5 JUNE 1858, Page 12

Muir.

The possession of Mademoiselle Titiens, one of the greatest German singers of Italian opera who have appeared within our memory, has given the manager of Her Majesty's Theatre—added to a company like- wise strong in other respects—the means of producing the two greatest Italian works of the German school under circumstances singularly ad- vantageous. We need scarcely say that we allude to the great masterpieces of Mozart, Don Giovanni and Le No= di Figaro. These are Italian operas, in the Italian language and for the Italian stage ; because in Mozart's day the German opera was only struggling into existence, and his only German opera, the lauberflote, was written in the last year of his life. But Mozart, though he wrote Italian operas, was heart and soul a German, and never, to the latest day of his life, forsook the purity and simplicity of German music. Though his incomparable works were composed for the Italian stage and Italian singers, it is well known that they were not kindly received either by the Italian singers themselves or the Italianized public of Vienna : and it is nbtorious that Mozart is not a favourite with Italian performers even at the present day. Some of them, indeed,—such as Rubini, and Mario, and Grisi, have sung his music very beautifully, but they have made it no secret that they would rather sing something else : and, generally speaking, it has been singers, not Italian but conversant with the Italian school—the Sontags, the Linda, the Wagners, the Titiens, who have studied Mozart with the greatest ardour and done the fullest justice to his works. Among them, no one has been more successful than our new prima donna at Her Majesty's Theatre. No one has more thoroughly succeeded than she has done—first as Donna Anna and next as the Countess Almaviva—in combining German simplicity and even severity with the grace and beauty of the Italian style.

It was on Saturday lust that the .21ozzc di Figaro was performed, with Titiens, for the first time, in the part of the Countess ; the opera, in other respects, having been cast in the same manner as last season. The Countess and Susanna are parts of equal importance and are generally sustained (as much as possible) by actresses of equal rank ; and, in Mr. Lumley's company, Titiens and Piccolomini present themselves as their representatives. The one naturally falls to the share of the serious, sen- timental German • the other to the lively, sparkling Italian. Titiens in- vests the Countess with the deepest interest. We pity the wrongs of the abused wife while we have her kindly nature and unalterable sweetness. Piccolomini's Susanna is vivacious and amusing, but with too much of the pert, saucy chambermaid. Susanna is a lady in manners, sentiments, and everything but station—nay, even in station ; for Su- sanna is the Countess's friend and companion rather than her servant. Titiens's execution of Mozart's music' in loveliness of voice, purity, sim- plicity, and depth of feeling, has not been surpassed by any singer we have ever heard ; and the effect of the famous scena (including the ex- quisite " Dove soni i bei momenti") in which the Countess muses sadly on her unhappy fate, made an impression on the audience not exceeded by the most triumphant efforts of Jenny Lind. Piccolomini's singing did her great honour, for it showed a conscientious study of music not at all belonging to her own congenial school. The other parts, especially Belletti's Figaro, Beneventano's Count Almaviva, and Mademoiselle Ortolani's Cherubim), were well supported; and the opera, as a whole, has been put upon the stage in a manner worthy of Her Majesty's Theatre.

Grisi cannot now personate the youthful heroine of a love tale. But there are some characters which she is able to represent with greater effect than ever ; and this is especially the case with Lucrezia Borgia. On Thursday night, when she reappeared in this part at Covent Garden, her person, her face, her air of grand and terrible majesty, were all that the imagination could ascribe to the character ; while the illusion was still further completed by Neri-Baraldi in the part of Gennaro, which Mario has now very properly given up to this young performer. In Grisi we had the mother whose devoted maternal affection is the one gleam of light in her dark and gloomy nature ; and, in Neri-Baraldi, the youth on whom the transports of a mother's love could be naturally lavished. We have never seen the final scene of agony between the mother and son acted with greater truth and pathos, or with greater impression on the feelings of the audience. Ronconi, just arrived in London, appeared in his great part of Duke of Ferrara ; a part in which, since the death of Lablache, he has no rival.

Among the Concerts of the week, that of her Majesty's pianist, Mrs. Anderson, is entitled to precedence in consideration of the great scale on which it was got up, the host of talent employed, and the recherché quality of the entertainment. It was given on Monday morning in Her Majesty's Theatre, which was crowded with the most fashionable people in London. All the vocal, orchestral, and choral strength of the theatre was put in requisition ; and there were, moreover, Madame Clara No- velle. Miss Louisa Pvne, and the great violinist Joachim. Mrs. Ander- son herself played Beethoven's famous Choral Fantasia in a style which showed that, though she seems of lath to have withdrawn from public performance, she is as able as ever she was to uphold the honour of the English school. Mr. Lindsay Sloper and Miss Dolby's second concert of chamber music, at Willis's Rooms on Monday afternoon, was of a classical and interesting character. Mr. Sloper revived one of the al- most-forgotten pianoforte works of Haydn, the Trio in G for piano, vio- lin, and violoncello; and, by his own admirable playing, aided by that of Blagrove and Piatti, gave this fine old music all the freshness of novelty. Mies Dolby, who, among her other claims to public favour, is inde- fatigable in bringing to light the vocal gems of the olden time, sang Purcell's cantata " Mad Bess " with such passionate expression that she electrified her audience, among whom, probably, there were not half a dozen persons who ever heard of this masterpiece of the greatest of English musicians. Madame Puzzi's annual concert, on Monday morn- ing, drew one of the greatest crowds we have ever seen in the Hanover Square Rooms ; this lady, from her great talents as a vocal teacher, having a most extensive connexion in the fashionable world. Among the numerous performers who gave their assistance were Madame Viardot and Madame Persiani. The latter has returned after an absence of many years ; and, though not engaged at either Operahouse, appears to sing as well as ever.