The Sun.
London, England, 1844-05-10 00:00:00

HER MAJESTY'S THEATRE.

Were there such a society as a Royal Musical
Humane Society, for rewarding those who restore to
existence operas from a state of suspended animation
most assuredly Signor Fornasaii would be entitled
to the society's gold medal. Donizetti's opera of
Belisario had long been, to all appearance, defunct.
Fornasari chose it last season for li s deb fit, and now
it never fails to draw a crowded house. The same
good office which lie prepared for Donizetti's
Belisario last season, he performed last even-
ing for Ilerold's Zampa, which when pro-
duced for - the infelicitous debut of Signor
Felice, at the commencement of the season,
was quite a fiasco, but which, with Fornasari, as the
hero, bids fair to become one of the most popular
operas in the repertoire of the theatre. The cast was
very strong, including Fornasari as Zampa, Lablache
Dandolo, Corelli as Alfonso, and Madame Per-
siani as Camilla. The chef ar ceuvre of Herold has
never been so efficiently represented as it was last
evening. The character of Zampa is exactly suited
to Fornasari ; that energetic power by which the
acting of this admirable artist is so distinguished, and
which perhaps prevents his Don Giovanni (in many
respects a cognate character to Zampa) .from being so ,
perfect as it otherwise would be, tells admirably in the
character of the libertine corsair. His opening scene
was very fine, and the drinking song, " Che l'onda
gergogliante," in the last scene of the first act, was
given in a thorough reckless spirit of boisterous,
almost ferocious gaiety. The audience were loud in
their expressions of approbation, and unanimously
called for its repetition. His :toting was very fine at
the close of this scene, when, in bitter mockery, hav-
ing p'aced his ring on the finger of the statue of
Albina, the victim of his perfidy, he finds the
hand of the statue closes on the ring. Ap- -
palled at first by this prodigy, he almost in-
stantly recovers his presence of mind, becomes
aware of the necessity of keeping sip the spirits
of his followers, who, like himself, have been
witnesses of the prodigy, and commences again the
joyous drinking song, calling en them to join in
chorus. Nothing could be grander than the acting
of Fornasari in this scene. The instinctive dread
of his approaching fate, for a moment obtained
the mastery—but it was only for a moment—in-
stantly it was conquered by the energetic will, and
Zampa was himself again. This certainly was one
of the finest and most artistical things we have ever
seen even from Fornasari.. In the second act he
sang the beautiful air, " Gentil sembiante," with the
most delicious sweetness. There was a great deal of
archness about his manner of giving the barcarolle,
" Leggiadra don zelea," which he sung excellently; and
then, at the conclusion, nothing could exceed the
majestic manner in which he gave the magnificent
passage, "0, presterete fede al mio potere."
Drawing himself up to his full height, as-
suming at once the spirit of command in
the finest and fullest tones of his superb voice, he
calls upon those by whom he is surrounded to have
faith in his power, and instantly they become his de-
voted followers. They have faith in his power, be-
cause he has spoken as having faith in himself. In •
the last act, the duet with Persiani was beautifully
given. In this duet the wondrous flexibility of For-
nasari's voice enabled him to throw a pathos and an
expressive tenderness into the music, which no bass
yoke could possibly have given, except his own.
Zampa is certainly one of Fornasari's greatest cha-
racters. The, Dandolo of Lablache is one of those
rich and unctious bits of humour, of which those

only can form an idea who haVe seen the man.
It was as great in its way as the Zampa of Fornasari.
At the conclusion Fornasarj was called foi', and ap-
peared leading in Madame Persiani. After the opera
the Pas de Quatre, from the " Lac des Fees," was
exquisitely danced by Cerito, Plunket, Schaeffer, and
M. St. Leon, and then followed the last act of Norma,
in which the exquisite duet, " Deh conte," the gem of
the opera, was exquisitely given by Grisi and Favanti.
Favanti did not seem so nervous as usual,
and, consequently, was enabled to do fuller
justice to her marvellous powers of voice.
Her intonation was pure, and her fioritone was in
good taste. Altogether we have never heard this
heautiful duet more delightfully given than it was
last evening. The ballet of Ondine, with Cerito as
the heroine, concluded the evening's amusements.
The performances were for the benefit of Fornasari,
and, as might be expected, the house was crowded in
every part.