The Sun.
London, England, 1842-02-07 00:00:00

UARY 7,184 k.

THEATRE ROYAL, DRURY LANE,
Mr. Macready having succeeded, in the main object
of his plan, the revival on the boards of this theatre of
the national drama, commenced on Saturday his
" endeavour to establish upon the English stage the
works of the greatest composers of the English school
of music," by the revival of Ads and Galatea. The
serenata of Acis and Galatea, with the music of which,
by Handel, most of our readers must have a familiax:
acquaintanbe from its frequent performance' at con-
certs and mu.* meetings, was originally produced in
1732, and we will confess that in seeing the announce-
ment of this opera, (not divided into acts) in the bills,
we were somewhat fearful for the result. It is true
the poetry, which is' by Gay, is infinitely superior
to the general run of opera libretti, but the
days of the gods and goddesses are over—Cupid has
now no abiding place save in the regions of burlesque,
and modern audiences take no interest in the weal or
woe of Arcadian shepherds. We were most agree-
ably surprised to find our anxions forebodings were
needless. The piece was completely and most de-
servedly successful, but it owes its success solely to
the manner in which Mr. Macready and his assistants
have taken advantage of the time and place in which
the scene is laid, to give us a series of beautifully
classic illustrations of Sicilian pastoral life in the my-
thological ages. A visit to Drury-lane Theatre will
give the student of Theocritus a greater insight into
the meaning of his author, and a far keener relish of
his beauties, than he can ever attain by poring over
all the books of all the commentators that have
ever written on Greek and Roman antiquities.
The scenic illustrations are from the pencil of Clark-
son Stanfield, R.A., and we are glad to see this great
artist not unmindful of the place in which he laid the
foundation of his well-earned fame, coming forward
to render his assistance in raising Old Drury from the
dust. On the crimson curtain being drawn aside
what is called, in the programme of the scenery, The
Frontispiece, for the performance of the overture, is
discovered. This is a splendid drop scene, painted by
Stanfield, and consisting of three pictures ; Ist, Gala-
tea rising from the sea, from Annibal Caracci ; 2d,
Polyphemus on the rock, with Fauns and Nymphs,
from Nicolas Poussin ; and, 3d, the flight of Acis and
Galatea from the Cyclops, from Annibal Caracci.
The first scene in the opera is a grotto on the coast of
Sicily, by moonlight, with a view of Etna in
the distance. This is one of those exquisite
sea views, in the delineation of which Stanfield stands
unrivalled. The effect of the back ground is superb.
We hope that this beautiful design will be rescued from
the destruction which must inevitably await it as a
mere piece of scene-painting; if Mr. Stanfield has not
already transferred it to canvass in some more durable
form, we trust he will lose no time in doing so. It
would be a source of regret to every lover of art that
this gem should not be preserved. In this scene
there is a most ingenious piece of mechanism exhibited:
the billows, glittering in the moonlight, rush up the
beach, and break with that roaring sound, and that
foaming crest,which are so delightful to every lover of the
sea, and then recede with that peculiar gurgling sound
which is always produced by breakers on a pebbly beach.
This is something perfectly novel in the way of scenic
illusion, and elicited frequent bursts of applau'Se.
The next scene represents a view from a vineyard,
with Etna in ,the distance, and, as a work of art, is
as worthy of admiration as the preceding scene. The
festivities in honour of Pan take place in this scene,
and advantage is taken of these festivities to give
a series of classical groupings, which, inde-
pendently of their beauty as tableaux, are, as
illustrations of the classical pastoral poets, worthy
of all praise for their minute accuracy. In the
neat scene, which is a pine forest, we have another
beautiful series of classical groupings, among which
we must particularise the tableau formed by the af-
frighted peasantry on hearing Polyphemus roaring in
the distance, as one of the most picturesque massings
ever exhibiied on the stage. 'The last scene repre-
sents the coast of Sicily, and in this scene Polyphemus
hurls the rock upon Acis, and the transformation o

Le latter into a fountain, takes place. Generally
speaking, these transformations are rather dangerous
matters to attempt, they either fail from inefficiency,
or approach so nearly to pantomime, as to become bur-
lesque. In the present instance, however, the happy
medium was hit exactly, and nothing could exceed
the beauty of the effect produced by the appearance
of the fountain bubbling from the rock, falling in a
graceful cascade down the precipice, and meandering
through the valley to the sea. The part of Galatea
was sustained by Miss Romer, who would succeed
better if she would sing no more than is set down for
her in the score. Handel does not need, nor will he
bear, ornamenting at the hands of those who execute
h s music. Miss P. Horton, as Acis, sang and acted
beautifully ' • she is imbued with the true liandelian
spirit, and hers was evidently a labour of love.
Phillips did not make as much of Polyphemus as we
expected ; his dressing of the character was also
somewhat too grotesque. G. Bennett, whose dressing
of Caliban was a model for characters of this sort,
could give him some useful hints on this point.
Mr. Allen was the Damon, and we know of no tenor
singer who has made such rapid advances in the career
of improvement as this gentleman. He is an example
of what taste and application can accomplish, and, let
him go on as he has begun, he will soon distance all
competitors. His " Would you use the tender crea-
ture" was given with all the skill, taste, and sweetness
of a most accomplished artist, and was loudly ap-
plauded. Great credit is due to Mr. T. Cooke, for
the manner in which he has managed the orchestral
arrangements. They are distinguished for the utter
absence of everything like self-seeking, Mr. Cooke
having throughout paid the most religious regard to
the intentions of the mighty master. The choruses also
were admirably managed, not only as regarded singing,
but acting also, every individual taking a part in the
scene. Macready was loudly called for at the fall of
the curtain, and on his appearance announced the
piece for repetition three times a week, amidst the
loudest applause. Miss P. Horton and Miss Romer
were also called for, and cordially greeted by the
audience. The house was very well filled.