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

HER MAJESTY'S THEATRE. Mozart's chef d'cruvre, the Dcn Giovannf, as Per' formed here last evening, with all that aikention to details which can alone ensure a perfect ense> thle,. and for which the management of this establishment has. of late been so deservedly celebrated. The cast wariadver7 strong one. We had Parodi as Donna Anna, Alboni as Zerlina, Guiliani as Elvira, Coletti as the Don,_ Gardoni as Ottavio, F. Lablache as Masetto, tho Leperello being, of course, that of the great Lablache himself, the most glorious performance of the most glorious performer in the world. The Doirns Anna of Mademoiselle Parodi wns 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 Dori 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 or the emotion was betrayed by the forced compression of feature and the c.'voking tone, until the passion found vent in the demand for revenge, and the " Or sat chi .l'ouore," with *hick tee seems ends, was given with immense force and spirit. In the beautiful trio " Protegga it giusto cielo " she wad vere fine, and in this she was admirably supported by Madame Guiliati and Gardoni, and which elicited an unanimous and hearty encore. Aladtmoistlle Alboni has by her Zerliva more then fulfilled the expectations which her Ninetta had tarcited. She is as great as an actress as she always has b?en as a singete There was a joyousness, an abandon, a naivete about her personation of the coquettish Zerliva which was perfectly fascinating. There was something infectious in the joyousness which she infused into her epecing air, " Giovenette the fate al amore," which positively commanded an encore, a most unusual .heetiour to be paid to this song, and the mingle. d archness and simplicity which she exhibited ' in the "La ci darem" was perfectly delightful. This Sire duet which was excellently given by Albotai and Coletti., was of course loudly encored. The beautiful -" Batti bsttti ! o bel Masetto" was another triumph, not of vomilization, but of acting. Never have we heard this most exquisite air, or the equally Lean iful " Vedriai Carino," so deliciously rendered as they . were last night by Alboni. Since we have knoWn the stage we recollect no artiste who can approach Alboni in her representation of this most exquisite of the creations of Mozart. Madame Guiliani is far and away the best Elvira we have ever .seen. 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 "Il mio tesoro" with the most refined taste and in the sweetest manner imaginable. Lablache was the Lepotello--" C'est tout dire." To pen an euloglum 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 bad a minuet gracefully danced by Mdlles. Carolina Rosati and Marie Taglioni, the latter of r7hom 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.