The Sun.
London, England, 1826-08-08 00:00:00

ENGLISH OPERA HOUSE.

A new serio-comic opera, entiled UNTERDROCHENE 0e-
FERFEST, or, the INTERRUPTED SACRIFICE, was brought out
at this theatre last night, with the most imposing splendour.
Theplot " if plot it can he called, which plot was none," is
something to the following effect :—Elvira (Miss Hamil-
ton), a Spanish lady of warm passions, has come out to
South America two years before, with Faulk/and (Mr.
Sapio), to whom she was betrothed. She is taken by the
Peruvians, and her lover, after a quarrel, quits the Spa-
nish service, engages in that of the Peruvians, falls in
love with Myra (Miss Paton), the daughter of the
Inca (Mr. J. Bland) and saves his life. Elvin; mean-
time, who, it seems, has been also captured, is neglected
by Faulkland for Myra, and instantly vows revenge; for
which purpose she consults Madrent (Mr. Phillips), a
gentleman who seems to be a sort of cross breed between
IVlephistopeles and the late Mr. John Thurtell. Of course
such a character would be in his element where mischief
was concerned, and accordingly he seconds her vengeance
with the most diligent and disinterested diabolism. It seems
that at a sacrifice held annually in honour of the sun, Faulk-
land is to be accused of blasphemy, a crime which by the
laws of Peru can be expiated only by death. This ac-
cordingly is done ; the offender is reluctantly given up by
the Inca; when, by some means or other, which we could
not exactly comprehend, he is liberated, restored to his
Myra, marries her, and, as a matter of course, lives very
happy afterwards. It will be seen from this brief sketch
that the plot is a slender one ; but more than com-
pensated by the exquisite beauty of the music, which,
though purporting to be arranged by Mr. Hawes, is altoge-
ther of a foreign complexion, the production, we are
told of Winter—a name highly popular on the Continent.
Its principal features are brilliancy and variety, to which
first characteristic Miss Paton does exemplary justice. In
one part especially, where she has to represent a mad wo-
man, her singing, and even her acting, was fraught with
the most impassioned expression. The same may be said
of Sapio, who executed the air during his supposed con-
finement (the words we shall give beneath) with surprising
energy. On the whole, the Opera met with deserved
applause, and was announced for repetition amid the cheers
of a crowded house.
The gloomy terrors of the grave.
May fright the coward, not the brave :
Let Death at once appear,
And I will meet him here :
I've met him when the tempest's thunder
Has torn the skies asunder ;
I've met him mid war's fiercest glow,
When, thunder round one roaring,
Death shots like hail were pouring;
And shall I fear to meet him now ?
And what is death ?—a calm repose
From life's disturbed and fitful fever,
When, freed from all our throes,
We sink to rest for ever :
Then gladly will I meet him,
And, as my surest friend,
With rapture will I greet him,
Whose arm conducts me to a happier land.
No longer here to languish
In doubt and misery,
To leave this vale of anguish,
Oh ! who would fear to die ?
The grave is but the portal
Through which, though dark it be,
Must pass the weary mortal
To immortality. • •
There was a time ere sorrow
Had taught a tear to start,
Ere care had ploughed one furrow
Across my cheerful heart :
But now mine eye is tearful,
As well in sorrow vere'd ;
This heart no more is cheerful,
But throbs as though 'twould burst.
Mine hours are passed in anguish,
Nor dares a hope intrude ;
Since 'tie my lot to languish
In silent solitude.