ITALIAN OPERA BUFFA.
Mn. MITCHELL, of Bond Street, has opened the Lyceum Theatre for the performance of Italian comic operas. He has obtained a licence,
we understand, for the period previous to the opening of the King's
Theatre ; and, with the assistance of Signor Fuzz!, who acts as his stage-manager, has assembled an effective company, with a good chorus, and an orchestra which, for its size, is as perfect as can well be imagined—for it is led by Mont, arid is composed of the finest per- formers of the Opera Band. On Saturday last, L'Elisir d'Amore of DonizErri was performed; and the same piece was repeated on Tues- day and Thursday. If it is meant, by this speculation, to furnish an entertainment to those who cannot afford, or do not choose to incur, the expense of the great Italian Opera-house, this object is frustrated by the high prices
which have been fixed upon. The pit-stalls are half-a-guinea, and the pit and public boxes seven shillings. These (except the pigeon-hole of a gallery) are the only parts of the house open to the public ; for the private boxes, which are much more numerous than formerly, have been subscribed for as at the King's Theatre. The consequence is,
that, while these private boxes present a display of fashionables, sur- prisingly brilliant for the month of December, the public part of the house is very indifferently attended. The audience of the pit, to
judge from the mustachioed faces and foreign accents around us, consisted chiefly of persons whose presence would be of no benefit to the treasury. It would appear, then, that this entertainment has not been got up with any view to attract the English playgoer, but for the amir.,ement
of those members of the had tun who are compelled to vegetate in London during this dull part of the season. We could have wished it had been otherwise; for, though the piece performed, and the other pieces announced, are not the most classical specimens of the Italian school, yet they are not without merit, and the excellence of their per- formance is calculated to improve the public taste.
L'Elisir d'Amore has given us much more pleasure than any of DONIZETTI.8 serious operas. Its subject is the same with that of Le Filtre of AHRER, which was performed some years ago at one of our theatres. A country-girl has two lovers, a young peasant and a dash- ing sergeant of grenadiers. Her heart inclines to the one, but her vanity leads her to encourage the addresses of the other. The discon- solate swain buys from a quack-doctor a potion which is to make his mistress love him. He swallows it—a bottle of Bordeaux! and the only effect is that be behaves ridiculously, and gets laughed at by his fair one. Still, however, believing in the virtue of the charm, he wishes to purchase another bottle; and procures money for the pox- pose by inlisting with his rival the sergeant. The damsel, affected by this proof of self-devotion, buys his discharge, and returns his passion. This little story is pleasantly conducted ; and gives rise to some amusing as well as sentimental scenes. DONIZETTI'S music has the faults of his school. It contains many reminiscences and passages which have been worn threadbare ; it is overloaded by loud and pon- derous accompaniments; and, instead of light and busy concerted pieces, the ear is fatigued by a succession of noisy and monotonous choruses. On the other hand, there are melodies truly Italian, spirited and dramatic passages, and pieces of orchestral writing so deli. cute and ingenious as to show that DONIZETTI, perchance, but for the evil days (as far as Italy is concerned) into which he is fallen, had been a CIMAROSA. With all its faults, this opera has charms sufficient to soften the austerity of criticism. Adina, the country-girl, is performed by our old acquaintance Made- moiselle BLASIS ; 1010 sings even better than she did seven years ago, and plays the part with infinite archness and naivete. BLASIS is an Italian singer and a French actress. The rustic lover, Nemoreno, is personated by Signor CATONE ; a very young man, who may soon be the finest tenor-singer in Europe. He has every requisite of a great vocalist. His voice unites sweetness with power, and rich- ness of volume with flexibility. His rove di pato is so extensive that he hardly uses a note of falsetto; and his style is free from that effeminate frippery which disfigures the otherwise admirable sing- ing of Reinter. He far surpasses that great artiste in the beauty and firmness of his sostenuto, and does not yield to him in energy and va- riety of expression. Ills singing of the beautiful and tender air, "Una furtive lagrima," comes up to any idea that we can form of perfection. He has been received with acclamations of wonder and delight ; and our critical brethren of the daily press, with laudable caution, have ven- tured to say that he is a-performer "of high promise." If his singing now is only a promise, it is a promise of something that no performer whom we have heard has yet realized. The other characters, the Mountebank and the Sergeant, are respect- ably performed by Tomo and BELLINI. The former is too extrava- gant, and the latter too rough ; but they both sing like experienced musicians. In the duet, " Quit, la mano," BELLINI, as well as CATONE, is admirable. The orchestra contains MORT, LINDLEY, DRAGONETTI, WILLMAN, HARPER, CARD, BAU5fAN, PLATT, &C. ; and even the ripieno violins are good players. BALFE, in the absence of BENED1CT, who is not arrived, officiates as conductor.
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