The Sun.
London, England, 1844-11-21 00:00:00

PRINCESS'S THEATRE

The legend of the four sons of Aymon, who, by
their union, retrieve the fallen fortunes of the family,
is, perhaps, the most entertaining, certainly the most
dramatic illustration extant, of lEsop's fable of the
bundle of sticks. It has been the foundation of many
a drama which has strutted and fretted its hour
upon the stage, and then been heard no more.
It seems now, however, destined to retain a
more lasting hold of the stage. M.M. Leu-
ven and Brunswick have made it the subject
of a lyrical drama of very considerable merit,
which has been set to music by our countryman,
Balfe, and which, under the title of Lcs padre
file Aymon, was produced at the Opera Comique, in
Paris, in the latter part of the summer, with great
success. An adaptation of this opera, entitled the Castle
of Aymon, was produced here last evening, under the
superintendence of the talented composer himself,who
appeared in the orchestra, and conducted the music.
Mademoiselle Helen Condell (or rather Miss Helen
Condell, for we believe the young lady herself is Eng-
lish, although her reputation is continental) also made
her first appearance on the English stage, as the he-
roine. With a new prima donna, and a new opera by
Balfe, it is not suprising that long before the rising
of the curtain every seat in the theatre
was occupied, and that even standing room where to
catch even an occasional glimpse of the stage was all
but impossible, should have been at a premium. The
appearance of Belle in the orchestra was the signal
for most enthusiastic applause—it was, in the strictest
sense of the word, "loud and long continued
cheering," and never was loud and long-con-
tinued cheering more appropriately bestowed
than on the man who seems destined to do for Eng-
lish music what Sir Joshua Reynolds did for Eng-
lish painting—revive an English school which shall be
known and appreciated beyond the limits of the four
seas. The overture, a light, pleasing, and airy.com-
position over, the curtain rose, and we were intro-
duced to the Castle of Aymon, where we find
Ivon (Mr. Leffler), a very Caleb Balderstone
in fidelity, and the concoctor of stratagems
to conceal the poverty of his master, going his rounds
and shouting lustily to the sentinels to do their duty ;
albeit not a single sentinel is there, he and his wife
haring been the whole garrison of the castle since
the death of the last Duke of Aymon, which had
occurred just twelve months before. On his death-
bed he had ordered his four sons to proceed by four
different routes on their travels for a year, at the end
of which time they were to return to the castle and
open a large chest, containing his last will and testa-
ment, and all his treasures. A horn is heard without,
and the four sons, Olivier (Mr. Allen), Allard (Mr.
C. Horn, jun.), Richard (Mr. Hime), and Renaud
(Mr. Mattacks), enter. The orchestra plays
a joyous symphony, and here occurs the
gem of the opera—a quintetto deliciously given by
Allen, Leffler, Horn, Hime, and Mattacks,
which was enthusiastically applauded, and most de-
servedly encored. This quintetto is one of the most
beautiful of Balfe's compositions—quite worthy of the
composer of the Vice le Roi chorus and the Gypsy,
chorus, and which, with its popularity, will rival, if
not surpass, even those far-famed compositions.
They have all returned hungry and penniless,
and old Ivon, a la Caleb Balderstone, sallies forth
into the village to levy a breakfast for them from the
vassals. They have each, however, met with adven-
tures—each has fallen in love—and Olivier describes
his love adventure in a beautiful romance—" The
Shades of Night were gathering fast"—which was
given by Allen with exquisite taste and feeling, and
the repetition of which was called for as a matter of
course. The time has now arrived for opening
the box. It is found to contain a letter from the
late Duke to his children, informing them that
the only possessions he has to leave them are the
old chateau, a name without reproach, and his
ducal coronet, and recommending them to adhere
closely to each other, and share their mutual fortunes,
as the only way to restore their house to its pristine
splendour. This scene is made the subject of a con-
certed piece, and the concluding quartett, in which
the four brothers swear to obey the counsels of their
father, is one of the most effective pieces of dramatic
music we have ever heard. It was excellently given
by Messrs. Allen, Horn, Hime, and Mattacks. The
grouping, too, was beautifully managed; and, alto-
gether, the scene told admirably. Old Ivon is left
alone to his reflection, but is soon aroused by the
arrival of the Baron de Beaumanoir (Mr. Walton), a
rich and avaricious old Baron, who, with his daughter
Hermine (Madlle. Helen Condell), arrive and claim
hospitality. Rather than the fair fame of the castle
should suffer, Ivon produces the very breakfast which
he had experienced such difficulty in procuring for
his young masters, and then the object of the Baron in
paying this visit becomes apparent—he wants to secure
an advantageous match for his daughter—and begins
pumping Ivon as to the contents of the chest. " It
contained gold enough," replies the old domestic, " to
buy half Brittany." " But this sum, when separated
into .four"— says the Baton. " Oh," interrupts
Ivon, " there is but one—the other three are dead."
The Baron nibbles the bait, is hooked, and at once
commences scheming to catch Olivier for his daughter.
An unexpected obstacle arises : the lady positively
refuses to marry the Duc d'Aymon, or indeed any
one else, until her three cousins, whom her father
destines for a convent, shall have been provided with
husbands, and has taken a vow to this effect. The
truth is, she has been captivated by a handsome ad-
venturer, whom her father had dismissed ignomi-
niously from the castle, but whom she had received
and entertained like a Prince. Olivier, to whom Ivon
had explained his stratagem, enters, and in him
both father and daughter recognise the adventurer,
while he recognises in Hermine his lady-love. The
Baron is all politeness, and invites him to his castle,
and while certain love passages are going on between
Olivier and Hermine, Ivon explains to the Baron that
his master is desirous of being loved for himself alone,
and therefore had wandered forth in disguise, lest,
had he appeared in his real character, he might have
been accepted solely on account of his enormous wealth.
The Baron and his daughter depart, well pleased with
their adventure ; and Ivon arranges that the three
brothers of Olivier shall attend him to the Castle of
Beaumanoir as his minstrel, his equerry, and his
treasurer, and they group around him as they sing
the finale to the first act. The second opens in the
gardens of the chateau of Beaumanoir, where we find
the Baron preparing for the fite, and endeavouring,
like many other givers of fetes in more modern times,
to make the greatest possible show at the least
possible expense. Hermine overhears him plotting to
defraud her cousins by placing them in a convent, and
sharing their possessions with a certain Baudriot, and
determines to circumvent him. The three young
ladies enter and surround Hermine, and the lively
quartett, "My darling sweet cousin," follows, which
was given with great spirit by Miss Condell, Miss
Bretnall, Miss E. Honner, and Miss O'Conner, and
was loudly encored. Hermine promises to provide
them all with husbands before midnight, and, on
the approach of the Baron, they all retire. The
Baron enters, followed by Ivon, whom he questions
minutely as to Olivier's riches; and this is made the
subject of perhaps the very best buffo duet that has
ever been composed since the days of Rossini. It is
worthy of being ranked with " Un segretto." It
was admirably given by Leffler and Walton, who
entered thoroughly into the spirit of it; the audience
enjoyed it, and altogether it was a perfect triumph.
To Mr. Balfe the honour is certainly due of being
the first 'English composer of " classically" buffo
music. We beseech him to give us many more
such compositions as this admirable buffo duet. Great
praise is due, too, to the author of the libretto. The
words go as trippingly to the music as if they were
the choicest Italian. Olivier and his brothers arrive,
and the brothers recognise in Hermine the lady
to whom each had vowed love and to whom
each had at different times delivered his signet
in token of his knightly obedience to her behests.
Olivier and Hermine meet, and a romance and duet
are here introduced, which were beautifully given by
Allen and Miss Condell. Hermine sends to each of
the brothers his own signet, commanding him to
repair to the gardens of the chateau at midnight to
meet his lady-love, and wed her at a neighbouring
hermitage. The lovers are true to their appoint-
ment, and each takes off one of the cousins,
veiled, each believing that he is wedding Her-
mine, while Hermine herself, as they go off, gives
her hand to Olivier, who is kneeling at her feet. In the
third act we find Hermine anxiously awaiting the suc-
cess of her stratagem, but refuses to wed Olivier until
the bells of the hermitage shall give the signal that the
cousins are married. Olivier urges her in vain to con-
sent, in a beautiful aria— 'ln the chapel all
is ready," which was given with exquisite taste
and feeling by Allen, and was deservedly encored.
In vain her father urges her. She will not consent
until she hears the three bells from the three hermit-
ages sounding, and then she declares her readiness to
accompany Olivier to the chapel. The three cousins
enter, and receive from Hermine instructions as to
how they are to secure the affection of their husbands.
The three brothers enter, and each fancies that Her-
mine is his wife ; she, however, imposes silence on
them, and they are each ordered to retire. The
Baron enters to forward the wedding. He
is surprised by the announcement of an envoy with
a letter from his Sovereign, congratulating him on his
daughter's marriage, and expressing his approval of the
Baron's generosity in restoring the fortunes of a fallen
family. The Baron is astounded—he has not informed
his Sovereign of the projected marriage. Who could
have thought of it? " I did," says 'von, " I sent it in
your name." The letter proceeds to express the
Sovereign's high approval of the Baron's conduct
in marrying his nieces to the three bro-
thers of Olivier. But how is his astonish.
ment increased when the nieces and their hus-
bands are introduced to him. The Sovereign further
expresses his satisfaction at the rejection by the
Baron of the infamous propositions of Baudriot for
a mmuring the nieces in a convent, and orders the

instant dismissal of Baudriot, who overwhelms the
Baron with reproaches. The Baron, stupifled, de-
slams that he does not know where he is,
or what he is, or whether he is at all,
and while he declares that the joy is more
than he can bear, the chorus raise the cry of
" Honour and glory to Aymon's four good sons !"
and the curtain falls. Mr. Balfe will add to his re-
putation by this opera. The music is throughout
perfectly characteristic—thoroughly and completely
dramatic—that is to say, illustrative of the incidents
and the situations. It is what the music of every
opera ought to be—a perfect translation into the uni-
versal language of music of the thoughts, sentiments,
and feelings, to which expression is given in the spe-
cial or verbal language in which the libretto is
written. Nothing could exceed the enthusiasm with
which the opera was received throughout, and at its
conclusion Balfe was loudly called for, and rapturously
applauded. The corps operatique did full justice to
the composition of the maestro. It was the first ap-
pearance of the heroine, Miss Helen Condell, and she
was, of course, extremely nervous—so nervous,
that in her first song she hardly did her-
self justice. As the piece proceeded, however,
she acquired confidence. She sang the duet in the
second act with Allen very well, and the romance
with which it concludes, " Yes, I have sworn with true
affection," was given by her with a taste and pathos
which told admirably, and which promises great
things for the future. Her voice is a high soprano of
considerable power; her features are expressive and
pretty, and her figure is good. She is evidently young
upon the stage, and is undoubtedly a you ng lady ofgreat
promise. Mr. Balfe is under the greatest obligations
to Allen for his personation of the character of
Olivier. It was perfect. All that the most perfect
science, guided by the most fastidious taste, could do
for a part, was done for the part of Olivier by Allen.
It was worthy of the Italian boards ; and had he but
power equal to his taste, Allen would be the first
tenor singer in the world. We never saw Leffler to
greater advantage. He was the very beau ideal of a
buffo old man ; and Walton, as the pompous old Baron,
was excellent. The concerted pieces were given
admirably, and the ?lase en scene was every-
thing that could be desired. At the fall of the curtain
all the principal singers were honoured with the usual
ovation, and H. Wallack announced the opera for re-
petition four times a week until further notice, amidst
the loud and unanimous applause of perhaps the most
crowded house ever assembled within the walls of the
Princess's Theatre.