expressive coun-
tenance, a pure and rich toned voice of im-
mense power and great compass, it was evident that
she possessed every natural requirement for becoming
the very first singer of her day. Mademoiselle Cruvelli
returned in 1848 to Germany, her native land (her real
name, we understand, is Cruwell), and devoted herself
for three years to study; she appeared about two months
since at the Italian Opera in Paris and took the Pari-
sians by storm, and she appeared last night at Her Ma-
jesty's Theatre, having returned to the scene of her
early successes, and having, like Pasta, returned to
reign. The character which Mademoiselle Cruvelli chose
for her debiit was that of Fidelio, on which occasion the
only opera that Beethoven ever composed was repeated
for the first time on the Italian stage in England; but
it has been E 0 frequently represented in German and in
English, and is so familiar to every playgoer that it is
unnecessary to give any analysis of the plot. Made-
moiselle Cruvelli had never seen the opera performed,
which to an artiste of mere talent only is a great dis-
advantage, inasmuch as artistes of mere talent de-
pend greatly fur their elects upon traditional con-
ventionalities, but to an artiste of genius we
consider it rather an advantage than otherwise, inasmuch
as it enables such an artiste to create the part anew un-
fettered by reminiscences. Such an artiste is Mdlle.
Cruvelli, and her creation of the part of Fidelio last even-
ienvger
byeasreseunper it the unmistakeable stamp of genius in
we remember the Fidelio of Madame
SchrceJer Devrient; we remember the Fidelio of Madame
Malibran (it would bo almost an insult to Mademoiselle
Cruvelli to compare her to artistes of less power
and fame than these) ; and with a vivid
recollection of these great artistes in the part, we cannot
but confess that, as a whole, we prefer the Fidelio of
Madlle. Cruvelli. She is equal in power, both
musical and histrionic, to either of her illustrious
Predecessors in the character, whilst she possesses more
freshness and more originality, and necessarily so, be-
cause they were fettered by traditional conventionalities
frorn which she is free. Her voice, always one of the most
Piare,:rnost clear, and most brilliantof soprar o has, during
the last threey ears, acquire d great flexibility,and the purity
of her intonation cannot be surpassed; the middle tones
of her voice are particularly rich and mellow, and in
this point it has an advantage over that of poor
Malibrao, to whom Mademoiselle Cruvelli bears
a more striking resemblance than any artiste who has
appeared since her time. Her acting was superb; full
of power and intensity, she never overacts her part;
whatsoever may be the passion she expresses she com-
pletely carries away her auditors with her. Beautiful
beyond description was her manner of rendering
the exquisite aria " 0 to la cui dolce," when
she discovers the plot of Pizarro for murdering
his prisoner, her husband; and the whole of the grave-
digging scene in the prison was one of the most magni-
ficent displays of intense passion, kept under by strong
mental self-command, that was ever witnessed
Her manner of presenting the pistols at Pizarro, as she
rescues her husband, produced an electrical effect on the
audience, and her retreat, as with tottering steps, still
keeping the pistol pointed at Pizarro, she leads her
husband off, brought down salvos of applause. Her
singing was throughout perfect, and from the moment
she cease on the stage until the conclusion of the opera
she kept the audience in a constant state of
rapturous enthusiasm. She was called on re-
peatedly during the course of the evening and
twice at the conclusion of the opera. Mademoiselle
Cruvelli is one of the very greatest artistes, dramatic and
lyrical, who has ever appeared on the boards of the ope-
ratic stage. Mr. Sims Reeves, who was the Florestan,
fairly divided the honours of the evening with Madlle.
Cruvelli; he was in excellent voice, and sang and acted
With great power and intensity. Coletti was magnificent
as Pizarro, and the Rocco of Signor Balanchi was a most
careful and excellent performance. The choruses were
superbly rendered; in order to give full effect to the cho-
rus of prisoners. Gardoni, Calzolari, Lorenzo, F. La-
blache, and the other principal members of the
Company took part in it, and never has
this magnificent chorus been so perfectly
rendered; it is needless to add that it was encored as a
matter of course. It is known that Beethoven composed
no less than four overtures to his opera; of these the two
best, viz., that entitled "Leonora," and that entitled
" Fidelio" were performed last evening; "Leonora" before
the commencement of the opera, and " Fidelio" between
the-arse:and and third acts. Nothing could be more admi-
rable than the manner in which Balfo conducted, and the
orchestra rendered the whole of the music; it was evi-
dently a labour of love with all concerned. The piece
Wss admirably put on the stage; the groupings
and processions were most picturesque, and the
last scene of the castle was very beautiful.
It would be an act of injustice to close this notice with-
out according honour due to Madame Giuliani, who by
her admirable performance of the character of Marcellina
contributed materially to the triumph of the evening.
Her Majesty and the Prince, with a numerous suite,
honoured the performance with their presence. The
theatre was crowded to excess in every part long before
the rising of the curtain.