Madame Albertini , whose debut at Her Maj Theatre, in the
part of Leonora in the Trovatore, we recorded last w appeared on Monday as Lucretia Borgia. In this second character she had to contend with the ineffaceable impression left on every mind by Grisi. It says much for Madame -Albertini's powers as an actress and a singer that, under such disadvantage, she produced so great an effect tie eh:did. In the principal scenes—especially where Lucrezia is compelled to see her son poisoned by her ruthless husband, and at the conclusion, where Gennaro expires in her arms, Madame Albertini showed the qualities of a great tragedian. As a singer she appeared to more advantage than in the Trevatore ; for Donizetti's music does not tear the voice as Verdi's does, but gives greater scope for artistic execution. In the finale, where Lu- crezia's distraction finds vent in a burst of impetuous divisions, her vocal power and passionate expression were not inferior to those of Grid. her- self. Bauoarde, as Gennaro, sang well, especially the favourite air "'Ca
for ignobile," which he gave very sweetly ; but he did not look or the character becomingly. Belletti's Alphonso was excellent in singing and expression ; of course he wanted the awful greatness and concentrated repose of' Lablache. Though Mademoiselle Rizzi was too feminine in Orsini, she sang nicely, and her drinking-song obtained the usual encore.
Piccolomini continues to turn people's heads in La Traviata. She draws enormous houses, and every performance is an "ovation" more triumphant than the preceding. We should be glad, nevertheless, to see the announcement of her appearance in some other part. " Toujours Traviata" may become " toujours perdrix " if there is not some change ; but the young lady's repertoire, we believe, is as yet very limited. Johanna Wagner appears this evening as Romeo in I Capuletti ed i Mentecchi, one of her greatest parts.
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