The Sun. — 1838-12-04 (London, England)

DRURY LANE.  Guilleaunze Tell, the last and best of Rossini's operas, was eich b certainlyouout at this theatre last night, in a manner which does great credit to the management. This p king proof of the versatility as well as the greatness 4ht fs the i composer's genius. By his previous productions he laid himself open, in a remarkable degree, to the charge of mannerism. In Guilleaunte Tell, however, every trace of his manner at once disappeared. His peculiar phrases of melody, his favourite modulations, his florid ornaments, his accustomed modes of accompaniment, all disappear ; but we not only have no vestige of Rossini, but no vestige of the Italian school. His simple and austere melodies, clothed with the rich and highly-wrought harmonies of the Germans, do not admit of Italian embellishment, and Rubini or Grisi would be as little at home in this by means of vocal harmony and striking o music as in that of Weber or Spohr. Its effects are produced rieflyombinations. There are not more than ch orchestral t r chiefly combinations. two or three airs in the whole piece, and the principal character, Tell himself, has not one. There are, however, several fine and most dramatic ducts ; and these, as well as the concerted pieces, contain many admirable solo passages for the principal performers, which, if they do not afford room for the display of vocal execution, put to the test the performer's power of giving utterance to the language of passion. Feeling, energy, and just and emphatic declamation, are the cheif requisites for the principal performers in Guilleaunze Tell. This being the case, it may be supposed that Braham was eminently happy in his personation of the hero of the piece. Any diminution that may have taken place in the compass and flexibility of his voice was hardly, if at all, perceived, while his thorough conception of the author's meaning, and his power of giving it the truest expression, appeared in all their lustre. His recitatives were models of musical speech, and one of them in particular, expressive of the agonies of the father doomed to be the murderer of his son, was hardly inferior to the unrivalled " Deeper and deeper still." His reception by the audience was worthy of his noble performance. Mr. Allen was very successful in the character of Arnold. He is a young singer of great merit, and his merit is beginning to be appreciated. In the great duet with Braham in the first act Mr. Allen left little to be desired. Miss Romer, in the character of Matilda, sang admirably, and her whole performance of the part was equal to that of its Parisian representative, Madame Dorus- Gras. The slight part of Tell's wife received ample justice from Miss Betts ; and Miss Poole, as Tell's young son, acted and sang very sweetly. The remaining parts were well performed by Giubilei, Stretton, and Stansbury. The chorus was unusually numerous and effective, and the orchestra did its duty most admirably. In every part of the performance the good effects of Mr. Bishop's discipline were very evident; got up in in on an Englishdelicate thearrea.nd subdued tone. The scenery : The house was very full, and the opera received great applause.  at this theatre Was mad© last night,