The Sun.
London, England, 1850-04-22 00:00:00

ROYAL ITALIAN OPERA.

Rossini's Moisa (that version of it we mean which
was re-written for the grand opera at Paris, as con-
tradistinguished from the original Moss in Egitto pro-
duced at Naples), was performed at this theatre on
Saturday, under the name of Zora. It being contrary
to our -English customs to produce scriptural person-
ages on the stage, Moses has been transformed into
Zora, the Israelites into the Bactrians, and
the Egyptians into the Assyrians ; as on a
former occasion Moses was transformed into
Peter the Hermit, and the Opera was called Pietro
L'Eremita. The opera, probably, has never before
been represented with su h affluent vigour—with such
consummate dignity Bad nobleness. The third act,
which involves the most brilliant of the choral
triumphs—namely, those incident to the collision of
Zora and OAris, and the exposure of the divine autho-
rity of the farmer by the miraculous destruction of
the golden idol—produced an effect which we believe
to he wholly unrivalled, even at the Royal Italian
Opera, where—as in the lluguenots and the Propkete
—we have been accustcmed to the superbest excel-
lencies of combination and discipline. The exertions
which have been expended by the management upon
this large work, to ensure it a fit and suitable
embodiment, are highly creditable to the spirit
and enterprise which have influenced them,
and no praise would be thought excessive.
The celebrated basso, Zelger, made his first appear •
ante upon this occasion. Personally no one could
have been better chosen as the representative of Zora,
the great central figure of the opera. whose denuncia-
tions expose the cruel and audacious Assyrians to the
vengeance of the God of Fire, and elicit those strokes
of punishment which paraphrase the miracles as de-
fined in the Mose. The declamatory recitatives,
which either apostrophizes the immensity of the Deity
he serves, or invoke its correcting interference, were
delivered by him with majestic simplicity, and
nothing more could be wished for. Tarn-
berlik as Amenofi (the Orosman of the Pietro),
more than justified the good impressions which he
has so plentifully encouraged. His singing was
throughout admirable, in style somewhat too elabo-
rate and over-coloured, perhaps, but masterly as de-
monstrations of vocal effect. The duet to which we
have referred, the famous "Parlay, p iegar," elicited
a loud encore. The skill with which in this he com-
peted with Tamburini— (who was his coadjutor)—the
pulmonary emphasis of his declaration of amorous
anguish, and the pervading earnestness of his manner,
were irresistible, and at once challenged the approba-
tion of the audience. Ihe duet with Anaide (Affix)

in the lest act brought forth a like display of ixpieL-
sion—unfulding again and again the perfection of
florid tenderness. Madame Castellon, as Anaide,
acquitted herself with infinitely more ability than
we could possibly have expected. Toe music
belonging to this part is of a very try-
ing nature, making frequ-nt rppeals to the
physical strength of the singer ; nevertheless,
Madame Castellan rendered it with uniform energy,
and scarcely left anything to be desired. The scena
which fell into the hands of Mdlle. Vera, as Sinaide,

the queen—,a bravura of no ordinary difficulty and
pretension—had also an able and profitable ex,-,cutant.
Tamburini we might have complimented More this
for the successes of his vocalisation as the king ; but

let us do it now. Tailiafico sung the music of
Osirie, the rival priest, with his usual accuracy of
detail and propriety of method. The concerted piecis
were, in all cases, finely rendered ; and the "Mi
Manca" was redemanded. The stupendous finale to
the third act, with its jubilant and extatic
threw the audience into a fury of enthusiasm not to be
restrained, and the encore that followed was one of the
most tumultuous and triumphant that we ever re-
member to have assisted in. An attempt was made to
recal, it a third time, but the appearance before the
curtain of the principal singers was accepted in lieu,
including Costa, who was received with a round of

plaudits as deafening as it was prolonged. The
preghiera which terminates the opera, the celebrated
" Dal tuo stellsto soglio," was given with similar im-
posing substance as that which distinguished the pre-
cious finale, receiving an additional effect from the
scenic artifices which accompanied it. The gradual
opening of the back scene as the prayer was sung by
the kneeling group, disclosing a huge amphitheatre
lined with myriads of figures, while the area of the
stage fills slowly with gaudy eastern soldiery, who
prostrate themselves in attitudes of pious reverence
as the strains of humiliation ascend to Heaven,
formed a tableau of great and impressive beauty, and
brought the opera to a striking close. The ballet
in the third act is likewise entitled to panegyric as a
spectacle, though its abbreviation may be recom-
mended.

EXHIDITION
OF WATER COLOUR PAINTINGS.
Out of the three hundred and twenty-nine pro-
ductions arranged in the Gallery (53, Pall-mall) of
the Xew Society of Painters in Water Colours, this
day opened to public ex,hibitine, We shall here have
an opportunity of particularising several of surprising
originality an-I of remarkable excellenee. These at•
tracted not only our own attention during the private
view of the collection on Saturday afternoon, but that
of the numerous and fashionable Coneotirse who
streamed round the spacious apartment of the as.
iociation from early morning to sundown. From
the gratification experienced by ourselves; and
the satisfaction fiery audibly expressed from
time to time by the crowd in attendance, it is to us
apparent that the eftorts of the New Society of
Painters in Water Colours to decorate the walls of
their gallery for the spring season or WO have been
unusually stiacessful, and such as augur the in-
creasing prosperity and popularity or thb ettttblisly,
merit. Aided by the explanatory catalogue, the
visitor_ will find the walls of the large room con-
taining the exhibition replete with a visible poetry
of a mo3t
suggestive character: Exquisite repre-
sentations of animate tied inniiinifite bade ar-
rtingta rig to contrast admirably with each other, are
scattered throughout the collection in more than ordi-
nary abundances Feattireh of ideal heAutp skid
landstap'ea or pictiiresque verdure, form of course the
principal subjects for the brushes of the man?, artistic
competitors t but with thine are also blended in agree:-
able confusion pictures portraying flowers, shells, or
fruit pieces, with bolder attempts depicting incidents
drawn either front history or itthanee,

Conspicuous in his success this year beyond all the
other painters of water-coloured landscapes, we must
in the very first instribet particularie W: Bennett,
one of the most promising and distinguished mem-
bers of the association. his fttiniliarity with nature
is that not merely of an " artistic pactitioneri'4 hot
that of one Mending in his abilities the exquisite per•
ceptive faculties of the poet with the felicitous mimicry
of the painter. Ile sketches the twinkling leaf and
the limpid water, the shadow and the sunshine, the
cloud and the rivulet, with the ssine brilliant exacti-
tude. Witness this (32) his Barbrook, where
" Every hillock glows
As with the blushes of an mini:lg sky,"
a beautiful thought derived from the verse of Aken-
side, or Lis "Road through the ForeSt," or his
" Group of Gulls," or his "Babbling Brook"
That gently kissah every sedge
It overtaketh in its pilgrimage."
Other aspirants for public approbation are, in like
in:lnner, noticeable in their several departments.
Edward Henry Corbauld, for example, though he has
Lhimself surpassed his present productions, can never
be overlooked by any v4itor to the exhibition—bis