The Sun.
London, England, 1851-07-04 00:00:00

HER MAJESTY'S THEATRE.

Of all men living, Mr. Lumley seems to possess in its
greatest perfection the power of discovering, as it were
by intuition, the genius of those about him and of turn-
ing that genius to account, of, in tact, placing the right
men in their right places. As a most remarkable in-
stance of the exercise of this power, we may cite the
brilliant, the triumphant, and the most deserted success
of Thalberg's new opera, Florindi, or the Moors in
Spain, which was produced at Her 'Majesty's Theatre
last evening. When it was announced that
Mr. Lumley was about to produce an opera
from the pen of Tealberg, great curiosity was
excited, but the curiosity was nut unmingled with
anxiety, fur Thalberg had been hitherto known only as
the first pianist of his day, and as the composer of seve-
ral brilliant fantasias for the piano-torte, which were
necessarily and essentially undramatic. Many of the
class of "good-natured friend." immortalised by Sir
Fretful Plagiary sneered at the idea of a mere pianist
composing an opera, forgetting that Mezart, and
Beethoven, and Mendelssohn had been also, before they
commenced composition, "were pianists." The event
of last night has, however, set the question at rest;
Thalberg'a friends need feel no further anxiety as
to the brilliancy of the career which is before him, and
even those who would not have been oistuclined to con-
dole were compelled to congratulate and to exclaim,
Ecco it Maestro. The music is of an essentially dra-
matic character, and Tnatberg has imparted to it that
local colouring, which is the great charm of Auber's
composiiier s, anti the great secret of their success. The
music of Florinda is as distinctly Moorish and Spanish
as the music ot Maaaniello is Neapolitan. It is replete
with melody of the most taking character, and the in-
strumentate ri is most elaborate, whilst the in-
terest is so admirably sustained, that. although
the opera, which is in four acts, did ns.a
conclude until after midnight, there was no feeling ut
weariness on the part of thou: witnessing the retire soli
ta ion, nor was there, we believe. a single person present
who would have desired the omission of a single note.
M. Thalberg has been fortunate in st curing the services
of M. Scribe as his librettist, who has constructed out ot
the well-known history of Roderick, the last of the
Goths, a drama of great interest. Toe scene is laid at
Setts (now Ceuta), and at the opening of the drama we
find ourselves in the camp of the Moorish arm)
under the walls of the city, which is defended for
Spain by Count Julian. An unknown warrior, baited
as a Moor, and bearing the cegniz..nce of the Aben-
carriages, demands to be introduced to the chief Munuzza
(Co:ern). This unknown warrior is no otheethan Ro
derigo (Calzslari), the Spanish King, who accompanit d
by his page, Teodomiro (Madlle. Marie Cruvelli), has
assumed this disguise in order to visit the Moorish camp,
being moved thereto by the hope of reaching Setta, in
which city resides a certain Christian lady whom he
had rescued from drowning, and with whom he has
fallen in love. Munuzza had proclaimed a tournament, to
hold which a truce had been established' between be-
siegers and beseiged, and to this tournament come
Favila (Mr. Sims Reeves), the son, and Florinda
Sofia Cruvelli), the daughter of Count Julian,
In Florinda he recognizes the lady he had saved, and
she, in the Moorish warrior, sees her deliverer, with
whom she had fallen in love, but whom she must now
abjure, as the enemy of her creed and race. Fre-
quently, during the course of this scene, Roderick is on
the point of betraying himself, but is restrained by his
page, and at last the unhappy Florinda determines to
enter a convent, This scene was exquisitely acted by
Calzolari and Madlle. Sofie Cruvelli ; and in the course
of it there occurs a duet, which is a perfect gem of melody.
In the second act we find Florinda about to enter a
convent, and ber father, Count Julian (Lablache), in
vain seeking to change her resolution. That which the
father could not do, however, the lover accomplishes.
Roderic suddenly appears, avows that he is a Christian,
and declares his love; in raptures Florinda listens to his
declarations and avows that she too loves; but when he
tells her he cannot marry her she pours fourth her in-
dignation and scorn and abhorrence in the most impas
sioned manner, and Roderick finding entreaties
useless, carries her off by force. In the third
act we find Count Julian lamenting the loss
of his daughter; he is told the King is
approaching, and rouses himself to give the necessary
orders to prepare a fitting reception for his sovereign.
Suddenly Florieda enters in a state of almost madness,
and raves of her dishonour. The King arrives in state.
Julian and Favila are about to throw themselves at his
feet to demand redress, whey Florinda recognises in the
Kng the author of her wrongs. Favila defies the King,
who accepts the defiance; they meet, and Favila is
wounded. In the next act we find Favila
wounded, tended by his father and his
sister; the old man declares that their wrongs
will be soon avenged, fear he has made arrangements to
deliver the city to the Moors; in the meantime Roderic
enters, declares his repentanee, and announces his
intention of marrying Florinda, but reparation
comes too late; the Moors, under Mueuzzs.
are entering the city, Roderic rushes out
to oppose them, and Florinde, who views the
combat from the castle window, describes the fight to
Favila, who at length, wounded as -he is, rushes out to
oppose the Moors. Munuzza enters with his victorious
army with Julian and Favila preomera. Favila
dies of his- wounds, and Mueuzza orders the
banners to be lowered to his body, on which •
Count Julian, spurning the Moorish gold, throws
himself in despair, and Roderic is r,eon in the dis•
lance escaping with Florinda. Madlle. Sofie Cruvelli
has added immensely to her high reputation by
her intensely impassioned acting, and her magnificent
singing in Florinda, and the Favila of Sims Reeves is
perhaps the best thing he has yet done. The Count
Julian of Lablaohe was magnificent, i 6 is a pendant to

his Brtthraitio, and Cslz )lari stm4 the music 0
It .elt!rivk ;vith (7.4f=4 thl
was Layll), iliA Cruval
Ink& a .i.rPat deal ot the little part of the There
was a divertissement introduced in the third act, la
which tie Moooish and Spanish dances were very
effective. The performers were fro( quently called 00,
dating the course of the performance, and at the end O,
the third act Tbaiberg was. called for and grcete
with rapturous cheering, a compliment which WO
repeated at the termination of the opera.
The orchestra was admirably conducted by
Belle, and the overture (a very pleasing composition)
was encored. The choruses are superb, and the encored
throughout the opera were frequent. The thea,re wso
crowded in every part. Her Majesty honoured the
Theatre wLh ber presence, and remained until the con'
elusion of the opera