The Sun.
London, England, 1826-06-02 00:00:00

KING'S THEATRE.

Medea in Corinto, a tragic opera, by Mayer, was last night
produced for the benefit of Madame Pasta. The fascinating
powers of this fine singer and excellent actress, combined with
the first perfonnance of an opera, of which report 'had spoken in
terms equally favourable and just, commanded a moat crowded
audience. The drains is founded on the classical story of The
Sorceress of Colehos ; which has been deemed a fit subject for
the stage by Grecian, Roman, Italian, Frani:l4mA English poets,
although, to our taste, its incidents and situations are too few to
form an effective play. The author of the present piece has ad-
hered strictly to the original story, exceptin a few points. He
has introduced ./gaeus, King of Athens, as the slighted lover of
Crease ; and he has described Medea, with the assistance of the
troops of .LE'yeus, as having forced CreuBa flow the altar at the
moment that she is about to bestow her band on Jason. The
Princess is, however, restored, and Xpens is made prisoner. He
is ultimately freed by Medea, and u mutual passion is the conse-
quence. . This latter incident is absurdly at variance with Me-
dew's subsequent conduct; who, had her heart been subdued by
a new lover, would not have taken the trouble to pursue her old
paramour with such malignant vengeance. In every other re-
spect the author has adhered with fidelity to the traditionary tale.
Jason, shocked by the crimes of Afedea, and enamoured of
Crease, daughter of the King of Corinth, determines to divorce
the sorceress. the seeks not Jason's life. Her revenge is, as
every schoolboy remembers, of a more refined description. She
wishes him to live and to be wretched. The unfortunate Crethia
she destroys by a charmed robe, and she slays the oNpring of her
amour with Jason. Triumphing in her wickedness, she escapes,
leaving the " hero of the golden fleece" to feel that

" Hell has no fury like a woman scorned."
The part of "fero.c invictuque Medea" was sustained by Madame
Pasta with great force.and dignity. With► the exception of her
first scene, in which Medea endeavours to work on the tender-
ncaa of Jason's nature, the character breathes one fell and deadly
spirit of revenge. That spirit was described by Madame Palta
with the steady intensity of feeling which belongs to souls that,
goided by inju►y, dare greatly and boldly. Her incantation scene
in the second act (the music of which► ie exceedingly tine) wee
g►:and end sol,mn. The scene, also, in which she meditates the

destruction of her children—where the love of revenge is op-
posed to the powerful feelings of it mother—was hi the highest
degree affecting and impressive. The expression which she in-
finied into the whole of this most difficult scene was hesutifully na-
tural. The style in which she gave the concluding lines, when
the conflict of passion has reachediti climax—

" Amor mi ritira,
" Ali stimula l'ira,
" ll foco d'Averno,
" Arden& mi va"—
was fearfully energetic. We have rarely, if ever, seen a piece of
acting on any stage more perfect4lnm this. The whole of Madame
Pasta's performance, but those parts which we have noticed espe-
cially, was received with the most fervent applause. The character
of Crtusa was performed by Madame Caradori.• it hie character
worthy of her talents, antl it received ample justice front her.
Her opening air, " Duke dbedee," was sung with muck delicacy
and tenderness. Har heat effort, however, was an air in the se-
cond act, commeneing " Caro Whew in cal fake," which abe
executed with delightful taste. It is one of the most heart-touch-
ing compositions in the opera, anti Madame Caradori placed its
beauties in the most conspicuous light. Signor Porte, as Creon,
and Signor Curioni, us Jason, filled their respective parts very
ably. The music of the opera is highly creditable to the genius
of Mayer : it places his character, 'es a composer, in a more lofty
and counnamling situation titan it had before attained, at least in
this country. The overture is a work of great merit; and the
music allotted to each character is perfectly in Unison with the
sentiment or passion which the author meant to express. The
choruses are not so hold as some of those which we have been ra-
ceutly itt the habit of hearing. They appear, however, to be
well arranged, and unqueatiunably would have produced a mere
forcible effect if the choristers (particularly the female portion of
them) had been more carefully tutored. The finale to the first
act is a bold, spirited, and characteristic compouition; and the
music which comMences at that part of the last statue where Medea
appears after the has sacrificed her children, ; .8 remarkable for its
wild and powerful harmony. This opera, we think, Will be a
great favourite.