The Sun.
London, England, 1834-10-28 00:00:00

ITALY:

The grand evolutions of the Austrian army in Italy
under the command of Field Marshal Radizki, took place
near Verona from the 6th to the 12th of October, and was
favoured by the finest weather. The number of the troops
was estimated at 63,000, that of the spectators at 100,000.
Among the latter were the Duchess Maria Louisa of
Parma, the Duke of Modena, the Prince of Vasa, the
French General Cubiers, and many English, Hanoverian,
Prussian, Bavarian, and Sardinian officers.
VIENNA, OCT. 17. —Five per Cent. Metalliques, 99 ; Four per
Cent., 90% ; Bank Shares, I,2s2.—AlWemeine Zeitung, Oct. 22.

THE THEATRES.

ENGLISH OPERA-HO USE.

Hermann, or, The Broken Spear, the new opera, com-
posed by Mr. John Thompson of Edinburgh, was brought out
at this theatre last night. The piece is founded on an old
German legend, and contains a good deal of romantic incident.
Hermann, the hero of the drama, the son of the Duke of Aus-
tria, is a young man of a noble and generous nature, but the
slave of passion, and immersed in reckless profligacy. He has
forsaken his father's court, and, under the assumed name of
Sir Gowther of the Red Hand, has become the chief of a
troop of condottieri, the formidable military banditti, so cele-
brated in the history of the middle ages. At the opening of
the piece, Conrad, the Prince of Mantua, is on the eve of
marriage with Isabella, the daughter of the Duke of Austria.
Hermann, estranged from his family, and ignorant of what was
taking place, hears that a bridal party is passing near his haunt

'Under the disguise of a friar, he waylays them with a party
of his followers, assaults them at the entrance of the church
where the marriage vows were to be paid, and seizes
Conrad and Isabella, after overpowering their attendants.
Recognising, however, in his intended victim, his own sister,
his better feelings are suddenly roused, and he is overwhelmed
with horror and remorse. Under the influence of these
emotions he retires with his followers, leaving his captives at
liberty. Thus terminates the first act. At the commence-
ment of the second, we find that the profligate is thorougly
repentant. He has forsaken his associates, and condemned
himself, by a vow, to expiate his crimes by a life of pilgrimage
and the severest penance. Meanwhile the Prince of Mantua
is placed in jeopardy by the treason of Gianzar, his seneschal,
who, having vainly aspired to_the hand of Maralda, his sister,
resolves, from mingled motives of revenge and ambition, to
attempt the destruction of his lord. He leagues himself,
accordingly, with the band of condottieri, whom Hermann
had formerly commanded ; and a plot is laid for an attack on
the city, and for his subsequent elevation to his master's
throne. At this time, He; mann re-appears as a wandering
beggar, attenuated by famine and mental suffering. He
sinks on the earth from exhaustion, and is found in this
state by Maralda, who had long loved him. This princess
(who, for the sake of melo-dramatic effect, is represented
as dumb from her birth) offers succour to the poor out-
cast without recognising him. While thus engaged, the alarm
of the treacherous assault is given ; and Hermann, declaring
himself to be under a vow to refuse every comfort till he has
performed some act sufficient to wash away the stain of his
past life, requests to be furnished with arms to assist in the
Prince's defence. The assailants are beaten off, chiefly
through the bravery of Hermann, who is grievously wounded
by a spear, the head of which is broken off and remains in
his shoulder. By some incidents, which we have no time
to detail, this circumstance leads to the discovery of the
poor stranger, who had done such good service ; a
recognition follows ; and Hermann finally receives the
hand of his faithful Maralda. Such is the general outline
of the plot, which is enlivened by the introduction of some
comic characters and incidents. As a drama, the piece
has considerable merit. The dialogue is spirited and
lively, and the lyrical part is pleasing, and even poetical ;
but there is a want of skill in the working out of the plot,
which occasions some obscurity. The music is of a very high
order. In its graceful and flowing strains, and in its rich and
full, yet clear and delicate harmonies, it is of the school of
Mozart ; and to the same school we may ascribe the simplicity
of the modulations, and the variety of charming effects pro-
duced by a temperate use of the wind-instruments, particularly
those of the more powerful kind. It is, too, highly dramatic ;
gay, tender,wild, and impetuous, as the character of the scene
requires. Phillips, in Hermann, was in every respect
admirable. Nothing could exceed the fire and vigour which
his performance displayed from beginning to end. Wilson
sang with much sweetness ; but he lacked spirit, and was not
entirely perfect in his part. Indeed, the performance gene-
rally betrayed hasty preparation.