The Press. — 1856-06-28 (London, England)

LYCEUM THEATRE—RISTORI AS ROSMUNDA. GREAT as the powers of this tragedienne had been estimated, her Rosmunda must place her, if it be possible, still higher in public estimation. She gave vitality to the bald language of the poet; she raised into importance trivial points of her perilous part, —one tempting the representative to violence and exaggeration which must draw down ridicule in the most solemn situations. In the utterance of the epithets which Rosmunda so freely bestows, Ristoti displayed her wonderful tact. Ordinary actresses would have stormed and raved, but the Italian artiste got over the difficulty of the reiterated explosions of rage and abuse by delivering the superlatives, as it were, within herself, with the teeth closed and the lips compressed, but the e 3 e unmistakeably telling the tale of the inner workings of the soul. In the first act, the history of drinking from the scull-cup (a la Byron) was narrated with a loathing highly suggestive of the physical rejection of the awful beverage, as well as of the mental agony of the doomed daughter. How womanlike was the passage in which she endeavours to persuade herself that Armachilde coald not love Romilda on account of her beauty, however he might be ensnared by her blandishments. Thedwakertlng of Rosmunaa's first suspicions, when her husband argues against the union with Marie, was highly discriminative. No artist within our experience ever listened on the stage better than Ristori. This was marvellously shown in the scene in which Rosmunda, in the third act, triumphantly follows every word of Romilda as she declares her deep hatred of her father's murderer, and where she boldly avows her affection for Ildovaldo. Ristori's glance of exultation at her foiled caro sposo was inimitable. The subdued rage was finely depicted until she had him safe for the domestic lecture. The succeeding soliloquy, conning over the mode of vengeance, was equally remarkable; and the exclamation of delight at seeing Ildovaldo to employ him as her instrument, created an immense sensation. Something like human feeling appears to animate Rosmunda in the fourth act. She contrasts piteously the strength of the affection of Romilda and Ildoraldo with the ingratitude of Armachilde for her ardent love, but ber pride will not permit her to own her preservation, and she dismisses Romilda with haughty coldness. In the last act it is with sneers and sarcasms she greets her victorious Armachilde and the unfortunate Romilda. One feels that the bitter irony must conceal a desperate resolve, and, come what may, Romilda must be the victim, especially when Ildovaldo retires without having killed her husband. The grasp with which Rosmunda holds Romilda is evidence that it will never be released whilst the latter breathes. The rush to the staircase, from the summit of which Rosmunda taunts both husband and lover, and finally sacrifices Romilda, was followed by attitudes of mingled despair and defiance, in which the absurdities of the author were atoned in admiration of the actress, and the excited audience broke out in loud acclamations.  The Queen and Prince Albert honoured the performance with their presence.  Poneg raft and eitg ]nitiligtatt.