7 MARCH 1846, Page 13

Benedict's opera, The Crusaders, has obtained well-deserved success at Drury

Lane. Greater breadth of style prevails in this work than in any previous effort of the composer. The concerted pieces, finales, and in- strumentation, from time to time remind us of the classic hands of Spohr and Weber; while the melodies and single airs, though too much drawled in the cadences by the singers, are calculated to win the popular ear with- out offending more select and cultivated taste. The opera, in its com- bination of plot, scenic display, costume, situation, and music, may be con- sidered altogether as one of the happiest efforts of the manager; and, though it proceeds upon the old plan of bringing all the resources of the theatre to bear, and thus is in some respects a modification of things seen and knosin before, interest in the action has not been sacrificed to sound and show; the story unravels itself by degrees, creating suspense just sufficient to support interest iu the situation without fatiguing the hearer by perplex- ing him, after the manner of M. Scribe, with mysteries of cause and effect, when he should be listening to music. The entire impression on the house shows the advantage of well-considered action in an opera, however sup- ported by the luxuriant accessories of scenery, dance, and dress.

Without stopping to notice an anachronism for -which Mr. Bunn apolo- gizes in his preface, we may observe, that M. de St. George has culled the incidents of his libretto from the history of the first and third Crusades; introducing at the same time (his first appearance on any stage) that formidable personage " the Old Man of the Mountain," known to the readers of Von Hammer, Hume, and Mr. James, as chief of the Assassins. The interest concentrates in the embarrassments of a certain Prince of Tarentnm, (Mr. W. Harrison,) who being contracted to Iseult, daughter of the Count of Toulouse, (Miss Rainforth,) forms an intimacy with Aimee, (Miss Romer) a Sunnite girl of the sect of the Assassins; and the said Aimda having saved' his life and made various declarations of very strong love to him, he is led by the train of events to the verge of a marriage with her; his affianced bride releasing him from his vows through fear of the Old Man of the Mountain, who has paid her a secret visit and forbidden her to disclose the cause of her conduct. Suspense respect- ing this extraordinary union is kept up even to the church-door in the last scene; when Abide suddenly discloses herself in a religions habit, restores Iseult to her lawful lord, and applies herself with great resolution to her part in a brilliant duo with which the piece concludes. The jovial life of the Crusaders, the exhortations of the Archbishop of Tyre, and the mysterious entrances and exits of the Old Man of the Mountain, (Stretton,) engage attention in a minor way; the opening and closes of the acts ex- hibit striking scenic effects; while the throng of mailed warriors and the animation of the entire spectacle during the siege of Jerusalem surpass anything attempted at the house since Astley's dragoons assisted in storm- big a fortress in en opera by Halevy. The whole production is 'gorgeous; and much of the scenery is so beautiful that we may easily enjoy the fulmination of travel without its inconveniences.

It is seldom that an opera of this expensive character has been attempted without the attraction of some particular celebrity in the vocal art; and it is not a little to the credit of Mr. Benedict, that, by an accurate consi- deration of the whole power of the house, he has produced as much effect with middling- or second-rate singers as is usually only accomplished by the aid of at least some one popular idol. What the solo-singers are best able to produce he has elicited; while, by throwing into occasional prominence the strength of the house in its excellent band and chorus, he has afforded seasonable relief to the principal vocalists; with whom, moreover, fanciful and interesting accompaniments for solo instruments also divide attention. Through this precaution the interest of the composition has been much raised. During the first part of the opera:Miss Romer is the prima donna, and throws out with energy those bursts of sound which the passionate character of Alm& requires. If her intonation is at times somewhat faulty, there is no deficiency of- zeal in her performance; and the artificial tremor of the voice, which at times renders her singing unpleasant, seemed less perceptible. The gentler song and music fell to the share of Miss Rainforth; who appears later in the opera, and charms by the contrast of calmness and placidity. Harrison engrosses the greater part of the ballads; which alp really quite sufficiently good in their way to excuse him the mannered and tedious cadences through which he aims at the applauses of the gallery. Through these excesses of the singer, every encore raises a fend in the house, which augments the length rather than the pleasure of the performance. We must add to this, that the tone of Harrison, once so pro- mising, has contracted a strong twang of vulgarity. The chorus of Cru- saders, which forms the burden of the first act, is a spirited and melodious composition, interesting by variety of treatment on every recurrence. The concerted piece in which the murder of Conrad is revealed is excellent; as is also the scene with the Assassins in F sharp minor. Somewhat of the handling of Weber is here adopted. In the second act are two pleasing ditets, and an air, " While here a father's steps "; in which Miss Rainforth exhibits a graceful style. The third act opens with a romance, " In child- hood's sinless bloom," sung by Miss Rainforth, with obligate violin; for the passages of which instrument Mr. Benedict seems to us somewhat in- debted to Spohr. A duet between the same lady and Borrani is also very pretty. The Crusaders will on the whole considerably increase the reputa- tion of Benedict as a dramatic composer. Less original than Wallace, or even Macfarren, he has better satisfied the managerial wants of the house than either; and in producing a special Drury Lane opera, we, must com- mend him for bringing a larger amount of good music to bear than has ever been done on a similar occasion.