King's Theatre.
The Times, 1824-04-26T00:00:00

The re-appearance of MadamePasta, after an absence of seven years from our metropolis, attracted an overflowing audicnce on Sa- turday evening. Every part of this imnense house was filled at a very early hour. The boxes and pit were crowded witl fashion; and many of the cognoscenti who proceeded to the opera,full-dressed, in the hope nf observing Mladame Pasta's performance frem a more fashionable part of the house, were compeled to take refuge in the gallery. The couip d'ail was exceedingly brilliant. The tragic opera of Otello, the music by Rossini, was represented on this occa- sion. The mere idea of the *noblest work of our noblest poet being converted into an Italian onera, must be pain- ful to the feelings of an Englishman; bui the manner in which, to suit " the exigencies of the Italian musical drama," a certain iMarchese Berio has mutilated the plot, and bereft the characters of the passions and qualities which should distinguish them, pro- duces a sentiment very little short of disgust. Wherever he attempts (which fortunately occurs but rarely) any direct translation of the original, he gives ample proof that he did not comprehend it; and where he becomes paraphrastic, as in the little simple baUad of " Willow," to which he dedicates a long and weary pagc, he shows that the magic spell of poetical feeling has never reached him. The music is worthy of betterpoetry. The raging jealousy of Othello, in the latter scenes, is well expressed by the composer; and there is, in the strains allotted to Desdcrnona, a degree of solemnity and tenderness, quite in unison with her character and situation. The chorusses arc introduced with great judgment; and are, in gencral, so intermingled with the immediate business of the scene, as to pro- duce a very grand effect. Mladame Pasta sustained the character of Desdemnona. Shc was received in the most flattering manner on ber entrance. She is, undloubtedly, much im.proved, since we last saw her; but we do not think that herimprovement warrants the ex- cessive praises wlhich have been showered on her by nur Gallic neigh. hours. Her powers of voice are very considerable; but her tones are deficient in that full and rich melodv, which, in the absence of all art, comes home to the bosom, and captivates the feelings. Somneof her notes are, indeed, sharp, almost toliarshness. Herstylc ofsing- ing is chaste and expressive. She does not overlav the work of the compoqer by a too frequent recurrence to "the foreign aid of ona- nient." In this respect, her manner forms a very strong contrast with that of thegenerality of Italian singers, who are miore ambitious to ex- cite astonishment, than anxious " to sooth thesoul byzentle strokes of art." lirc believe that this unambitious style of singing resultsfrom Madam- Pasta's judgment, and doe. not arise fronm any deficiency of scientific knowledge; for,in many' of the concerted pieces,-and in these she chiefly shone,-her execution united, in an eminent degree, clearness and rapidity. This was peculiarly observable in the trio ;" 7ra tante s.znonie," which was sung most excellently, and in which Madame Pasta's exertion was loudly applauded. She was ex- tremely happv in her execution of a plaintive air " L'error d'tn in- Aelice," which Desdenmona addresses to her father. The chorus is, in this scene, managed with camsummate skill. Falling in occasionally with Desdeniona's melancholy strains, it pro. duceq a grand and solemn harmonv. The air, " Dele bnua, 0 cicl, ncl son to," which is sung by Desdemona, before she retires to rest, was encored. MWe think, however, there were other parts of Madame Pasta-s performance which deserved that honoour much better. MIany portions of the last -cene, in which M1adane Pasta exhibited uncommon spirit and animatinn, could be celected in support of that opinion. The address to Othello, " IJecidimi se vuoi, per/ido, in- grafeA," might well have challenged an nneore. Miadame Pasta's performance was received throughout with distinguished approbation. When the curtain fell, there was a long-continued6lapping of hands, chieflv in the gallerv, accompanied with cries for her appearance, a la lFrancaise. The'ladv, attended by Signor Garcia, ultimately came forward, and made her curtsev to the audience. This fnreign foppery ouLht to be discouraged. The part of Othello was performed by Signor Garcia, with greet force and feeling. The scene in which his jealousy is aroused by lago, and the last scene with Desdemona, displayed rmiisical and scenic powers of the first order. Benetti was a very indifferent representative of lago, and the loderigo of Begrez was of the same class. Porto rendered Elmiro a more prominent character than it woiuld be in ordinary hands. His fine, deep, natural tones wereheard most advantageous- ly, " Ti pari 'amore." Between the first and second act of the opera, the divertissemcnt L'O-rende aux Graces was performed. The only novelty in thepiecewas the re-appearanceof.Iladem.ioiselle Noblet, after an absence of two years. She danced a pas de dCItx with Mlonsieur Albert in an inimitablv graceful style. La Fete Mong-roisc concluded the entertainments. This is unquestionably the prettiest ballet produced during the present season. The group. ing is extremely picturesque, the dances are as various as thev are pleasing, and the incidpnts are amusing. Here, also, Mademoiselle N'oblet and Mo0nsieur Albert displayed their talents in the execution of a pe de den.r. The " poetry of motion" was never more beauti. Ifull v exemnlifleed. KING'S THEATRE.