THE TWO ITALIAN OPERAS.
Br AN AMATEUR.
RIVALRIES, when they arise out of the force of circumstances, are not to be regretted. It is to be hoped that the competition now organizing be- tween the old Italian Opera in the Haymarket and the " Royal " Opera at Covent Garden may take such a form as shall prove to the public that the "force of things," and not a restless impatience of control, has occa- sioned this " swarm " from the parent hive. Many well-informed persons think that the town can scarcely support two Italian companies at once; and that consequently, if the venture be made, one of the two will be stranded. Without pretending to pronounce boldly that such is the fact, I think I know enough to predict, that if either theatre is destined to succumb in the competition, it is not her Majesty's that will suffer. Too many elements of strength combine to render this the predominant estab- lishment of its kind, and no fear can reasonably be entertained by its supporters that a new enterprise will divest it of the attraction it possesses so long as its management continues effective and liberal.
We had come to fancy that the annual reappearance of Costa in the orchestra, with Grisi and Mario on the stage, was a feature in the Hay- market prospectus as inseparable from it as green leaves from the spring, or any other revolving incident of the universe. Au opera without Grisi was an idea not to be admitted. However, it is certain, not only that we shall see an opera in which that admirable artist will not figure, but also possible that the combination of talent to which her secession opens up a passage may go far to indemnify the public for the absence of one so long and deservedly a favourite with them. One thing is clear, that, complete as the performance of Grisi and Mario commonly was, we never could ex- pect to vary the repertoire so long as the prima donna assolma held sway on the Italian boards. A novelty, even in the vein congenial with her powers and taste, was accomplished with difficulty, and by dint of urgency; whilst novelties of a different school, or even revivals of disused com- positions, not exactly suited to display the talents of Grisi to advantage, as she thought, were next to impracticable. She ruled the cast of the per- formances, therefore; at the same time obstructing the advent of rival soprani; for no first-rate singer could be induced to adventure a career in London whilst many leading parts in favourite operas, bring in the pos- session of Grisi, were necessarily denied her.
An unavoidable sameness in the character of the performances, conse- quent upon the supremacy of Grisi, engendered a kind of necessity for making fresh efforts in a different direction; and accordingly, for some three or four seasons past, we have had a succession of perhaps the most superb ballets that the stage can present. The very first dancers have been produced, not alone, but in pairs, nay in groups; insomuch that many have conceived it impossible that the management could reimburse itself for such prodigality. Be this as it may, the public were enchanted, and crowded audiences attested the attraction of the performances.
Some there were who complained that an undue share of expense was caused by the ballet, and that it would be better to bring out more new operas and more singers with the money. These are notions without know- ledge. You can have but one prima donna and one first tenor going during one season. If the public will have Grisi, they cannot have another. The very best woman procurable for the sentimental line of parts has been here these two years—Signora Castellan; with a delicious voice, a pure style, a lovely person, and youth to charm us withal. All the artists worth having or hearing in Europe, with a very few exceptions, (and those unat- tainable, owing to engagements of wide extent,) have been engaged for the London Opera in turn. None have been sufficiently relished to supplant the former favourites; who thus kept their pianos as fixed stars; and the same round of operas, varying only in the cast, and essays at novelties, cal- culated to reap a brief success principally from the pains taken to "mount" the operas, would have continued to be our portion, but for the un- looked-for incident of Signor Costa's removal from the office of musical con- ductor at her Majesty's Theatre. This circumstance is, in point of fact, the pivot upon which all the breaking-up and reorganization hinges. But for this, we should have heard no complaints, from obscure individuals like Mr. Ella—who, after sitting, as he states, for twenty-three years in the orchestra, suddenly finds out that the insecurity of his position is insupportable—up to artists like Signor Mario. From the hour of Costa's quitting the Opera, ideas of setting up an independent concern have been rife among the profes- sional world; and it is quite conceivable, that with so excellent a basis as Costa and his old band, (should they be persuaded, by large offers of pay, to follow him,) the project, once started, should find favour with many vo- taries of the pure Italian schooL All who, again, had become dissatisfied with Mr. Lumley in any way, whether with or without reason, naturally joined in the new scheme; whilst the two most important artists, Grisi and Mario, finding both an honourable position assigned to them, and an op- portunity of sharing in the speculation and management of the Costa Theatre, took their leave of the old house. With a strong exchequer, such as the new managers are reputed to possess, zeal, and judgment in select- ing the company, I can see no reason why the " Royal Italian Opera" should not offer a capital bill of fare to its subscribers; which I for one shall be right glad to enjoy. But to suppose that it can 'ong sustain itself by its prsfits, is difficult. The old Opera has so many points of advantage over the new, that, even if it pursued only the customary track, it must carry the town. The prestige of high fashion—the long- standing renown of that theatre as the tie plus ultra of a lyric temple—the enormous expenses it sustains without increasing the prices (for the sub- scribers pay now for their boxes and stalls no larger a sum than in Laporte's time)—the brilliant catalogue of its box-owners—the patronage of Queen Victoria and the Prince Consort, and of other members of the Royal Fa- mily also—the very locality itself—all these things lend it an irresistible charm. Again, the manager is distinguished for energy, activity, and per- sonal assiduity; and, though lavish in his outlay, he is correct and scrupulous in his pecuniary dealings. In this latter article he stands honourably con- trasted with nearly all his precursors, whose shortcomings in respect to the salaries of the company are matter of familiar history with all who have in any degree attended to Opera affairs. Whether through incapacity, non- payment of dues by other parties, or prodigal habits of living, I cannot af- firm; but true it is, that, begin as they would, the end of each lessee of her Majesty's Theatre has been insolvency, drawing after it loss and suffering to the luckless artists for the time being. In fact, so far from this loss and suffering being accidental in the annals of the poor artists, I believe it to have characterized the Opera of our forefathers' time as much as our own. Horace Walpole writes to Sir Horace Mann in 1746, just a century ago, "We have got an Italian Opera; the Prince and Lord Middleton imprestni: the latter, from his economy in never paying the performers, I should think likely to continue at the treasury." Let the public reflect upon these cir- cumstances, and fairly strike the balance between the past and the present. I have alluded slightly to discontents which are reported to have found utterance in reference to the management of the Opera. But who ever heard of a government without an " opposition "? Without investing my- self with the office of "counsel for the government," it may be permitted to me to remark, that the complaints seem palpably to originate in ill feel- ing, since they are refuted by the simplest rejoinder. For instance, it was alleged that the subscribers were unfairly treated, in that novelties were produced on the off-nights, and served up to them the second time. Now the fact is, that each of the three new pieces brought out during the season of 1846 —Nabucco, I Lombardi, and L'Aja nell'Imbarrazzo—were performed for the first time on subscription-nights. So much for that complaint. Pass to the ballets. The new ballets, I agree, are habitually brought out on Thursdays. The custom began with benefits; on which occasion, the artist to be honoured was, if possible, complimented with a new piece. Afterwards, the custom became convenient, thr many reasons. The imper- fections inherent in a first night's pantomime performance—the complicated mechanism, requiring considerable time in arranging—and the late hour at which it unavoidably commences—all render the production of a new ballet undesirable on a Tuesday or Saturday night, even if the subscribers wished for it, which I do not believe they do. After this statement, it would not surprise me to hear complaints made on behalf of the "general public," on the ground that "as they do pay for the best they su'd ha'e the best." Your generous grievance-monger is never at a loss for "an injured class." Another complaint has been manufactured out of the absence of a good mezzo-soprano, or rather contralto singer. The reply to this is, first, that the season of 1846 was the only one in which a contralto was not forthcoming; secondly, that contralto parts do not abound in modern operas; thirdly, that the public of this day is not by any means partial to that class of voice; fourthly, that from the parts composed for them being secondary ones, few gifted vocalists care to cultivate that quality of organ even when they have it,—preferring to acquire the higher range of notes, with a view to roles premiere, and the large salary they command. The last grievance, I think, was that whilst the Thursday nights were crammed with pieces to excess, the subscription nights were scantily furnished forth. To this cavil I would simply reply by inquiring, if any subscriber could be found willing to own that on a given night of the last season he or she found the performance too short? If this be not met by a negative, I am much mistaken.
The prospects of the coming season appear to me to be brilliant,—if, as rumour bath it, Mr. Lumley has reason to expect Mademoiselle Jenny Lind early in April, to assume the part of prima donna at her Majesty's Theatre, together with the celebrated tenors Fraschini and Gardoni, the matchless Lahlache, the sonorous Staudigl, the young and elegant soprano Castellan, and others of less mark, forming a corps equal to the execution of all that heart and ear can desire in lyric art. Cheering and reviving IS the idea, that, with this new equipment, a larger range of dramatic music than has heretofore been attainable may be opened out before us. Made- moiselle Lind is said to be possessed of a varied repertoire of characters, and capable of executing music of even opposite schools of composition with truth and feeling; an unfailing mark of genius. If the great Maestro in oratorio music would try his wings in an opera for Jenny Lind !7-ah, then indeed the lyric drama might gather fresh life, and the appetite of the modern public for intelligible and intelligent music be ministered to as it should be. We will live in this expectation.
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