The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1844-12-25

italian OPRRA.-Lucrezia Borga was again per-
formed last night TO well-flled house, and was
received by the audience with frequent marks OF
appreciation. The honors of the evening have been
divided between the two ladies'; but we regret to
see the gradual growing up OF an operate party
spirit. The rivalry now necessarily going on be-
tween our two excellent prime donne cannot but
be injurious the establishment unless their parti-
Fans give more impartial direction to the distri-
button of their favors, and do not applaud or con-
denim Unfortunately. The respective merits Of
Borghese and Pico-or Pico and Borghese-are
both Of high order-and both can exist together
without the least injury to either Of them. Bor-
CHEESE sung the part of Lucrezia with her wonted
superiority. Its principal characteristics are deep
dramatic feeling and very brilliant execution
Great praise due to her for the moderation the
use Of her upper notes, which materially contri
buted 10 impart to her performance roundness
that formerly was SO much missed. Her acting
was complete triumph of histrionc art, and not
untrequenty made the public forget her passionate
singing. Pico's reception was very enthusiastic,
and she fully justified the great applause bestowed
upon her, The part OF Mafieo ol s was as orlg.
Brambillas, once the pupil and insepaIable com.
panon OF Patta. and now the contralto at the
London and Partisan opera in the place OF Alber-
tdHLl IL WOulu ne Unjust " IHdhC a CotuPhIl5Vu
between Pico and one Of the brightest and most
renowned ornaments OF the present Italian stage
although little on the wane; but,neverthelesss she
can boldly challenge it in several Of her ns0rcear,
as In the drinking song, plain and simple ditty,
which admirably suits her style Of singing. We
do not know whether Pico has no head-notes, or
whether she does not make use Of them out of re-
gard Tor correct method. The effect which
Bvambia produces with them in the H1liamG az
guironemto, and in the first air of Lucrezla is bril-
liant in the extreme. The absence OF the hlgn
note in the finale OF the introduction, is rather
sensible; it would better it considerably. Be-
sides, even orthodox musicians allow contr0lfos or
dcep NEE 90 sopranos to have recourse to them.
Her "Nafeo Orsini SigmorG Sono io"-bye the
bye, one of Donlzettl's best concerted pieces-wss
perfect gem of musical elocution. The pronun-
citation was full and distinct, and the accent put
every note strongly indicative Of the fcorn,
that snch an admirable given phrase il 10 be
followed by the musical hallucinatien OF two
bad chorus singers Why did the curtain
which, through strongly reprehensve negli.
gence, came down too early-notc over their
awful squeaking Rublnis and Morianis cannot be
engaged, OF COURSE TO sing secondary parts, but at
least, individuals with few notes in their throats,
ought to be selected for them. In general the
chorusses are the weakest points ofthe Opera, both
decidedly improving. With little more life in
his singing, and some more distinctness in his
phrasing, he would be one Of the most pleasing
tenors. Valtellina was warm and passionate, as
usual. Barring some false singing and wavering
information in the first air he was every thing that
could be desired. One little advice we venture TO
give the intelligent leader-the loud and frequent
striking Of the tin plate with the bow does not i'm
prove the orchestra. and disturbsthe harmony and