The Sun.
London, England, 1860-06-28 00:00:00

ROYAL ITALIAN OPERA.

Gluck's justly renowned opera of " Orfeo e
Euridice" was last night given entire with all the
accessories of stage representation. Madame
Csillag, in Orfeo, obtained even a more brilliant
and decided success than in Fidelio, proving herself
not only a tragedian of rare gifts, but a thorough
mistress of the highest school of vocal declamation.
Fier portrayal of Euridice's constant lover, to the
charms of whose music even demons and furies are
not insensible, was in all respects consummate, and
made a deep and abiding impression. Scene
after scene elicited bursts of genuine ap-
plause; and at the end of each act Madame Csillag
was enthusiastically recalled. It was a triumph of
legitimate art--the more remarkable, inasmuch as
it was achieved in an opera almost wholly unknown
to the great majority of the audience. The remain-
ing characters—even Euridice, admirably sustained
by that experienced and intelligent artist, Madame
Penco—are throughout subsidiary to Orfeo, upon
whom devolves the lion's share alike of the music
and the dramatic situations. Nevertheless, they
were allotted, in each instance, to distinguished
members of the company ; and when it is added
that L'Amore was represented by Madame Nantier
Didiee, and L'Ombra Felice (the Happy Shade) by
no less eminent an artist than Madame Miolan Car.
valho—both of whom in honouring Gluck did
honour to themselves—it will be easily credited
that the music was rendered to perfection. The excel-
lence of the chief personages, however, was not all.
The opera is put upon the stage with equal splen-
dour and propriety. The scene representing the
Elysian fields, where Orfeo discovers his lost
Euridice, is equal to anything that has been wit-
nessed of the kind; while the costumes, the ballet,
and all the stage arrangements are to match. The
band and chorus were irreproachable, the latter
being especially effective where the furies, after
striving to terrify Orfeo from his quest are ulti-
mately vanquished by the dulcet tones of his lyre.
'vir. Costa himself showed his respect for the old
Viennese master, Mozart's greatest predecessor—
by remaining at his post, contrary to his usual cus-
tom, to direct the performance of the ballet. In
short the whole performance was worthy of the
theatre and of the occasion ; and the applause it
elicited was quite as well merited as it was liberal
and unanimous.

LYCEUM THEATRE.

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performance
Last nightbtyhitsnheouAs wasretiller
Artillery Company,
funds of the National Rifle Association, and
the audience presented a. singular appearance, the
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incidental to the performance
was played by the band of the regiment, and thus
the whole picture was in perfect keeping.
majority
The programme of the evening comprised " Still
Waters Run Deep," " Charles II.," and the " Spital-
fields Weaver," all played by amateur gentlemen,
assisted by professional ladies, and there was a pas
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ee ruils tbi cy feature Miss it
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written by " Captain Tom Taylor, of the Civil Ser-
vice Rifle Volunteers," and spoken by Miss
Kate Terry in the attire of Britannia. In
heroic verse, the juvenile goddess reminded her
hearers that duty, not glory, was the watch-word
of Englishmen, gently reproved Sam Foote for
laughing at Major Sturgeon, alluded to Queen Bess
and Mr. J. Forster's " five members " in connexion
with city train bands ; compared old England's
bows with young England's rifles ; and' then ar-
rived at this practical appeal :
"If Switzerland's stout race, though poor and few,
Their thousands find—in purse and person too—
Their trusty Alpine weapons to essay,
And crown with prize the victor of the day—
Have England's sons less precious trusts to guard ?
Are England's means less ample for reward ?
No I—let your answer to this night's demands
Prove nearts as earnest, and as liberal hands 1 "
At the conclusion of this address much applause
demanded and obtained the re-appearance of Miss
Kate Terry.