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

best days of the classic Italian opera. In the ninth
scene Madlle. Piccolomini was the centre of attrac-
tion. As the gifted little artist came tripping upon
the stage to the joyous strains of " Giovinette the
fate all'amore," the house resounded with enthusiastic

applause. Never was there a warmer welcome ; and thus
ercouraged, the " cm-a bambino" proceeded to discharge
her onerous duties with a sort of arxious confidence,
with which the audience appeared to sympathise corn-
11,tely. Signor Corsi, too, made his first entree here as
Masetto ; and his execution of the delightful, and drama-
tically important air " Ho Capito," which had hitherto
been omitted, displayed his histrionic powers to the best
advantage. The rendering of the piece by the band wap,
far the most part, worthy of unqualified eulogy ; but we
must call signor Bonetti's attention to a passage in the
bars immediately preceding the words " Cavalier voi
riete," where the first violins have the notes G, F sharp,
D, but in which the D should have been played an octave
higher. The mistake is probably in the score, but it should
be corrected, as it seriously damages the melodic con-
struction of the passage, and makes it sound almost ugly.
Mdlle. Piccolomini's triumphs began with the duet, "La
ci darem" (rapturously encored), and terminated only
with her part. Never, in our recollection, has the air
" Batti, batti," been so intell'ietnally sung. The entire
reading of the song was perfectly original, and delightful
as it was new. Nothing short of genius of the highest
order could have conceived such a novel rendering of an
air which is as familiar as household words, and scorned
the long established traditions of the stage with such
boldness and triumphant success. The " Batti, batti,"
we need scarcely add, was rapturously re-demanded, and
so was likewise Mdlle. Piccolomini's simply beautiful
execution of " Vedrai carino," which, so far as our re-
collection reaches, has never been surpassed. The very
late hour at which the opera terminated precludes the
possibility of our now giving the detailed account of the
rest of the performance, but we may state generally that
Mdlle. Spezia again distinguished herself most honorably
in the magnificent recitative " Don Ottavio son morta,"
and the air "Or sai the l'onore ;" that Mdlle. Ortolani
sang the restored air, " Ah fuggi ii traditor" as she did
the "Mi tradi quell' alma ingrata," most admirably,
and was, in short, altogether the very best Elvira we
have ever seen on the Anglo-Italian stage ; and that
since the palmy days of Tamburini we have not met with
so efficient a representative of Dan Giovanni as Signor
Beneventano.

Signor Belletti's "Leporello," too, may be Olaf;Fed
arnorigtt the best of the best ; and the music of " Den
Ottavio " has rarely been so beautifully sung as it was
last night by Signor Giuglini, whose rendering of the
rest .red air, " Dalla sua pace," and the universally
popular "II mio tesoro," entitles him to the highest
eul ,gy, and would have been " perfect perfection " but
for certain needless and reprehensible changes which he
unhappily thorght fit to make in the musical text of the
latter piece. "II mio tesoro" was, nevertheless, en-
cored unanimously ; and, indeed, the compliment, con-
sidered merely with reference to the beautiful execution
of the singer, was fully deserved. The chorus " Viva
la liberta," splendidly sung by all the principal singers,
with the choristers of her Majesty's Theatre, was like•
wise redemauded with acclamation. Signor Vialetti's
fine voice and impressive style gave all due effect to the
terrible denunciations of Don Giovanni's ghostly visitor
in the last scene, and the co-operation of so excellent an
artist as Signor Corsi in the small but important part of
Masetto contributed largely to the general effect of all
the scenes in which he was concerned.
The opera is splendidly put upon the stage. All the
scenery, dresses, and decorations are entirely new, and
by some of the first artists of the day. The ball-room
scene surpasses in magnificence anything of the kind we
have ever seen even at her Majesty's Theatre. With a
,mpliment to Signor Bonetti for the reverential care
and musicianly skill with which ho conducted this in-
comparable opera, we must cicse our present notice.
The plincipal performers were enthusiastically called
before the curtain at the termination of each act, and at
the end of the opera a general demand was made for
Signor Bonetti, who then also appeared.
The tollowl,Dg list of various casts of "Don Giovanni"
will doubtless interest our musical readers :

ORIGINAL CAST.
1757.

Donna Anna Signora Saporiti.
Zerlina
Donna Elvim „ Micelli.