The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1858-07-11

Tnsssz7cAl and Musical.
Nr. THOMAS PLAcrpE has resumed the manage
nent of the Varieties theatre, New Orleans, which
house was built under his supervision. committee
Of the stockholders are interested with Mr. Placide,
md sustain the project with what Mantilini calls
The demnition cash." Mr. Placide is about to visit
Europe to engage first rate corps do ballet, and will
secure here a first class company of comedians.
Mr.. CHARLES wALcor advertises elsewhere that
ne viii devote two days in each week to the educa-
Non of pupils for the stage. Mr.. walcot is amply
qualified for the delicate duty he has undertaken,
being a good English scholar as well as first rate
artist.
BosroN.-There was nothing new at the Howard
The Buckleys were to be succeeded by the Keller
troupe Messrs Pilgrim and Moran are decorating
ahe National preparatory TO opening for the season
On August 20.
BuFFALo.-Mr. Charles Mathews was playing at
she theatre here last week.
FoREIGN-We make the following extracts from
Che London Times, June 2l:-
Al her Majesty's theatre Louisa Miller has been
allowed a weeks repose, the much hvelier "Figla
del Reggimento' taking its place on Tuesday, and
~Lucrezia Borgia on the other evenings
Now that Mademoiselle rtiens Tor Tetjens) is
about to Vienna, the attraction of her per-
Sormances has increased, and more curiosity
yia than about any character che had previously
ATTEMPTED on the boards of Her Majesty's theatre.
When we take into consideration In how very short
q time Mademoisee Ttiens had obtained a
sufficient mastery of the Italian tongue TO enable
her 10 sing with credit in Italian Opera, and
that during this brief space she has assumed five
parts widely differing IN every essential from
each other as Valentine, LeonOra ii Trovatore')
Donna Anna Countess Amaviva, and Lucreza Bor-
Eia we cannot shut out the conviction that she
must be person of remarkable gifts and Of more
shan ordinary requirement To expect that all
these characters should be supported with equal
eellence and that the music OF each and all should
come with the same readiness within the limits OF
her resources, would be super exacting. What Ma
SemOselle Titiens has achieved, however, since her
first appearance in London is sufficient to entite
her to the hi CHEST consideration, and TO encourage
Abe belief that closer familiarity With the Italian
language and the Italian lyric repertory viii bring
her nearer and to the goal which no true ar
sist ever thinks she has entirely reached. Her Luz
erezia Borga is an unequal performance but per
Torrance at the same time full OF beauties-one that
wants maturing rather than correcting, and the
faults of which chiefly spring from over anxiety 70
do eyerything thoroughly and with 6;ict. SgnOr Gu
gni-tbough he sings the trio in the scene with the
Duke and Duchess a. Guai Sc IL sfugge un motto },
the air, Com sodue, and some other parts Of The
music, exqusitely-is not quite az ease in
the character of Gennaro. His histrionic
misconception is al times very singular.
Sipnor Belletti's Alphonso is well known. How
admirably the music Is rendered by this accom-
piished singer, and how far such vocal perfection
atones for the absence OF dramatic energy and per-
ception, have been more than once discussed.
The knowledge that Alboni was about to reassame
the part of Mafeo Orsini and with it the immortal
all segreto per felice, which frs. made her
tsmous before the London public during the intia-
tive season OF the Royal Italian Opera (lS47) i'm
parted special interes, TO this revival OF "Lucreza
Borgia" Alboni, unwilling, no DOUBT, 10 appear in
dress which would have i'll become her portiy
figure had equipped herself after the manner OF
some of the ancient Italian models, with surtout
tha. extended to the feet. But little mattered cos
tune in her case. Such singing would have enti
tled her TO a carte blanche 90 wear just what she
pleased The sensation produced by the brlnd,si
mot 10 mention the legend, "Nella fatal d. Rim
ni'O-sung 20 perfection, thrice repeated, and each
time with that marvellous shake Leading TO the re-
sumption Of the theme, OF which Aloonl was The ORR
Fnal inventor, and which no one after her has
satempted-it would be impossible to describe.
There is novelty TO record at the Royal Italian
Opera. Fra Diayolo' aud the "Hugnenots" have
been repeated. At the third representation Of An.
bers delightful opera (which was substituted for II
Barbiere p on Saturday night, by special desire
her Majesty the Queen and bis Royal an Hshness
guests the King of the Belgians, the Duchess OF Bra
bant and the Count Of Flanders, were present.
They appeared enchanted with the performance, and
particularly with Ronconis grotesque dehneation OF
The English Lord which was more grotesgue, and
il cannot be denied, diverting than ever. The
most brilliant vocal display Of the evening Mme
Boso's execution Of the nterpolated air 10 The bel
room scene which, though it has been frequently in
sroduced In the 'Sirene, was originally borrowed,
II appears from lie Sermeni; Ian earlier opera or
Auber, produced in English dress q. one of the
patent theatres many years ago, under the
name of The Coiners;D but whether from
sic eermentr or the "Srene' it is equally
ont of keeping with the music OF FRA
Diayolon and the character Of Zerlina- We may
sswe state here an impression having prev allied that
Amber wrote great deal Of music expressly for he
Italian version Of his Fra Diavoio that such is not
precisely the case. The patter song IN which
ford Rocburg describes his travelling adventures,
NIKE the grand air of Zerna, belongs TO :" lie Ser
ment;n The capital trio tact II, for Fra Diavolo,
Gacomo, and Beppo, N t,ansplanted from another
work entitled Les Chaperons Blancs," which made
half failure at the Opera Comique many years since.
The saltareIlo In the last act and the eouplets OF
Beppo and Giacomo {" 10 son, Sgnori, un infelice y
are, we believe. the only bona fde new pieces-.he
aecompauied recitative which Auber, like Meyerbeer
for his Etoile du NOrd" was invited tn compose,
being for the greater part suPpre for what
reasons we are unable TO safe. The next novelty
m preparation at this house Is flo'ows Martha,
40 opera which has made the tour OF Europe and
America which was recently performed at the
Theatre ltalien in Paris with great success, ana IN
which It may be remembered, Herr ToEInes made
hrs frs, appearance ia this country-n ls49,
when a German operate =" troop" was giving
REPRESENTATIONS as DTuIy-Llne theatre. Herr Flotow
mas composed several operas, one Of which" Stra-
della has been heard IN London, and another
Ola en- Peine enjoys considerable vogue, ~
a lspsT de Tideau, at the Paris Academic lnpefale.
martha however, is the most universally popular
work Of "the German AdOlphe ADAM a. be has
been not inaptly styled.
Az the DruIy lane Italian Opera we oave had
great variety OF entertainments, the most important
NJ which the "Barbiere di Sviglia, broughtfOrward
Madam Viardot Garcia as RosIna ne appari.ion
of this distinguished artist for The first time upon
The English stage was real event; and the house,
A. might have been expected, was crowded. Madam
yiardots Rosina belongs 20 The most studied add
elaborate impersonations Of The modern stage. Its
hstrionic details are as minute and worked out
With as great toll and nicely as in the painting of
Dutch interior. Every incident, every turn, - ac-
curately noted and dehned-nothing " merely sug
gested scarcely anything left for the imagination Of
the spectator 20 supply. We not only see the folds
OF the drapery, but between and underneath the
folds As an actress, indeed, Madam Viardot Is
M many respects eminently pEe-Rapbaelite, and
her Rosina one Of those portrAitures that