The Sun.
London, England, 1857-10-16 00:00:00

ITALIAN OPERA.

The new series of operas announced by the lessee of
the Theatre Royal commenced yesterday evening with
Verdi's noblest composition, "Il Trovatore." His Ex-
cellency the Lord Lieutenant was present, and several
groups of fashionables of both sexes occupied places in
the dress box circle. The house, however, was by no
mean so well filled as might have been expected,- taking
into account the attraction presented in the first appear-
ance of three leading vocalists of her Majesty's Theatre
including the new tenor, Signor Giegline a star not
long risen in the opera tic world, but who bids fair to
rival in splendour many of his predecessors, and all
his contemporaries. Signora Spezia also made her debut
on the Dublin boards last evening, and it is reasonable
to believe that tha_prest;ge of ' her rxcellence as a donna
soprano in Italian opera has net ed the extensive
appreciation it deserves, otherwise public curiosity and
critical anxiety would have been evinced in the pre-
sence of a more crowded' audience. These two artistes sus-
tained respectively the parts of Manrioo and Leonora.
Tee character of the Conte di Luna was personated by
Signor Aldighieri, and that of Fairando, by Signor Via-
letti. The role of the gypsy mother, Azucena, was sup-
ported by Mdile. Poma. If we take these vocalists in the
order in which they appeared on the stage, we should
first mention Signor Vialetti, whose rich basso tones
and finished style of vocalism and acting in the first scena
formed an appropriate introduction to the succeeding
splendours of the first act. The appearance of
Spezia on her first entree was greeted with a courteous
welcome. Her opening notes, " Un' altra notto" eee.,
sounded somewhat tremulous and uncertain, but in her
first aria, " Tacea le notte," &c., she_ displayed a rich
specimen of her vocal power, and gave testimony of the
music that is in her. Her personel is graceful and lady-
like, and her style of acting trethful and impressive. Her
voice, in its lower and mezzo range, possesses to exube-
rance that mellow and dulcet character belonging rather
to the contralto category, whilst her high notes, though
strictly musical, partake of a certain reedy:quality, becom
ing almost stridulous when pressed into too high a key ;
thus, as it were, placing a definite boundary to the
register of a voice sufficiently sweet, powerful and ex•
teneive to be equal to the effieient rendering of the
most arduous soprano solos in the repertoire of modern
Italian opera. She sang the delicious allegro aria, "Di
tale Amor," with sparkling effect. and was encored
amidst bursts of applause; Whilst speaking of this
highly gifted donna, we may mention her superb
vocalism- and acting in the closing scene of the
opera. Her singing of 'the aria, " D'Arnor sull'ali
Rosee," was fine, indeed, and her share of the grand
duetto with Senior Aldighieri, "Mira di acerbe," was
nothing short of magnificent. Her singing in the prison
scene where Leonora hears and echoes the plaint of her
captive and doomed lover, was remarkable for unaffected
pathos. We need scarcely add that the applauso of the
house was earnest and vehement. tut in writing a
notice of a really produced opera we labour under the
disadvantage of being obliged to speak separately
of the chief performers, though not a few of their
most decided successes are achieved on such occasions
ensemble; but, without derogating in the least from
the merit of his proftAsional compeers, we feel our-
selves free to proclaim Signor Gaiglini t) be, ia . our
judgment, the only tenor on the Italian operatic stage
upon whose brow the victor's wreath must eventually
descend, and upon whose shoulders may worthily fall, in
course of years the mantle which Mario has so long
worn and so nobly continues to wear. It is a curious
fact that Signor Giuglini, Signor Villetti, and Mdlle.
Seezia who made their debut on the Dublin stage last
evening, made their appearance together on the one
evening on the boards of Her Majesty's Theatre, Lon-
don, at the commencement of the season last April.
Our London contemporary of the London press, who
Professed to give a portraiture of the appearance of
Signor Giuglini must have seen him from a vast dis-
tance and under many disadvantages. Signor Giuglini
is an Italian gentleman whose age borders on early
manhood. His stature is over the average height, and
his figure, so far from being corpulent, is marked by
muscular symmetry of body and limbs. His features are
regular and rendered expressive by dark hair and eyes.
His demeanour and attitudes are easy and natural and
there is about him an ingenuous earnestness of manner both
in singing and acting which enhance the charm of his
performance. His voice was first heard in the beautiful
song of " The Tronbadour," sung behind the scsnes be-
fore his entrance. The house was Imbed in listening
silence. as the first notes of " Desert° sulla terra" were
heard floating in the distance, and as the melody sounded
nearer and nearer still, the rustling of a playbill in the
hand might be heard, so absorbed was the audience in
attentive delight. The director of the orchestra held his
baton suspended in mu.e wonder ae, in the closing bars
of the stanza, the chest voice of the concealed singer was
heard echoing to the remotest part of the house in a key
rarely, if ever, soared to save in falsetto. The applause
of the audience may be imagined, an encore was enthu-
tically called for and given ; and Ulu., with out even
having been seen, this great vocalist was encored and
cheered to the echo. He coming forth subsequently was
the signal for renewed applause. We can d ► no more
within our limited space then record the fact that his
performance throughout the piece was a succession
of encores and triumphs. Anything like the beauty
and completeness of his sing ng in the aria, " Ah.
si ben mio," we have rarely heard. In the last act, and
especially in the prison scene, his singing was superb
His " A the le morte" was of course encored with
enthusiasm. Signor Aldighieri as Goiter di Luna
evinced all material requisite for a successful operatic
singer and actor. He was painfully nervous at first,
and in his performance of the celebrated aria "Il
Balen" hie voice was very tremulous and uncertain, but
the audience felt that the materiel nal in him, and It •
got a cheering encore. He proved the c irrectnes of
,he opinion of the house by giving ihat favourite solo i
plendid style. The Azucena of Midllo. Poma wai