The Sun. — 1860-04-20 (London, England)

ROYAL ITALIAN OPERA.  The debut of Madame Csillag in the character of Fidelio, is certainly one of the events of the operatic season. Tho opera itself, reproduced after a lapse of five years, has always maintained a lofty position in the estimation of the critical few and musical judge. The only opera of one of the great masters of his divine art, composed, as it were, in a thorough impatience and contempt of the trifling and frivolous school, it addressed itself to such an audience rather than to the indifferent many, who regard a work of art merely as a pastime, and whose oars are more gratified by a few bars of commonplace melody than by the stately inspirations of sablime genius. The ill success which attended "Fidelio" during the lifetime of the composer is not surprising. Its length is unrelieved by action, its characters are few in number, and much depends on their vivid impersonation. Though highly dramatic in parts, there are none of those grand and striking tableaux which relieve the tedium of other operas of a grave and solid style--such as the anathema of the monks in. "Les Huguenots," or the finale in "Le Prophete." The brilliant scenery and effective choruses of Donizetti's,operas, too, are absent, the pathetic chant of the prisoners being mournful and impressive. Still, though less popular than works of a lower artistic value, " Fidelio" will always retain its high rank among the chef d' ceuvres of pure and lofty art, and exhibits in. another  form the vast resources of that genius which gave us " The Mount of Olives" and the marvellous symphonies which bear his name.  The music of " Fidelio" is well adapted to singers from the Fatherland. The more brilliant but more superficial Italians would rarely appreciate a work of such depth and grandeur. It was a German lady, Madame Schroeder-Devrient, who first took the onerous role of the heroine before an English audience. The fair dsbutante of last night, whose first appearance was a most decided success, is a worthy successor of that eminent vocalist, if not altogether her rival. Less familiar with the Italian language than Mdlle. Sophie Cruvelli, she brought to the task far greater dramatic power and sympathetic feeling for the delicate touches and poetic significance of the music. The impassioned declamation of the recitative and air, " A qual furor ti condurra," after Leonora has overheard Pizarro's murderous projects, was enthusiastically received by the audience ; and in the famous dungeon scene, her acting, as well as her singing, was throughout most effective. Her voice is a fine and rich soprano, of extended compass, though not dulcet in quality. At first her singing was somewhat hard and cold, but her powers soon revealed themselves, and her audience testified their recognition of them by a unanimous encore of the trio with Rocco and Marcellina in the first act ; from that time the applause was loud and frequent. Mdlle. Corbari's sweet voice was heard to excellent advantage in the part of Marcellina, and Signori Zelger, Tagiafiaco, and Neri-Baraldi, acquitted themselves creditably in the respective characters of Rocco, Pizarro, and Florestan, though without- any great success. The remarkable feature of the evening was, of course, the appearance of the new prima donna, whom we may safely pronounce to be one of the best Leonoras of late years. She was twice summoned before the curtain at the concluston, and showers of bouquets testified the admiration of the audience. The orchestral department, under the management of M. Costa, was, as usual, perfect. The third of the numerous overtures (that in C) written by Beethoven for this opera, was played between the acts, and so much justice was done to the magnificent composition, that a unanimous encore seoured its repetition. The house was crowded, and the Ballet of " Azelia," brought the evening to a conclusion.