The Sun.
London, England, 1858-04-14 00:00:00

HER MAJESTY'S THEATRE.

There is something peculiarly gratifying in re-
cognising a familiar and valued friend, and being
able to truthfully congratulate him on " looking
bettor than ever." Such was our feeling last night
on the resumption of our intimacy with Her Ma-
jesty's Theatre, for never did the walls of the great
and original Temple of Apollo resound with more
deserved and delighted echoes of enthusiastic
applause. The house is fresh and bright in all its
decorative constituents, and the dense crowd of
visitors imposingly sustained the full-dress charac-
ter of an opera audience—heightened and honoured
by the presence of the Queen.

The fascinating music of Italy and France had
to give place on this occasion to the weightier Ger-
man school, and "The Huguenots," with all the
complex elaboration and ponderous dramatic ex-
pression, identified with the works of Meyerbeer,
was produced for the first time at this theatre ;
with an earnestness of purpose and combination of
talent which will render this grand opera one of the
greatest attractions of the season, after a few re-
presentations have "rounded off" some of the dif-
ficulties involved in the subordinate parts. The
first night of such an opera claims considerable in-
dulgence at the pens o► critics ; but in this in-
stance there was nothing to carp at, saving a
slight indication now and then of the Chorus
" agreeing to differ," and the long " waits"
between the acts. The great expectation of the
evening was placed on the new prima donna,
Madlle. Titiens ; whose qualifications more than
fulfil the reputation which preceded her. With-
out dilating in lengthened and profuse terms of
eulogy, we shall only declare that we have seldom
witnessed a greater success on opera boards, tha❑
that achieved by the Valentina of last night.
Madlle. Titiens possesses an organ of unusual
power, clearness, and open tone ; using it,
moreover, with judgment and refined taste.
Her acting is of an order rarely blended with vocal
talent ; and her struggle scene with Raoul (Ging-
lini) was intensely dramatic and finely expressed ;
apart from the electrifying brilliancy of her singing.
Rapturous plaudits and showers of bouquets bore
pleasant witness to the excited feelings of the
and once ; and Mr. Lumley may deem himself for-
tunate in having procured such an attractive prima
donna.

Madlle. Ortolani sang with her accustomed spirit
awl fluency ; and Giuglini appeared to gather fresh
vigour and inspiration from the fair rivalry he en-
countered, for we have never heard him to such
advantage. The careful and correct singing of
Belletti was admirably suited to the part of
San Bris ; and Vialetti was quite at home in
Marcell°.

The scenery, dresses, and general appointments
were perfect in their kind ; and the total " getting
up" of the opera, evinces that Mr. Lumley is en-
tering the field of his olden glory with brave deter-
mination to retain, and add to, the laurels he has
already gained from an appreciating public.
We append a few of our contemporaries' opinions.

(From the Times.)
Yesterday evening the Opera-house reopened for the regu-
lar season, which was inaugurated by the presence of her
Majesty—a rare honour for a first night. With the regular
season returned the normal brightness of the most aristocra-
tic of theatres. A certain dingy hue that had been diffused
over the Audience of the extra nights had altogether vanished,
and the company in the boxes and stalls were again up to
operatic level. Indeed, the commencement of a new order
of things was marked in the most various iisanner. The
work selected for performance was the " Huguenots" of
production, demanding an attention to
Meyerbeer, a massive
details that can be spared in operas of the ordinary Italian
class. The very selection was a departure from the old
beaten track on which for the last year or two lyrical drama
has jogged a trifle too steadily, and the manner in which the
piece was put on the stage showed a gallant resolution on the
i art of the manager to conform to the spirit of the time.
The scenery, new throughout, did the greatest credit to the
painter, Mr. Charles Marshall, and the dresses—likewise new
throughout—aptly corresponded with the scenery. There
were none of those shabby spots that will now and then make
their appearance even in the most glittering spectacles, but
everything presented to the eye was pleasant to look upon—
fresh, clean, and picturesque. Then at the head of the voca-
lists was a new printa donna, Mademoiselle Titiens, of whom
report had spoken not mere y in a kiwi voice, but with a
degree of confidence that screwed up expectation beyond the
usual pitch.
When a opera terminates after midnight, and that opera is
the " Huguenots," played by a company for the first time,
we cannot venture to be very minute in our remarks. If
in stating the general results of the evening we; can be brief
without obscurity, we may d.fer a more detailed description
to an opportunity when brevity will be no longer requisite.
Mademoiselle Titiens, then, has not only answered expec
tations, but there seems little doubt that she will prove the
most remarkable vocalist heard at her Majesty's Theatte
for a considerable length of time. She is not a sin. er for
whom any allowance need be made, and who hopes you will
put up with this in consideration of that; but everyone of
her qualifications may be tested separately, and they will be
found to complete, not to counterbalance each other. A grace-
ful and impassioned actress, sho is still a vocalist to whom a
lover of music may listen with his eyes shin. With an often
of the finest natural quality, full and rich to the highest
point of an extensive compass, she is a consummate artist
who has her notes completely at her command, and surprises
her audience as much by the finish and brilliancy of her exe-
cution as sh j charms them by the fascinations of her voice.
Wo shall nut enter now into a commentary upon her Valen-
tine. It is enough to convey the opinion that Mademoiselle
Titions has asserted her position as a thoroughly sound, satis-
factory vecalist, whose success cannot be otherwise than
permanent.

- Signor Giuglini, who reserved his powers in the early part
of the evening, did full justice to himself in the celebrated
duct, iu which he and Mademoiselle Titiens vied with each
other. With a voice still somewhat tremulous, Mademoi-
selle Ortolani executed very neatly the music of the Queen of
Navarre. As St. 'iris, Signor belletti was Et adiness its lf,
and probably never found a part suitable to his talent than
that of the stern Catholic noble. Signor Vialetti took great
pains with Marcel, but scarcely gave to this important cha-
racter all the effeot of which it is capable. However, he
acquitted himself with credit, and the only person among
the principals who decidedly missed the mark was the young
lady who played the page, and Who seemed (Lightened out of
her wits.

The " Huguenots" is not one of those works in which
perfection can be attained on a first night's perform-
ance. Some of the choruses— especially the " Rataplan"
--might go better than they did last night, but what
was pleasing throughout the whole opera was the
manifestation of a desire to take extraordinary pains
with an extraordinary production. While introducing
to the public a prima donna who can scarcely fail to bo
an attraction during the whale of the coming season, the ma-
nager has evidently resolved not to rely on isolated talent,
but to employ all his resources for the production of general
completeness.

(From the Morning Post.)
The "Huguenots" represents a period which, though
marked by the most sanguinary deeds, and particularly dis-
tinguished by one of the most frightful acts of treachery the
world has ever known, was yet full of romance and chivalry.
Tho mind, carried back to a remote ago, is excited and
astonished by the contemplation of politicalfacts which dis-
grace human nature, and deeds of individual heroism which
ennoble it. The great mainspring of all human thought and
action—relig'ous feelinc, - now appearing in all its ..ative
purity —now arrayed inp the dark or blood-red colours of
fanaticism—is actively at work throughout, and gives a pur-
pose and significance to even the smallest characters. The
very peaSants, citiz ns, or private soldiers, forming the choral
crowd, are not, as in most operas, mero stage automata, but
people with strong convictions, living in stormy times—
people who are ready to fight or (lie for their faith, and may
be called on at any moment to.do so. We watch their every
movement with interest, for an unguarded word or gesture
may bring abouta fray, and materially infh.enco the action of
the drama we are witnessing ; and whilst the mind is thus
agreeably employed with the story of " Les Huguenots," the
eye is charmscl by the faithful delineation it alfoids of the