• THE THEATRES.
LONDON may now boast of the most magnificent theatre in Europe: our Italian Operahouse, scarcely surpassed in size, is unrivalled for the beauty and splendour of its form and decorations. The season commenced on Tuesday; and great was the curiosity to behold the interior. The coup d'ceil on first entering is dazzling; but it rivets, not repels the sight: as the eye becomes familiar with the brilliancy that bursts upon it, a sense of pleasurable satisfaction is experienced; which is renewed every time that the spectator turns from the stage to throw a glance round the house. The style of decoration is Italian of the time of Raphael and Julio Romano; the Vatican and other palaces of Italy furnishing the de- signs. Each tier of boxes is differently ornamented with Arabesque scrolls interspersed with medallions of figures on gold or coloured grounds, pictures, and ornaments in imitative relief; enriched with burnished gold mouldings, and subdued by amber draperies. The profusion of bright yellow silk hang- ings, and the golden glossiness of their satin surface, lighted by a brilliant chandelier, shed such a flood of lustre around that the gay tints of the paintings are toned down to a chaste and delicate harmony of quiet hues, and the chintz linings of the boxes become almost colourless. The effect is lively as well as rich; and, so far from fatiguing the sense, it is delight- ful to dwell upon; while the longer ono looks the more vivacity do the pictorial decorations appear to possess. Pale blue and brown, enli- vened with red, prevail. Red predominates in the ceiling; to which the eye is gradually led by a progressive diminution in the quantity of intense hues from the lower tier, where it is freely used, to the upper, where there is little positive colour and none in masses. The
produce a much richer effect then troops of supernumeraries with scarlet legs or bodies.
The entrance of Mr. Balfe, to take his place as Conductor, was the signal for a hearty burst of welcome; and at the end of the opera, Mr. Lumley was called, in a way not to be resisted, to receive the meed of applause so justly his due for the munificent spirit of the improvements.
As of old custom the stars of her Majesty's Theatre do not appear until after Easter, the Nabueeo of Verdi, which depends for its effect on pieces of ensemble, seems to have been not injudiciously selected for the openingof the house. Having had in 1842 a favourable opportunity of hearing this work at the Scala, we could not fail to remark that it relied chiefly on powerful lungs, massive choral effects, and orchestral combinations, without affording much room for displays of cultivated taste and finished education in indivi- dual performers. This kind of production postpones the heavy salaries of the syrens in a manner not inconvenient to the manager; and, considering the many evils of taste into which a too exclusive idol-worship leads, we are in- disposed to quarrel with it; but, certainly, monotony is its besetting sin. With sufficient originality to interest, many transient inspirations of beauty and feeling, and a remarkable tendency to grandeur of harmonic combina- tion, (which, it will be remembered, formed the principal feature of Ernani,) Verdi, has no felicity in changing his style; his excellencies all tend one way, namely, to combination: in real sustained melody he is deficient; and even in the peculiar and grandiose style of his concerted pieces be seems to haVe been anticipated by Bellini in the choral parts of the Puritani. Four years have elapsed in the career of this young composer without brighten- ing our anticipations of his future: he may give us wain-loads of harmony and thundering chords, but they will ill replace the natural melody of Bel- lini or the clear effective instrumentation of Donizetti.
As the misfortunes of Nebuchadnezzar could not well form the subject of a libretto for our Italian opera, the piece is entitled Nino; the events of the Biblical history being adapted to that of the Assyrian monarch Ninus. The remote times in which the action is placed, and the preposterous con- duct of the heroes and heroines of the drama, are not calculated to elite much sympathy. Ninus, (Fornasari,) inflamed by ambition and opaque& after profaning the temple of Isis, proceeds to various acts of impiety; and, being struck by lightning, is reduced to a state of imbecility. His miseries are increased by the intelligence that his daughter, Fenena,-(Cor- bati,) has adopted the religion of the Babylonians, and by the cruel and revengeful conduct of a haughty slave, his supposed daughter Abigail. (Sanchioli.) At length, on repentance, he is allowed to resume his sceptre,
One of the finest things in the opera is the air (" Di Babilonia ai lidi") sung by Orotaspe, Priest of Isis, (Botelli,) and accompanied by a chortle. It was most beautifully performed by Botelli, and proved extremely effective and grand. Abigail's entrance in armour at the head of her As- syrian warriors afforded the first exhibition of Mademoiselle Sanchioli's vocal powers. There is a commendable dramatic energy in this lady, who displayed powerful notes from the middle C two octaves upwards; but of musical accent, refinement, or polished execution, we could discover little. In these respects her art seems to be yet to learn. Mademoiselle Corbati, though, it appears, somewhat new to the stage, is interesting from the sweetness of her voice, the timidity of her manner, and the total ab- sence of pretension. Her little solo in the finale proved very successful. The general power of the scenes—including that of the finale of the second act, in which Ninns is lightning-struck—the groups of the stage, the idols of antique worship, and the richness of Paynim costume, give a certain interest to this opera; which will, however, in the absence of the all-pervading influence of melody, be soon satisfied. The band, under the baton of Mr. Balfe, was less accurate in the accompaniment of the recitative than we have been wont to hear it; but a perfect understanding may be hoped for on longer acquaintance.
The new ballet, by Perrot, with noisy, frappant music, by Pugni, called Catarina, ou la Filk du Bandit, is a smart spectacle of the military sort; in which the corps de ballet figure as female banditti, in scarlet kirtles and red feathers, who, with Lucie Grahn for their chieftain, perform evo- lutions and dance a "pas des carabines " in the approved style. It pro- fesses to be founded on an adventure of Salvator Rosa; who falls in love with the female bandit chief; and excites the jealousy of a robber rival. But a painter in search of the picturesque would shun these scarlet ladies, and confine his attention to such costumes as are worn by Perrot and a few of his brother brigands. Nor would any artist choose for his models such a group of hour-glass forms in white muslin as were assembled in the studio of Rosa's representative, M. Gosselin. The military air suits the hard style of Lucile Gratin very well, and she danced with vigour and preci- sion; but beside Perrot, she seemed a wonderful automaton dancer with a living partner. Mademoiselle Louise Taglioni made a promising &bat on this occasion, and proved herself not unworthy of the name and the contrast between the upper tier and the ceiling is very striking: the vast circle is well defined and supported by architectural forms, and its surface varied by circular pictures and other devices. The opening over the gal- lery is admirably contrived to produce a novel and agreeable effect: the ceiling and walls are coloured sky blue, and this mass of retiring coolness is very refreshing to the eye. The only faulty part of the whole is, un- fortunately, that which ought to be the most perfect—the proscenium: this is discordant in tone as, well as in design, and altogether inferior to the rest. Stanfield has painted an elegant drop-scene, in classic taste, representing a vestibule adorned with pictures and statues: but his beautiful architectural forms and the colours of his painting are alike destroyed by a barbarous mimic drapery, striped brick-dust red and ochre yellow, with a fringe at once gaudy and meagre. And, as if to crown the bad taste of this spot, the Royal arms are painted in a most preposterous manner. The upper part of the proscenium is such a positive eyesore, that it should be repainted in accordance with the rest of the house: at present it mars the beauty and harmony of the ensemble. How so conspicuous and important a part of the house should have been thus vulgarly treated, when all the rest shows such refined taste, is inexplicable.
The stage also has shared in the work of renovation. The scenery, by Marshall, is admirable for picturesque effects of light and shadow that vi vify the architectural interiors; and a bird's-eye view of Babylon, (or rme- veh?) with the " hanging gardens" of the palace, and the broad river reflecting the bright sunlight of a cloudless sky, is remarkable for the effect of space. The costumes, too, are more characteristic than ordinary; though the theatrical slop-worker's taste is shown in the too lavish display of red ca- lamanco. An artist would know that quiet hues, harmonized and height- ened by a sparing and judicious intermixture of bright colours, produce a much richer effect then troops of supernumeraries with scarlet legs or bodies.
The entrance of Mr. Balfe, to take his place as Conductor, was the signal for a hearty burst of welcome; and at the end of the opera, Mr. Lumley was called, in a way not to be resisted, to receive the meed of applause so justly his due for the munificent spirit of the improvements.
As of old custom the stars of her Majesty's Theatre do not appear until after Easter, the Nabueeo of Verdi, which depends for its effect on pieces of ensemble, seems to have been not injudiciously selected for the openingof the house. Having had in 1842 a favourable opportunity of hearing this work at the Scala, we could not fail to remark that it relied chiefly on powerful lungs, massive choral effects, and orchestral combinations, without affording much room for displays of cultivated taste and finished education in indivi- dual performers. This kind of production postpones the heavy salaries of the syrens in a manner not inconvenient to the manager; and, considering the many evils of taste into which a too exclusive idol-worship leads, we are in- disposed to quarrel with it; but, certainly, monotony is its besetting sin. With sufficient originality to interest, many transient inspirations of beauty and feeling, and a remarkable tendency to grandeur of harmonic combina- tion, (which, it will be remembered, formed the principal feature of Ernani,) Verdi, has no felicity in changing his style; his excellencies all tend one way, namely, to combination: in real sustained melody he is deficient; and even in the peculiar and grandiose style of his concerted pieces be seems to haVe been anticipated by Bellini in the choral parts of the Puritani. Four years have elapsed in the career of this young composer without brighten- ing our anticipations of his future: he may give us wain-loads of harmony and thundering chords, but they will ill replace the natural melody of Bel- lini or the clear effective instrumentation of Donizetti.
As the misfortunes of Nebuchadnezzar could not well form the subject of a libretto for our Italian opera, the piece is entitled Nino; the events of the Biblical history being adapted to that of the Assyrian monarch Ninus. The remote times in which the action is placed, and the preposterous con- duct of the heroes and heroines of the drama, are not calculated to elite much sympathy. Ninus, (Fornasari,) inflamed by ambition and opaque& after profaning the temple of Isis, proceeds to various acts of impiety; and, being struck by lightning, is reduced to a state of imbecility. His miseries are increased by the intelligence that his daughter, Fenena,-(Cor- bati,) has adopted the religion of the Babylonians, and by the cruel and revengeful conduct of a haughty slave, his supposed daughter Abigail. (Sanchioli.) At length, on repentance, he is allowed to resume his sceptre,
One of the finest things in the opera is the air (" Di Babilonia ai lidi") sung by Orotaspe, Priest of Isis, (Botelli,) and accompanied by a chortle. It was most beautifully performed by Botelli, and proved extremely effective and grand. Abigail's entrance in armour at the head of her As- syrian warriors afforded the first exhibition of Mademoiselle Sanchioli's vocal powers. There is a commendable dramatic energy in this lady, who displayed powerful notes from the middle C two octaves upwards; but of musical accent, refinement, or polished execution, we could discover little. In these respects her art seems to be yet to learn. Mademoiselle Corbati, though, it appears, somewhat new to the stage, is interesting from the sweetness of her voice, the timidity of her manner, and the total ab- sence of pretension. Her little solo in the finale proved very successful. The general power of the scenes—including that of the finale of the second act, in which Ninns is lightning-struck—the groups of the stage, the idols of antique worship, and the richness of Paynim costume, give a certain interest to this opera; which will, however, in the absence of the all-pervading influence of melody, be soon satisfied. The band, under the baton of Mr. Balfe, was less accurate in the accompaniment of the recitative than we have been wont to hear it; but a perfect understanding may be hoped for on longer acquaintance.
The new ballet, by Perrot, with noisy, frappant music, by Pugni, called Catarina, ou la Filk du Bandit, is a smart spectacle of the military sort; in which the corps de ballet figure as female banditti, in scarlet kirtles and red feathers, who, with Lucie Grahn for their chieftain, perform evo- lutions and dance a "pas des carabines " in the approved style. It pro- fesses to be founded on an adventure of Salvator Rosa; who falls in love with the female bandit chief; and excites the jealousy of a robber rival. But a painter in search of the picturesque would shun these scarlet ladies, and confine his attention to such costumes as are worn by Perrot and a few of his brother brigands. Nor would any artist choose for his models such a group of hour-glass forms in white muslin as were assembled in the studio of Rosa's representative, M. Gosselin. The military air suits the hard style of Lucile Gratin very well, and she danced with vigour and preci- sion; but beside Perrot, she seemed a wonderful automaton dancer with a living partner. Mademoiselle Louise Taglioni made a promising &bat on this occasion, and proved herself not unworthy of the name and the school of Taglioni. Her figure is petite and slender; but her movements are graceful and flexible as well as light and free, and her method is ex- cellent: whether the has mind,Temains to be seen.
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