The Sun.
London, England, 1826-05-01 00:00:00

ICING'S THEATRE.

The Opera of Romeo e Giufietta, by Zingarelli, was played
on Saturday, ' for the purpose of introducing Madam Pasta as
Romeo. She was in the finest possible voice, and ciecuted
the whole of the part in capital style. In its construction the
opera hears little resemblance to our tragedy. Its chief points
are the sudden love of Romeo for Giulietta, and the catas-
trophe, which is perhaps the most pathetic that has ever been
imagined. The principal scenes are, that in whiCh the lovers
plight their vows, and that in the cemetery. Madam Pasta, in
her manner of playing this part, does full justice to the com-
poser, and to the subject. She seemed, perhaps, a little lan-
guid in the beginning, but that passed away with the first
scene; and during the rest of the opera, she expressed all the fer-
vour and passion which belong to the part. , In the duet with
Giulietta (Madame Caradori), Dunque, mio beer, to sand,
she breathed the very soul of tenderness ; hut it was in the last '
scene that she achieved her greatest triumph. The rich deep me-
lody of her voice, as she poured out the lament of the desperate
Romeo over his mistress's tomb, had the most touching effect,
and she sang that exquisite composition " Ombra adorata" at
once in the first style of her art, and with a power and expression
which it is impossible to praise too highly. It was applauded in
the most rapturous manner, and the call for its repetition was uni-
versal. Her acting was hardly inferior to her singing, and short
as the part is, and inferior to that in Shakspeare's tragedy, we
could nut help wishing that some of the frosty, stilted Romeo's,
whom we are occasionally condemned to see, would take a lesson
from her, and imbibe, if they can, a portion of the spirit which
ought to he in the character.

Madame Caradori played Giulietta in such a, manner as to
make us regret that she had not wore to do. The music is a
little too , low, for Madame Caradori's voice, and, excepting the
duet we have alluded to, and a short air, there are no pieces in
the opera in which she could display the talent she is known to.
possess. In the duet, which is one of the most delightful mor-
ceaux we know, she did all that could be done for it. Her voice
harmonizes admirably with that of Pasta, and the sweetness and
correctness with which she sang, made this, perhaps, the most
charmity, part of the whole opera. She acksl the part admirably;
the gentleness of her manners, and that peculiarly soft and feminine
air which distinguishes her, are well adapted to the character of
Giulietta. In the scene with Romeo preceding the duet, and in
that in the second act where she drinks the opiate, she was emi-
mently successful ; and in the last scene, where she wakes from
the tomb, she kept full pace with Pasta's best efforts. Although
this character does not contain sufficient scope for Madame
Caradori's powers, she makes it very delightful, and by her
style of playing throws a charm about it, which is entirely her
own. Porto, as Gilberto, had not much to do, but did it with
all his heart. ~The Alpt.r44 was very well received by the fullest
house thac:AIP!!),I,TO seen this season, and will, we suppose, (as we
hope), be repeated during Pasta's stay, The very clever little
ballet' ;called ,Le. /Jai: gionipett,e, followed, and owing to the
slitirtnees of both pieces, the entertainments were concluded befure
midnight.