18 JULY 1846, Page 20

M US IC.

MAYERBEER'S HUGUENOTS AT DRURY LANE THEATRE.

The Brussels Opera troupe commenced their second season in Lon- don, on Wednesday, with The Huguenots. The great elaboration of this work both vocal and instrumental, and the variety of acces- sories to effect which it calls into play both on the stage and in the or- chestra, render it impossible that we should hear it at home except by some migratory company; and the lesson we have lately received from the visits of foreigners is chiefly valuable from its illustrating the power and dramatic effect communicable to a work through accuracy in the de- tails and perfect unity in the representation. Indeed, Dlayerbeer's grand operas are so involved in their general system-requiring from the meanest orchestral instrument as zealous alacrity and attention as from the characters on the stage-that they can never be truly heard where there is the slightest halt or hesitation. It is wonderful that, with their demands on a mass of talent cultivated to the highest point in each department, they are ever brought to a hearing at all; and it is this high musical organization of the artist corps directed to one difficult object and accomplishingit well, that is an admirable feature in Continental music generally and a peculiarexcellence of the Brussels company. How- ever, the path of the opera-director is nowhere absolutely strewed with roses; and the company kept their promise on the present occasion in the face of one or two accidents that to a late hour had placed the performance in jeopardy. One of these was the non-arrival of a principal baritone, M. Massol, of the Academie at Paris; whose part was studied at a short notice by M. Delmar. Another and still more threatening impediment was the illness of the principal tenor, M. Laborde; which, though finally overcome, was sufficiently manifested in an uncertainty of intonation during the opening scenes. Owing to these causes, a degree of indecision was manifest in the pieces of ensemble; and though the choral force after- wards rallied, the first impression was far different from that usually com- municated by this well-trained operatic body. The violin which Mr. Charles Hanssens, the conductor, keeps in petto for the purpose of prompt- ing, was not, it is true, in constant requisition, but still more so than might be wished. This peculiarity in Belgian conducting, however useful, had better be superseded by the complete instruction of the artists and chorus.

The highest honours of the singing pertain to the ladies, and to Madame Laborde (Marguerite de Valois) in chief. The execution of this lady, her great compass of voice and fluency of vocalization, the neatness and volubility of her shake, and the energy of purpose with which she devotes herself to create an impression, give her a high rank among dramatic singers. Her grand air in the second act was applauded to the echo. Few singers of the present day could have en- countered its florid difficulties with any chance of success; and yet we fear she spares herself too little. Her execution, if it could scarcely be more spirited, might be more rounded and finished-the intonation a shade truer, and the ornaments more novel and piquant. These slight deficiencies are indeed only discoverable in Madame Laborde by comparing her with the most distinguished heroines of our Italian Opera; and, being the result of the fire and abandon of her performance, are readily overlooked by her hearers. The well-directed and energetic studies of the Brussels Conserva- torio were apparent in many of the minor characters, which were supported with rare talent. Madame Guichard, as the Page, sang most pleasingly, with great command of high notes and passages. It is seldom that we have heard a small part so agreeably decorated. M. Zelger, the bass-in the costume of the fanatic Marcel-formed a true Belgian edition of La- blache in I Puritani. His dramatic conception of the part is excellent, and his style of singing pure; but his voice requires more weight of tone and physical power. In these respects he is at a disadvantage compared with Staudigl. The Raoul of M. Laborde must be exempt from criticism; and yet his indisposition did not wholly obscure the pleasing qualities of his voice and style.

The orchestra chiefly displayed its excellence in obligato accompani- ments; of which we noticed some for the viola, the flute, and the harp, which were performed with an exquisite neatness in the execution. In playing together, the fortes were, however, sometimes so energetic that the chorus was quite overpowered. Probably the effect in the present locality has not been as yet accurately estimated. The harmonizing of the old Lutheran music, and the variety of accom- paniments which Mayerbeer has given to the corale as a canto fermo, are still among the most interesting points of the composition; which, though altogether too cold and learned, is not deficient in passages of elegance, and possesses material worthy of repeated hearing and concentrated attention.