The Sun. — 1849-06-01 (London, England)

HER MAJESTY'S THEATRE.  Mozart's chef d'ceuvre, the IN; Giovanni,; es- perforrned here last evening, with all that attention to details which can alone ensure a perfect ensemble, and for which the management of this establishment has of late been so deservedly celebrated. The cast was a very strong one. We had Parodi as Donna Anna, AlbOni as Zerlina, Guiliani as Elvira, Coletti as the Don, Gardoni as Ottavio, F. Lablache as Masefto the Leperello being, of course, that of the great Lablache himself, the most glorious performance of the most glorious performer in the world. The Dontik Anna of Mademoiselle Parodi was a magnificent specimen of grand tragic acting. Her performance in the scene in which she recognizes Don Giovanni as the murderer of her father, and describes to Don Ottavio the events of that horrible night, was one of the most powerful pieces of impassioned acting we have ever seen; there was no convulsive vehemence about it ; the very concentration of her passion produced a sort of horrible calmness, and the intensity of the emotion was betrayed by the forced compression of feature and the choking tone, until the passion found vent in the demand for revenge, and the " Or sai chi l'onore," with which the scene ends, was given with immense force and spirit. In the beautiful trio " Protegga it giusto cielo " she was vere fine, and in this she was admirably supported by Madame Guiliani and Gardoni, and which elicited an unanimous and hearty encore. Mademoiselle Alboni has by her Zerlina more then fulfilled the expectations which her Ninetta bad excited. She is as great as an actress as she always has been as a singer. There was a joyousness, an abandon, a naivete about her personation of the coquettish Zerlina which was perfectly fascinating. There was something infectious in the joyousness which she infused into her opening air, " Giovenette the late al amore," which positively commanded an encore, a most unusual honour to be paid to this song, and the mingled archness and simplicity which she exhibited in the "La ci three was perfectly delightful. This fine duet which was excellently given by Alboni and Coletti, was of course loudly encored. The beautiful " Batti ! batti ! o bel Masetto" was another triumph, not of vocalization, but of acting. Never have we heard this most exquisite air, or the equally beau iful " Vedriai Came.," so deliciously rendered as tney were last night by Alboni. Since we have known the stage we recollect no tei ro or es p roef s en tat. Mozart.on eafrtisttheiewhmooectanexavorisotacteh oAf Alboni in h the rea Madame Guiliani is far and away the best Elvira we c have ever seer. She sings the music of the part fairly and conscientiously; she understands the part, and can act it, which is more than can be said for any Donna Elvira that has appeared of late years. She gave the "Mi tradi" splendidly. Coletti sang and acted the Don admirably. He looked the reckless dare-devil to the life. His "La ci darem" was a fine specimen of perfect vocalization, and the " Finche dal vino" was given with much spirit. Gardoni made a most interesting Don Ottavio, and sung the "It mio tesoro" with the most refined taste and in the sweetest manner imaginable. Lablache was the Leporello—" C'est host dire." To pen an eulogiuna on Lablache's Leporello now-a-days would be as absurdly supererogatory as to "gild refined gold." F. Lablache, as Masetto, was admirable, and altogether the opera was never better represented. In the ball scene we had a minuet gracefully danced by !Mlles. Carolina Rosati and Marie Taglioni, the latter of whom was attired as a Spanish cavalier and became her costume exceedingly. The various artistes were repeatedly called for during the course of the performance, and were all called on at the conclusion of the opera. The house was crowded in every part. It was like a Jenny Lind night.