The Sun.
London, England, 1851-08-11 00:00:00

T H E

AL ITALIAN OPERA.

The new opera, Sop, performed on Saturday
evening, is an Italian version of M. Gounod's Sappho,
which was lately produced at the Grand Opera at
Paris. Accounts varied respecting its reception ; but
they showed, that though its success was not
triumphant, yet it made a very favourable impres-
sion, and it had been performed several times when
Madame Viardot (who personated the heroine) left
Paris to fulfil her London engagement. The per-
formance of the opera at Covent-garden, and its re-
ception, have shown that it is not calculated to
produce an effect upon the stage, but that its
composer is a young musician from whom great
things may reasonably be expected. The subject
has been unwisely chosen and lacks dramatic in-
terest. Classical antiquity, as a source of materials
for the stage, has gone out of fashion even in France.
It is found that attempts to embody forms of life
which have long since passed away, and of which we
have no distinct conception, lead to nothing but what
is stiff and conventional. We see before us groups
of moving and speaking statues, not creatures of
flesh and blood : and all the art of the poet can rarely
inspire us with more than cold admiration. The
opening of the piece was imposing. The scene re-
presents the celebration of the Olympic games, and
a great multitude are singing the praise of the con-
queror. This opening chorus is broad, simple, and
resonant ; and the prayer to Jupiter has a tinge of
the Italian ecclesiastical style. Phaon and his friend
Pythias appear conversing on the conspiracy in which
they are engaged against the life of the tyrant Pitta-
ens, and on the rivalry of Sappho and Glycere for
the heart of Phaon. Ile loves them both, the one

for her mind, the other for her beauty, and sings a
romance which amounts in substance to Macheath's
"How happy could I be with either, were t'other dear
charmer away ?" It is, however, one of the prettiest
things in the opera, and, being admirably sung by
Tarnberlik, was warmly encored. Then enter, first
Sappho the intellectual, and then Glycere the beau-
tiful ; the rival fair ones dispute; and the too happy

•
lover wavers between them, their dialogue forming
concerted movement of considerable spirit. Sappho,
feeling herself worsted, leaves the field to Glycere,
who sings her triumph in an air more florid thus
effective, which strained Madame Castellan's voice
beyond its pitch and its powers. The next
incident is a public lyrical contest between Sappho
and her celebrated competitor Alceeus. They mount
a rostrum in succession ; Alcceus sings the praise of
patriotism, and the crowd shout "Death to Ty-
ranny !" Sappho sings of love and pleasure ; Alcceus
or~ns himself vanquished, and the victorious Muse is
crowned by the Chief Priest amid the acclamations
of the people, in which Phaon rapturously joins. But
the audience did not join very warmly in these de-
monstrations of triumph. Sappho's air was very long,
very deficient in form, symmetry, and melody ; and all
Madame Viardot's efforts failed to make it effective.
In the second act Phaon gives a grand dinner to his
fellow-conspirators. After a carouse, in which Pythias
gets drunk and sings a bacchanalian song, they sagely
proceed to business, and all sign a manifesto, to be pla-
carded next day in the streets, after one of them has
killed the tyrant. Glycere enters, and finding Py-
thias left alone, soon worms out of him the secret of
the plot, and gets into her possession the treasonable
scroll. Possessed of this evidence, she uses it to se-
parate Sappho from Phaon, by compelling Sappho, as
the only means of saving Phaon's life, to swear that
she will instantly depart and see him no more.
These scenes form the most dramatic portion of the
piece. The chorus, " Gloria a Bacco," is full of
fire; and the anacreontic, sung by Tamhurini in
the character of the drunken Pythias, is bold and
original. The scene in which Glycere obtains Py-
thias's secret forms an animated duet ; and there
is much force and passion in the final parting be-
tween Sappho and Phaon, which concludes the act.
The third act is slight and feeble. The scene is the
famous Leucadian promontory, from whence Phaon
and his comrades, with Glycere, embark to depart
from their country. Sappho then appears alone ;
concealed behind a rock, she has witnessed their
departure ; and, in despair, singing her death-song
to the accompaniments of her lyre, she terminates
her woes by throwing herself into the sea. This
conclusion is exceedingly elaborate, and evidently
intended to produce a great impreseion, but on Sa-
turday night it entirely failed to do so, and the cur-
tain descended amid but faint applause. The perform-
ance has certainly not been successful; but its compara-
tive failure has been in a great measure owing to the
subject of the drama. In the music there are many and
great beauties ; beauties, too, which would grow upon
the ear by repetition of the piece. The recitative is
generally admirable, well calculated to bring out the
point and energy of the dialogue; and the connecting
instrumental phrases are expressive and picturesque.
Indeed, the whole of the orchestral writing is rich
and masterly. The choruses are uniformly excellent,
and some of the trios and quartets are very fine. It is
chiefly in the airs that the failure (in so far as the
music is concerned) lies. In straining after originality,
the composer has sacrificed melody. Not that he is
incapable of it ; for the orchestral parts are full of it,
and there are beautiful traits of song among the
phrases of the concerted pieces. Unfortunately it is
precisely where air is most essential that air is chiefly
wanting. The performers used their best endeavours
for the success of the piece. The choruses were well
sung ; the orchestral accompaniments admirable ;
and the mise en scene was splendid and beautiful, as
well as classically correct, but even the genius of
Viardot, the tact of Tamburini, the energetic vocali-
zation and dulcination of Tamberlik, and the depth
of Stigelli, who was encored in a pastoral in the last
act, could not raise an enthusiasm in the auditory.

HUNGERFORD HALL, STRAND.
On Saturday there was a private view of the new
building in Hungerford-market, which comprises a
grand bazaar, an illuminated bazaar, and theatres of
optical illusions and dioramas. M. Buquet, of Paris,
the enterprising proprietor, has invested, it is under-
stood, about 15,0001. in the speculation, and there can
be little doubt of its triumphant success. From the
exterior of the building it is impossible to have any-
thing like a clear conception of the extreme beauty
and adaptation of all its parts to the purposes both of
business and entertainment. It appears that the idea
of raising such a structure was suggested by the
disappointment experienced by a great number of
persons who failed in procuring space in the
Crystal Palace for exhibiting their industrial pro-
ducts. The Grand Hungerford Hall Bazaar was then
projected upon the site of the fish- market, which
had proved a failure, and which presented an un-
sightly and desolate appearance in the midst of a loca-
lity rendered extremely populous within the last few
years. The hall, now completed, appears to be one
of the best-planned projects of the day, and is likely
to secure a high degree of popularity. When the
bazaar was agreed upon, it was thought desirable to
mingle the agreeable with the useful, andr, the two
theatres were consequently projected. The public
will therefore have the advantage under the one
building of a grand cosmopolitan bazaar, where the
manufacturers and artists of the world may exhibit
and sell their various products, and two places of the
most delightful amusement and instruction. In point
of situation no place could have been better chosen for
such an interesting exhibition. Together with its na-
tural local advantages, its immediate proximity to the
Suspension Bridge, to and from which the bazaar
may be said to form the main road, will present an at-
traction to the large population on the Surrey side of
the river, as well as to the vast multitudes that use the
stearaaboats, which it will be impossible for them to
avoid. The bazaars may be said to consist of an it
luminated avenue from the Strand side of the market
162 feet long, on each side of which stalls are ar-
ranged. The whole is to be continually illuminated
Dioramas. T
with gas. Immediately in front is the entrance to
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communicatingtogether
passages, yet in front forming separate establishments.
One section of the roofing being constructed of plates
of cast glass, produces a most agreeable effect. The
first of the theatres i devoted to the exhibition of
phantasmagoria, or optical illusions, under the sole
control and direction of Professor de Waldeck. In
the lower area, and immediately over the site of the
old fish market, is placed the theatre for the exhibition
of dioramic views, painted by M. Bouton. The
views selected for the opening of the Theatre are
" The Interior of St. Mark's, Venice," and " The
City and Valley of Friburg, in Switzerland." The
dioramic effects in these two pieces are so managed
as to produce the appearance of
night
and day, storm
and sunshine. In the latter view there is represented
a fall of snow, the most natural that can be conceived.
The theatres are very handsome, neat, and conve-
nient, each being calculated to accommodate 600 or
700 persons with great comfort. Attached to the
theatre of Professor de Waldeck (which is at the
Strand entrance), is an elegant saloon for refresh-
ments, together with a retiring room for ladies, fitted
up with every possible convenience. The architect
is Mr. Dankes, and Messrs. T. and W. Piper, of
Bishopsgate- street, are the builders. The grand bazaar,
to which you descend by a flight of steps, occupies
a space of ground amounting to about 60,000
square feet. As the admission to the bazaar and to
the illuminated avenue will be free, there is every
likelihood, under the present spirited management,
Hungerford Hall will form one of the greatest attrac-
tions of the metropolis. The external appearance of
the hall towards the Strand is very handsome. It is
said that all the stalls and counters in the illuminated
bazaar are let, and but few disengaged in the grand
bazaar. There were about 100 persons invited to the
private view, amongst whom were Mr. Bernal, M.P.,
Mr. Dominic Colnaghi, and Messrs. Seeger, Evans,
and Dr. Moore, members of the committee of Hun-
gerford Market. After the view was concluded, the
visitors were invited to partake of a cold collation.
The greatest satisfaction was manifested by all. The
building will be open to the public on Monday.