24 JUNE 1837, Page 14

THE ITALIAN OPERA.

PASTA, eased of her engagement at Drury Lane, has found one, where alone she ought ever to seek or to find employment—at the Italian Opera. Elsewhere she is but the shadow of PASTA, or, more pro- perly, the substance without the spirit. The Italian singers, one and all, need the excitement of the stage : the delivery of a song in a con. cert.room is, with them, what the reading a detached speech from a play would have been to KEMBLE or CooKE. They have no enthu- siasm except upon the stage ; and are elsewhere, by comparison, school- boyish and tame. This is preeminently the case with PASTA. Whe- ther it be the consequence of the required stimulus, or from whatever physical or mental cause, her singing on Thursday night far surpassed any previous display during her present sojourn in London, and some- times equalled that of her younger and fresher years. Uneittangled by the meshes of theatrical and musical intrigue, we have nobody to "write tip" or "write down : " we spoke of PASTA when she first came as she compelled us to speak—with unfeigned reluctance and regret : we speak of her now with willing and cordial admiration.

She is to appear in her favourite characters in succession ; and she began on Thursday night with ZINGARELLI's Romeo e Giulietta ; an opera containing scarcely more than a single character. ZINGARELLI is but a feeble writer ; and the poet has diluted and weakened the play Of SRAKSPEARE with a strict and prudent regard to his musical coadjutor's powers. The music is worthy of the poetry, and the poetry well fits the music. All that the representation possesses of power and excitement is superadded ; it is the work of the singer. GIANNONI personated strictly and correctly the cold, immovable Juliet of the Italian poet PASTA played as if she had been the Romeo of Semcsreafte. Her singing, we have already said, was like that of her best days, especially in the lust act, which is the great trial of her strength and skill. Nothing could be more perfect in every respect than her " Ombra adorata." In the first act, and especially in Pactees hackneyed and stupid song, "I tuoi frequentd palpiti," (which she foolishly intro- duced,) it was apparent that her intonation was not certain : but this defect was rarely perceived in the real music of the opera. GIANNO- NI'S singing was more than respectable. She has not the power, like PASTA, of creating a part ; but all that was " set down" for her she id' faultlessly. She was, in singing as in acting, the Gnilietta of her author.

The house was well filled, though not crowded. PASTA was wel- comed with enthusiastic greetings ; and called for at the conclusion of the opera, as we believe Mr. Punch is in the streets.,