The Sun.
London, England, 1851-03-20 00:00:00

THE ITALIAN OPERA IN PAU'S.

, The first appearance of M. Reeves, which has been
looked for with interest from an early part of the
159asun, took place at length on Saturday night, and,
We hasten to say, with complete success, though
We must candidly add, that we have never seen
singer of the same eminence placed before the
public
t in a part so much to his disadvan-
jge• Among the audience might be counted
el.tile musical eilibrites of Paris, with scarcely an
vlosption. The reason of this unwonted congress of
`musicians was, that, for the last year or two, not an
4!lttiste has returned from London, without bring-
I,!IR back marvellous accounts of a certain Eng-
,nh tenor, who, to an organ of unequalled power,
""4ed great amplitude of style, a perfect commend
I', intonation, and, to crown all, was a thorough
111usician. Now, a tenor of this calibre would at any
Abue awaken an immense degree ut attention in Paris,
in piping times like the present, when the entire
,ntioent is, properly speaking, without one, the
debut
of M. Reeves became, musically, an event of
,:6„2tretne importance, and hence the unusual gathering
`Virtuosi we have spoken of. The opera selected
;1:3 Linda, than which, as we have already
'VI one less adapted to the display of his voice
old
scarcely be found ; but there is something in
quality of true talent that, place it where you
7241.9 it cannot, be concealed, for he had not sung
irfbe bars. of the opening duet with Mme. Sontag,
the the quick-eared audience at once recognised
a, genuine artiste, and the first pause was followed
tr IS cheering burst of applause from all parts of
e theatre, and at the close of the morceau he was
wiled, with Mme. Sontag, amid reiterated bravos.
cavatina in the second act was not the air usually
&I'rOdUced, but that written for the opera, se
ira. In the recitative his large style
;1. noble voice came out superbly, but from
81.198' imperfectly acquainted with the power of re-
411auce of the salle, M. Reeves was here somewhat
114111 t, his forte being occasionally too loud, and
climinuendi on the other hand too piano; so
ill, so that his sotto voce passages, delightful to
iTiule seated in the orchestra, were almost unheard
*,the more remote parts of the theatre. The air
„„_43 given with great expression and effect, and the
Zoluding duo with Mme, Sontag brought the opera
;411lizably to its Close. M. Reeves displayed through-
12ta perfect mastery over his powerful organ, which
~nga out the celebrated ut of Duprez with the most
lrlect ease ; the task of the singer being indeed
4ther to keep it down, than to display its force ; its
"at compass relieves him from all necessity of re-
:ring to his falsetto ; his delivery is free from all
Littation, and his acting, like his singing, free,
i',lY) and inartificial. We must add that his
itr) though not devoid of elegance, still requires a
terifent and a finish which, we honestly believe, is
acquired only in Paris; and, we are quite dis-
ijd to agree with M. * * *, one of the most
I,losnt professors of the Conservatoire, who,
keg(4l of. the debutant to a knot, of composers
ow Journalists in the foyer, cried—He 1 Messieurs,
;On me donne ce gaillard la pour six nzois et
Th'engage a en faire le premier tenor en Europe.
Mme• Sontag acted and sang Linda with her usual
bili jchless grace. The other characters have been
flosd too frequently to require further mention.
*lock forward with interest to hear M. Reeves in
beelcharacter more worthy his talents. If the long
i/Mised Ernani be not ready, why not appear with
to ,14 • Sontag in La Somnambula, which, according
"le London critics, is one of his most successful
Plays ?—Galignani.