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

IN PARIS.
a brief asenUeiiiiilbe
Alary's. new erre,
friendly partialities
=selves 'en the that
a ,curia artiste very
nally esteemed, we
its genuine merits.
as it is, wtreeerd the advent of a young composer like
M.. Alary slif'si event of a certain importance—always
supposing that his future works will keep the promise
made •by the present. The subject of Le Tre Nozze is
amusing, and pleasantly carried on from beginning.to end.
The pivot of the plot is the mystification of a pompous
old baroa (Lablache), who, proud of his wealth and his
ancestors, comes from the provinces a suitor for the
baud of Luisa (Mme., Soutag); but, the young lady
having given her hi art to u lisodsouse cavalier (Gat- '
doni), the losers, with the aid of Crieca (Ferranti), a
smart intriguing kind of Figaro, end the earuerists
of Luisa (Srme. Giuliani), enter into a plot to mys-
tify and frighten the old gentleman out of lsiS
absurd pretensions, and they succeed so well
that he gives up the daughter and Marries her
mother, the Maechela di Forli (1111 e. bits Beitrand),
The scene being laid at Naples during the carnival,
gives carte blanche to every kind of disguise and extrava-
i7anlctee,rnaantdelythdeupuendfoarnd tuaamytestßifiaerd y Baron, a mixyttitteree,
the
ef
gDreni:
hlagaifico and Pasquale, inimitably acted by Lablache,
all pa
blow being, however, given by the camerista, who at the
wedding party throws herself at his feet in the guise of •
victim, and, demanding justice in the name of her out-
ragsd innocence, hints something of a little pledge of af-
fectionewho has particular claims upon his paternal
care. The indignant lliarchests on this diecuvery breaks
off the marriago with her daughter, 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 Tre Nozze. It will be seen from this
sketch that it is completely an opera-buffs. The
music—light, tasteful, and abounding in passages of
graceful melody—will speedily find its way y to every
piano and concert-room. It is -true that reminis-
canoes frequently present themselves, not exactly in
the forth ot imitation, but every now and then a
tittle pasiege drops in unmistakeably of - the family
of Donizetti, Belliui, or Rossini. Notwithstanding this,
however, the opera is by no means a ithout originality,
and nearly every aria displays a vein of animated
and sparkling melody, while the riorceaux
d'ensernble and the instrumentation show the hand •
of an accomplished musician. The first air, "P' iu
bel sole," sung by Ferranti, at once Wall 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 mu'
ceau is the aria dintrata of Lablache, very
ffoctive, with a spirited chorus of masquers,
and a trio " Negliastri," which .follows between
Mesdames Sontag and Giuliani, disguised as Bohemians,
and Lablacbe, were both admirable. The second ad
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 Marchesa 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 bim a lesson of bon ton and credal
Judaus ! to teach the Leviathan basso to trip the polka!
Ilad the success of the opera been at all doubtful, this
scene would at once hive decided the public in its favour.
The acting and singing of Mmc. Sontag and Lsbleche were
teddy matched, and the result was an ovation for both
these gi eat artistes. The finale of this act is coeceived and
rfrittCll in a large and truly musician-like stale, and was
justly received with the loudest demonstrations of favour.
In the third act we must notice a charging chorus in a
saiceato movement, Nene Serra," spiritedly sung
rind greatly applauded; a comic duo between Lab-
lache and Ferranti, "Io irnbroglione," was simi-
larly honoured; a graceful solo, well sung by Gar-
dtnti, and a briudisi by the same singer, with a
chorus, were likewise most favourably ri ceived. A
steilting srxtuor, 't I miei giuri," is noticable for com-
meadsble breadth of style, and as a finale, the polka air
above-mentioued, sung as a rondo with variations by
Mme. Sontag, is her own inimitable style, brings the
(Tens triumphantly to its conclusion. The principal
artistes were all recalled at the fall of the curtain sits
the cbt-nposer. 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 Franco on April 3:—

ASSETS.

Catlin hand ...
Ditto in branch banks
Bills past due
Bills discounted, but not yet due, of
which 15,107,8404 , were received
from the Branch Bageis,
bratich.barn.
AdVanea,a en coin %an ingots:.
Ditto by the branch banks
Ditto on French public securities ...
Ditto by branch banks...
Ditto to the State on Bons du Triisor...
Ditto on the loan of 75 millions ...
Rentes of the reserve fund ...
Rentes, disposable funds ...
Investments of the new branch banks in
the public funds
Hotel and furniture of the Bank
Real property of the branch banks ...
Interest in National Discount Bank ...
Ditto branch banks
Upenses of administration of the Bank
Ditto at the branches ...
Miscellaneous ...

f. 393,589,642 31
... 146,000,580 0
204,680 63

, •• •

45,872,125 14
77,492,505 0
1,337,200 0
1,278,016 0
7,956,312 10
2,186,034 0
50,000,000 0
50,000,000 0
10,000,000 0
42,557,246 28
12,952,725 74
4,000,000 0
3,617,794 0
200,000 0
230,000 0
317,475 59
301,704 0
2,274,049 2

E 852,368,086 81