The Sun.
London, England, 1857-06-12 00:00:00

tb admitted evils were very serious. It appeared that in
tome respects the G )vernment did not ful fil its elemeetary
duties of protection to life and property. Theremedy
fer that was to be found in increasing the police, and
getting more trustworthy persons, by giving Ite-m higher
pay. He hoped the judicial system would be attended
to, and that financial objections would not be nll)wed to
stand in the way of retorrn. Hoping the Government.
would attend to these questions, he cnti!ti not support
the resolution, though he was glad it had been discussed,
and he believed the discussion would do great good.
Mr. MANGLES, speaking for the Court of Direc-
tors, could assure the house that no consideration of
expense would prevent the Indian Government from
giving the people the best. system of police, and the
best judicial administration they could devise, totally
irrespective of expense. He regreeed that the mis-
sionaries had mixed themselves up in the matter, and
he believed that their indiscretion in this case had
added immensely to the difficulties of the situation.
He argued at great length against Sir E. Pence's no-
tio i of introducing English barristers and English
courts irto India, and he quoted Mr. Macaulay's opi-
nion, that the British courts now in India were note-
riously most dreaded by the natives.
Lord BURY attributed much of the evils which had
lean described in India to the want of civil officers,
which obliged military officers to be taken from their
duties.
Mr. MILLS urged on Mr. Kinnaird, after the dis-
cussion that had taken place, to withdraw his motion.
After a few remarks from Mr. AYRTON against
the motion,
Mr. KTNNAIRD said he would withdraw his mo-
tion after the appeals that had been made to him, and
after the promises made by the Government that the
subjsct shnutd receive their attention.
Mr. HADFIELD refused to allow the motion to be
withdrawn, and accused the Government of having at-
tempted to count out the house.
Mr. LIDDELL reminded Mr. Hadfield that it would
be better to have the motion withdrawn than rejected.
Sir J. TRELAWNY said the house would probaby
be pleased when he announced that the hon. member had
agreed, at his intercession, not to press for a division if
Government would give a distinct pledge of reform.
Mr. FULLER briefly addressee the house on the
question that the motion be withdrawn, observing that
blame heel been cast upon the missionaries for the lan-
guage in which they spoke of the people, but members
of the council used the same language, which he believed
was the language of truth. He thought their thanks
were due to the hon. member for Perth for bringing this
matter forward ; but as the house seemed generally to
desire that it should he withdrawn, there was no more to
be said about it. (Hear, hear.)
Mr. HADFIELD, however, declined to consent to
the withdrawal.
Mr. EVANS did not agree with the hon. member for
Sheffield that ehe motion was one which ought not to
be put. He shoold move the previous question.
The house then divided on the previous question.
The numbers were—
For the amendment lB
Against it ll9
Majority against the amendment --101
The original question was therefore not put.
THE JOINT STOCK CONIPANIES ACT.
Mr. LOWE moved that the house go into committee
on this bill.
Mr. CLAY objected to proceeding with the bill at
that late hour of the night (12 o'clock).
The house went into committee on the bill, and the
various clauses, 31 in number, were agreed to without
amendment. _

SOUND DUES.
The Sound Dues Bill was read a second time.
COUNTY CESS (IRELAND).
This bill passed through committee with several verbal
amendments.
The other orders of the day were disposed of, and the
house adjourned shortly after twelve o'clock.

HER MAJESTY'S THEATRE.

DON GIOVANNI.
(Prom the Mornio Post.)

Last evening Mozart's operatic masterpiece was pro
duced at the above theatre with extraordinary splendour,
and a cast including all the principal members of Re.
Lumley's company. The ihouse was crowded to the
ceiling, and the performance was a perfect triumph from
first to last.
We will endeavour to describe its merits as far as our
limited time and space will permit.
It was a great blessing to be relieved in the overture
from those additional trombone and ophicleide accompa-
psniments to which our ears have been used of late years,
though by no means reconciled, and Sig. Bonetti deserves
the thanks of the musical world for his suppression
of these utterly unjustifiable innovations. The welt-known
grand descending passage for the basses in the allegro,
followed, we might in a certain sense say answered, by
the light and careless phrases in the first violins, was no
longer "bound in brass," nor was, consequently, the
succeeding passage rendered almost ridiculous by an ex-
ccss of contrast never dreamt of by any composer. Nei-
ther was the pure and healthy vigour of the unison violin
passages whit's follow the leading theme impaired by the
brazen bellowing forth of unmeaning chords introduced
- for no imaginable purpose but that of giving undue en'l
vulgar accent to comparatively insignificant pert'ons of
the score. If the musical taste of the Title be depraved,
such unnatural stimulants are certainly not calculated t
improve it. No man could possibly under tend the la-
lance of souad better than Mozart ; and had trombones
teen necessary here they were at hand, and be would
have employed them. In the slow movement, the im-
portant crescendo and diminuendo requisite to give due
- effect to those wonderful scale passages on the inverted
pedal D, the persietiverepetition of which through all the
wild changes of harmony sounds like the relentless voic e
of fate, were perfectly rendered. So, too, was that myr-
terioue but prophetically significant figure for the second
violins, where the first violins move above in syncopati ons.
In the allegro molt° we were struck by the precision and
clearness with which the close imitations in the octave
between the stringed and wind instruments were deli-
vered, no less than by the sweetness and grace which
characterised the execution by the latter of the caressing
imitative phrases which immediately succeed the eecsad
seject. Indeed the entire performance cf this great crab-
position merits our warmest eulogy. The fine air "Nolte
e giorno faticar" introduced to our notice Signor B- lip tt'
in his new part of Leporello. We need scarcely say that
so accomplished an artist, to whom all styles of music,
' from Hanael to Verdi, are perfectly familiar, gave the
'.cue reading of it. There was an air of pompous es ur
race and mock dignity about him which showed at of ce
:tow well he had studied the real meaning of this song,
- Nvhich, by the way, has been objected to by certain fo-
reign critics as being too grand for the occasion. We
cannot agree with them. Leporello is here assuming
greatness ; his ideas are large, and their expression can
oily become comic through the peculiaridiosyneraey an t
- manner of the man. Mozart's music fully expresses the
predominant idea of the valet who aspires to be a gentle-
' man, and it is for the executant to give it a characteris
colouring. " Voelio far il gentiluotne e non voglio piu
servir" is the burthen of Leporello's first air, as he is
waiting indignantly about in the dark for his libertine
master, who is " dentro cella belle," and this sentiment
should pervade the entire conception, as it does with
Signor Belletti. The succeeding prodigiously fine and in-
. tensely dramatic trio, "Non sperar se non nfuecidi,"
was sung with extraordinary fire and vigour by the re_
presentatives of Don Giovanni and Donra Anna (S.g..
Beneventano and Mdlle. Spezia), with Sig. Belletti.
There was an incisive kind of accent in the lady's voice
quite appropriate to the situation and strongly marked
rhythm of the music. Sig. Beneventano struggled mar-
fully to get away from his furious assailant, at the sa-i e
time judiciomly keeping hie voice under, and suppressing
his rage as much as possible (for Don Giovanni wishes to
escape, quietly as he can), whilst the intelligent but un-
obtrusive acting of Sig. Belletti, as the now terrified Le-
porello, completed the dramatic picture. The next grand
scene, including the fight between Don Giovanni and
- the Commendatore (Signor Vialetti) and the death of
the latter, was also done ample justice to by all
Parties concerned. The incomparable trio, "Ah soc-
th'sc," did not suffer, as some might imagine it would,
from the fact of Belletti's baritone voice being frequently
placed underneath the heavy bass of Vialetti, for Lepo-
rello's part,
"consisting almost wholly of dotted aad de-
tached notes—being, in short, parlante nearly through-
out—whilst
the Commeedatore's notes are faintly gasped
forth as by a dying man, the difference of vocal timbre
was scarcely perceptible, and certainly exercised no da-
waging influence. The only part in this requiring deci-
sion and firmness of tone is that of the remorseless Don
Giovanni—admirably truthful Mozart !—and as it lies
. quite within the compass of Signor Beneventano's fine
Voice, it came out with the best poseible effect. The
-
• . fifth scene, which comprises the grand accompanied roe'.
•. tative, "Ma qual mai," and the duet,
" Fuggi, cruddele
fuggi !" was particularly trying to Madlle. Spezia, as she
had here to contend with the perfectly fresh recollection
of another very great artist in the same character ; but
• she passed most honourably through the ordeal. Rarely
. , indeed have the terrors, the despairing grief, the fierce
- demand for vengeance of the bereaved and heroic Baugh-
- ter of the murdered Commendatore been more vividly
or trutliftilly expressed. Madlle. Spezia wag admirably
supported in the duet by Signor Giuglini as Ottavio, and
excepting that the allegro was taken a shade too fast,
• this performance was irreproachable. The eighth scene
introduced Madlle. Ortolani as Elvira, with the noble
air "Ah chi mi dice mai," which was sung with extra-
, ordinary energy and accent, and excellently accompanied.
In this scene, too, came the universally-popular "Made-
mina il eatalogo e questo," which was rendered by Si,
ner Belletti with infinite spirit, most truthful expression
of the worts. and consummate musical skill.
Whethee emeie:er- el with respect to acting or singing
this was really a first-rate performance, worthy of the