THE GERMAN OPERA.
THE present German company, as we ventured to predict, have confined themselves to the repetition of well-known operas ; and therefore we have been content to he silent auditors. On Wednesday, a portion of MAYERBEER'S Robert the Devil was produced, for the sake of affording Mademoiselle LUTZER, from Vienna, a character suited to her debut. The practice of serving up the single act of an opera is a b d one, but if ever excusable it is in Robert the Devil—the most fatiguing performance that we were ever fated to endure. The songs in the character of Isa- bella are written in the French taste, to which MAYERBEER condescended
when writing for a Parisian audience—flights of arpeggios, requiring a flexibility of organ which few singers possess, and which excite a similar feeling to the same kind of display from THALBERG on his in-. strument. These difficulties Mademoiselle LUTZER overcame with consummate dexterity, and to the delight of her auditors.
Last night, this lady appeared in a part more worthy of her talents, if admitting less display than Isabella ; for she was the Susanna of Le Nozze di Figaro. A more finished portraiture of the character in all respects we have seldom witnessed: easy and unembarrassed in action, with a pure, graceful, and expressive vocal performance. There was no lying by for occasional great effects, but a constant and efficient development of the grace and beauty which are so eminently conspicu- ous in the part. In STAUDIGL she had a Figaro worthy of her; but every other character in the opera was feebly supported.
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