15 MARCH 1834, Page 15

THE ITALIAN OPERA.

WE were wrong in our estimate of the vocal strength with which this theatre opened. We ventured to assert, because we believed, that any alteration must be an improvement; but the opera of Tues- day night satisfied us that it was possible to go lower in the scale of degradation, for the manager has really discovered and imported a more incompetent singer than Madame FERON, in the person of Madame KYNTERLAND; and, as an amusing contrast to what we heard last year, produced her in PasTa's great part, Semiramide. It is impossible to avoid feeling some pity, even where there is so much reason to blame, for a lady who is brought into a strange country merely to make a display of her imperfections. Poor Madame KYNTERLAND has not a single requisite for her profession, even in its humblest walks. Her voice is feeble and of bad quality, her ear defective, her style singularly deficient in cultivation. Her performance was an accumulation of all possible defects. It is better, in a case so irretrievably hopeless, to speak the plain truth at once. How she found her way to our Italian Opera- house, it would be difficult for the uninitiated to guess : let her retreat, for her own sake, be speedy. Nothing, probably, on that stage was ever heard so bad as the trio " Di tanti regi,- in the se- cond scene, by her, Cueloso, and GIUBILEI : each singer selected a different pitch, and steadily persevered in it to the end. Signora SALVI also made her debut in Arsaces, and with considerable success; the second character in the piece becoming in her hands by much the most prominent. Her voice is a contralto, of good tone and compass ; and her singing, though occasionally destitute of finish, respectable. Supported by ZUCHELLI, the duet, " Bell' imago" was listened to by the audience with pleasure.