The Sun.
London, England, 1828-09-06 00:00:00

ENGLISI4• OPtRA• HOUSE.

Hems. ARNOLD and Co. appear resolved to hold fast
the unquestionable claim they already possessed, to
',tin the producers of English Opera, par excellence,
Z.n!
the three months which their too brief season consists
,we have had the Cosi Fan Tuttc of the inimitable
tOzette ; an elegant and scientific production of a clever
Zpirant for musical fame, MAIALER ; and, finally, the ad-
'red opera lailfa of Gli Amori Marinari, oddly enough
eeVered to our English comprehension The Pirate of
tn°a• Albeit, we shall not quarrel about an appelle-
°l; a rose would smell as sweet, were it called by any
tiler name. A brief sketch of the composer of the opera
I.4rtueation may not be altogether inapposite, for his works
're comparatively unknown in this country.
JOserH WEIrIL is the god-son of the good and great
,tU3ieett HAYDN, whose inimitable manner and original
-,,r,)'et it is quite evident, have been the loadstars of \Vela tas
Ft'etione, in all that appertains unto the delightful art,
4141 which eveiy civilised coinmunity can derive the
aarest, the matt unalloyed gratification. WEIGL was born
elyear 1765, and is the offspring of a German musi-
professor. The not to be mistaken indications of
Teeni' musi-
us induced the father to give him the advantage
AL4aPeereeettettea'e invaluable tuition ; from whose
t 4,,
enical labours the young WEIGL was transferred to the
NabrattAl SALIERI, for the more immediate purpose of
liPpi,layrinne,ig the rules acquired under the guidance of the
contr3 seantest " to the construction of Operas.
The combination of genius, science, and taste, have pre-
tlted those results of which the Opera, now produced to an
hlglish public for the first time, may be said to be a
,rdlient specimen, and have for the last thirty years
~'?"(1 the source of almost unqualified admiration and
i;•lnYMent to two of the moat musical nations upon earth.
eluia having produced upwards of twenty Operas, Ger-
Allln and Italian, a celebrated Oratorio, La Passione, and
'`dour ten Grand Ballets, may be considered a voluminous
Titer- His operas of the Uniform, and the Die
Schweitzer Familie, are esteemed as equal to any of the
Productions of the best masters ; the latter composed for
.1" rienaise, in the year lteo9, still preserves the mi-
diPu • •
nished celebrity which marked its earliest representa-
tia„,
es It is strictly of a pastoral character, the peculiar
forte, indeed, of this truly elegant and scientific composer,
"is easily discernible throughout the numerous works
'f. the admired of both Germany and Italy ! A rare sort
c
unity in the award of praise to even modest merit.
The character is said to be fitted in a peculiar manner to the
e'ruposer of this very charming Opera Buff a.
, The plot, if plot it may be called, appeared as ful-
'les :—Captain Tornado, the Pirate, (Pim-Ames) is
ansent from Genoa, on one of his piratical excursions, and
during his absence, his son Dorimante (Wroon) becomes
enamoured of Claretta, an opera singer (FertoN) who
iith Merlin° (BLAND), an adventurer, and sort of ca-
tttlier scrvente Claretta, passing as her brother, are on
l'e Point of entrapping Dorimante into a marriage with
tne former. The news, however of the Captain's arrival
Puts them all to the rout, when, by (lint of a promise of
t: °nee for complying, andahe fear of broken bones if he does
Pasquale (J. Russree), a card-playing eilkative ser-
i!" of Dorimante, ie prevailed upon to persuade theC•aptain,
cll. Old master, that Claretta and Merlino are a Count and
nuntees, brother and sister, and persons of consequence, who
04ve been introduced to Dorimante by his friend Count
rrval (TnottNE). The Captain is surprised to find such
e4rea ; but being a sailor who loves a pretty girl,
nld being pleased with Cluretta, he applauds his son's
eeking so reputable an acquaintance, and slows them
hospitality of his roof; but as the course of true love
n!!!.!ver did run smooth, there is a certain Lueilla (Miss
see
61), who lands with the Captain, disguised as a sailor
fse
y; but whether she has been made prisoner by the
pirate, or how she came there, we must confess we were
at a loss to learn, unless it were to propitiate the
Pirate •
favour of her union with his son, who
had previously paid his addresses to her ; the adventurers
tee near attaining their object, when Pasquale says some-
thing that alarms the Captain's suspicions, and he sets
a'Sqleggio, (G. PENsoN) an old deaf innsic-master, whom
he has captured, to find out whether Claretta be an opera
'linger or not; he, of course, makes the discovery. The
Pirate threatens his son with banishment, and the adven-
turers are about to be kicked out, when Lucille throws off
the boy's clothes, the adventurers bicome amiable, Dori-
',tante repents of his connection with the opera singer, and
returns the passion of Lucille. The pirate consents to
•their union, and the scene closes with Solfeggio's teaching
the whole corps d' opera to sing his grand finale.
The practical execution of the opera was terribly marred
by the almost total incapacity of one of the principal cha-
racters—the nervous agitation generally attendant upon a
teat representation will ever meet with the most merciful
consideration; but nothing can possibly palliate or excuse
wanton outrage upon patience, so painfully exhibited
nY the gentleman who had the responsible character of
the pirate's son allotted to him. Re was imperfect in
the dialogue, and we are quite certain that he did nut exe-
cute twelve consecutive bars of the opera correctly. The
f'eptette in the finale to the first act, was suddenly trans •
.`"tined into a aestette, to the no small astonishment of the
hJuicialis, and attended by the indignation of Wzree's
L'unirers, who mustered somewhat numerously on this in-
'T,eeting occasion. Madame FERON was in excellent
'll'.l)'ne, and, notwithstanding the disadvantages thrown in
hers'
and others' way, by the circumstance it has been our
413evilling yet painful duty to record, acquitted herself to
Vtrairetion in the Italian coquette and opera singer. Her
her character
duet was loudly encored, and her Seers, descriptive of
character and profetesional pursuits, vehemently applaud-
• Mr. H. Priteetrs, in the gruff son of the sea, seemed
laite in hie natural elerneut, and so completely at his ease
;114e might have readily enough imagines! he had followed
e vocation for twice the space of his yet short existence ;
assuredly, the composer could never have had a more able re-
Ilresenbative of his Capt. Tornado. Theduet, " though dark
il"ds obscuring," with Lucille, was rapturously encored.
ausarsee was clever in a very difficult character, and proved
ulniBelf a most funny pupil of the Signor Sou -ace:ie. in a
e re," that eliited shoats of mirth and approba-
„,444 Mr. G. PeNsow,c in the deaf old fanatic of a music
—Wee, took us and his audience completely by surprise,
'lnd most have convinced every one of his very extraordinary
Pretensions to a versatility of talent in conception, as well
it execution, rarely to be found combined in the person of
lnY one individual. In the finale to the opera, Signor
eetreceio being requested to rehearse one of his own
Z:MpOsitions, sets about it with all the pompous enthusiasm
a mad musician, and alternately applauds and condemns
ne quizzical efforts of his choir, in a rich vein of humour,
eilited to a scientific knowledge of the art, which unequi-
N
professor's claim to be consi-
edly confirms this young
a
eeed the first, as lie is indeed the only English Buffo that
der national stage possesses. This splendid effort drew
e!en the unanimous aeclaination of his delighted auditory.
,Ta Caws]: furnished us with another agreeable sure
ara_t*e ; her acting of Lucille was quite equal to her
as'cal efforts, which may be considered of a higher
lido than is usual with this very industrious young voca-
,•:* Tiroitees was exceedingly amusing in the stammer-
.ft sprig of nobility, and contrived to render an infirmity
-,no very pleasing description exceedingly striking, nay
erne
laughable. The orchestra had a task of no ordinary
dies
to perform. The music of itself was felt, and
rtatelered, by the clever band of this theatre, with adini-
T4le precision, and a laudable attention to the lights and
I.4ulows of musical effect; but, when a singer chooses to
;:ive opt, "0' the sudden," sundry portions of the corn-
k:hel a's ideas, fee, what can a leader, a conductor, or their
I !noadjutors do ? Marry, 'tis a problem of difficult 80-
t 4 I)4* Mr. WAGsTAFIE had more than ordinary merit
vicZse_way in whichlieunravelled the mysterious and de-
te .a tt yof the principal tenor throughout the perform-
% aof this admirable opera. It was given out for the
representation by Mr. G. Petesoer, amid the tumul-
tla plaudits of a highly gratified auditory.

SURREY THEATRE.
fitti„ht7Proprietor of this concern having previously " noti-
law 'lB " exclusive right and possession" and to (.as.,tobe_
wtY:rs say) the first production of the celebrated Vox
day ,t4l called Sylvana, it vvao duly produced on Tues-
e,,'' 'aft, to a numerous auditory, attracted by the above
E--41)ciatien. Whether or not the musical taste of the
t:,,V,11 be amended and improved by the increased im-
' T4l of these foreign productions (certainly not for the
th
1,1141• Parermai to the multitud) is a mattr for con-
rati".t g
Of then piece in question the drama consists of
"tel assembla e of a tyrannical father (a German
Au,r, .4ildelhart:
`-`911,1r. YAILDLNY), two male lovers
a,em 4°ePt and Rudolph, Mr. PHILLIPS and Miss GRADDOti),
ale allotted to each (Matilda and Sylvana, Miss
--( r,LM and Mn.e FITZWILLIA3f), a cowardly serving manVaLv), an old hermit (Mr. BROMLEY), with
:?asonable proportion of Lords, Ladies, Knights, Squires,
.? attendants, whose combined operations furnish ma-
an al' for a more effective drama than the present perform-
-01;. One qualification (and we would say a necessary
05) in the transplanting of foreign operas to the English
antir4; neglected, or at least, unattempted by the managers
teral, viz.the adaptation of the English words, by a free
stiturelegant translation, and consequently the sub-
of English phraseologinsteady, clear and intel-
o' Re to the ear and sense, of the un-
-064 nttadh and unintelligible jargon of (it may be said)
Y all the foreign operas presented to tie of late years in

English garb. The English managers (who, by the bye,
are almost to a rnan incapable of judging or of feeling mu-
sical effects) think that a literal translation, with a eyl-
lable (no matter whether with or without sense or ac-
cent) to each note, sufficient—with the name of Mozart's,
WnsaL, or VON WEREA-to ensure success and attraction
to such productions. The reverse has been the ease, with
very few exceptions ; for though the gullibility of John
Bull is proverbial, he is net satisfied with performances
professed to be in kis native tongue, but which he finds
rendered in a Babelonish dialect—leaving him in complete
ignorance of what is said or Rung : and the duration of
each productions is merely until every one has been to hear
what he is told he must go to hear—and having done so,
he goes no more, because unintelligibility destroys the in-
terest, and a dramatic representation must have interest
to be permanently attractive. However, to effect good
English versions of foreign operas, demands the employ-
ment of more and of a higher order of talent than our
managers are inclined to incur the expense of,—for literary
talent of high class fa- this purpose is not likely to be pro-
cured gratuitously. This is a subject well worthy the
consideration of all who are not indifferent as to the total
exclusion of literature and of sense connected with the mu-
sical drama, and which not a little degrades our taste
in the eyes of our neighbours of the Continent, sonic
of whose best performances we exhibit, robbed of their spi-
rit and effects, from the tasteless, vapid, and unmeaning
translations we tack to them. Another abuse that calls
for animadversion and abolition, is the attempted persona-
tion of male characters by females, which is destructive of
dramatic interest and effect, as offensive to delicacy and
common sense. he some few instances, when the music
of the principal male characters has been composed for an
Italian male soprano, such a substitution may be both ex-
pedient and necessary—otherwise the subversion of the
composer's intentions is added to the offence of so unnatural
an association. Under most of these disadvantages Syl-
mina presents us some splendid specimens of German mo-
dulations, with by no means an absence of pure and elegant
melody, and of which this opera certainly possesses more than
Der Frcischutz, though there is lets of originality and ex-
traordinary effect. The hearer is occasionally reminded
of WINTER, MOZART, and HAYDN, and sometimes even
of the modern Italian school—two airs by Ilueoerss, the
accompaniment of one obligato for the oboe, and the other
for the violoncello, are most exquisite, though the effect of
the latter is injured by the substitution of the soprano for the
tenor voice, which renders the intended effect of imitation
of the Irish echo of Paddy Blake—the soles of Matilda and
Albert in the Hell of Chivalry, are full of nature and
energy. It is to be regretted, that a more distinct delivery
is not obtained by our female singers. The defect with
them is almost universal—BßAHAM, Mimeses, and 11.
Puisues, deliver their words with the decision and em-
phasis of oratory, nor is this essential qualification confined
to them—why then should it not be cultivated by all ? it
is so with French, Italians, Germans, in every species of
vocal music, except the English Opera, and John Bull,who is
always roaring against sound without sense, which he sagaci-
ously supposes the Italian music must he, because he does not
understand their language, sits to hear his own rendered
as unintelligible to him, as if it were foreign ! Of the
Opera performance, dramatic and musical, at the Surrey,
there is something to praise, and much to condemn. Miss
GRADDON is effective in such parts of the music as do not
require a tenor voice to make their effects. With regard
to her male attire it is condemnable in toto, as being un-
masculine even for a female. Her intended armour would
have been appropriate for Joan of Arc, or a Queen of the
Amazons. This young lady is possessed of high vocal
talents which, under proper direction, would be of credit
and service to any operatic establishment. Mrs. Feri-
as-swam, in the part of Sylrana, though out of her
usual line of acting, haviug nothing either to speak or to
sing, performed with much good sense and feeling ; and
Mrs. VALE executed her portion of the performance with
neatness and precision. Miss IlEtoate has an effective and
excellent voice. She ought to study enunciation in her
singing. Mr. PiflLLlrs, as Albert, was by no means as
accurate as we have been accustomed to see him ; he was
evidently imperfect in parts of his music, and his delivery
was frequently forced and constrained. It is justice however
to say, this observation applies to the first night of the Opera
--on a subsequent performance, his efforts were greatly im-
proved. Mr. Puittars is known to be a musician and a
scholar, therefore such errors are most apparent ; his
solos in the tournament, and the battle song in the third
act, are among his best efforts. Mr. VALE executed some
very difficult music allotted to him with powers we did
not suppose him possessed of. Mr. YARDLEY has a bass
voice of admirable quality and compass, but be wants
much of study and cultivation to make a good bass singer ;
a slight attention to orthocpy would correct mispronunciation.
The chorusses, though not sufficiently numerous, were well
sustained, and the orchestra was ably led by Mr. MOUN-
TAIN; it wants, however, increased force in violins and
basses for the proper effect of such music. The proces-
sions were well got up, and the piece was received, on
the whole with well deserved unanimous applause. To con-
clude, the music of Sylvana is unquestionably of a very
high order, and we are willing to give Mr. ELLISTON cre-
dit for his selection and production of suck a work at his
theatre ; but we are fully of opinion that the amusement
of the public would be more effectually contributed to, its
taste amended, and the profits of managers be rendered
more certain and permanent, by the selection of works
presentiug more facility of adaptation to our language, of
nut so high an order as to musical science as to be out of
reach of the comprehensimi of the multitude; and farther, by
producing such pieces when selected with English words,
properly adapted and accentuated, and by an insistance on
the performers to render those words distinct and intel-
ligible to their auditors.