The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1844-02-29

/ ITALIAN OrERA-When we saw the continually
Increasing and always highly fashionable patronage
bestowed upon the opera, which was fully deserved
bv the universal satsf elton and delight given by
the managers ana performers, we entertained the
fatterng hope that we should never have to record
scandalous outrage similar to that perpetrated by
fctc miserable fellows against one OF the greatest
favores of the public, the talented sage-manager'
the spirited actor, the excellent singer, Sisnor val
tellina Everybody could observe at the hrst
movement, and it was observed, that ne abored
under a very violent cold and hoarseness, which
paralyzed all his powers, that we really thought
it would be impossible to bring the performance 10
an end 1t was obvious that Vaitelllna had hardly
strength enough to walk, much less to sing, ana
Notwithstanding, some towards, because II Is
cowaIdly to attack sick singer, had the hardi-
hood of Kissing him in the Duet OF the third act,
where his force had given way through the fatigue
of his previous exertions. Valtcllina ought to be
proud of this afiront, for the, audience showed
through irenetic clapping and humping, perhaps
never witnessed in any theatre, the high sense they
entertained OF his rare merits, and their contempt
at this outrageous conduct 1t is quite natural that
under the existing circumstances justice conlq MOI
be done to the OPERA because the part OF LORD
Ashton is one of the most important, particularly IN
the beautiful finale OF the second act, when he
leads and supports. y.
tBorghese proved herself, as always, singer d
ecuton of her ornaments and coloraure, partly pre-
scribed by the composer and partly introduced by
her Much caution is required to employ them IN
the RICH, place, and, if possible, rather IN tne ca
dences than in the body Of the air, where running
passages as in the duett between her and Lord ASH
ton, should never be omitted 10 make room LOT
succession of shakes No ornament IS OF greater
effect than well executed and graceful modulated
shake but its frequent introduction is too tatigulng
to the performer The first cavatina which Is orr
ginally written by Donizet, but nearly every where
replaced by, a more winning one by pelslani, Is
perfect vocal steeple chase In difficulties, and re-
quires an immense length OF breath and thorough
knowledge of all the mysteries ofoperatic priesthood
Mile Borghese gave it with the ease ana elegance
difficult AIR Of the third act, which would be the
plus ultra Of perfection II the tor,tsr, were MOI
very very little overcharged. This reproach cannot
be addressed to her other pieces, as Tor instance
the Duet with PeroZZl, in which he sung the meS-
"a voce passage of the second part with surprising
| finish and bravura.
Perozzi sang his brilliant role con amore, and
made quite hit with the naiedeto Sia Pstanfe and
| his grand air He gave the touching passage
Ma ii vidi in mi naque
| .4ho desio Pira taque,
| with surprising roundness and delicacy, although
this purely sentimental stve is not entirely In ms
| sphere, his voice not being flexible enough, and
more fit for the semi-heroic airs OF Alamlro by
the by, Signor Perozz, do you know that you
would die a much easier death if you would stab
yourself in the left side, where the heart is instead
of the right side? Do tit gives you the same NJ.
very we'll, but looked too young for tutor and
peacemaker one observes Immediately that Lucia
priamge la n,adre estinta, for loving mother would
not have trusted her daughter to such dashlns
| teacher.
Lucia will undoubtedly become greater favor
lite than the two first operas. The Puritan satis-
fled the connosseur, Belsario the public. Lucia
unies the appreciation of both, and will draw many
audiences as fashionable and numerous as those OF
| last night.