'The procladtion of Don Diverrsoii-at The nante'theatre, on Monday,' was
also an occurrence which calls for -notice. 'This .opera is often performed, almost every.season indeed, but very seldom in a -manner' worthy of the -work of its -immortal author. And in making this remark we do not confine 'it -to this theatre or this nountry, 'but ex-, tend it 'to Germanj and France—for in Italy Mozart has :never been- much known, sharing in the dislike of every thing Tedesco. In .Lon-, don, Don Giovanni has never, till-now, been given in a -manner at all satisfactory. 'The -opera has never been properly' cast ;" the effect.' of the Whole being always 'spoiled by incompetentsetors 'being 'artist' into the principal parts. We have scarcely ever had a-fitting -repre- sentative of the hero, Leporello has -almost amiformly been a mere , the -true heroine of the drama, has, as a matter- -of course, been assigned to some third-ante performer. The music,- too, has been mutilated, interpolated, and otherwise tampered with ; and this outrage has never been so flagrant as during the last two seasons at this theatre--a fact well known to every one to whom' the memory of Mozart is dear. Now, however, the case is very' different. The opera is performed as the illustrious master wrote it,, -the omissions are supplied, and the alterations discarded. The oba-' trader of Don -Giovanni is both wellacted and well _sung by -Faure Moira, in the hands of Csillag,-is invested with due importance and' interest.; Formes's Leporello is one of his most striking efforts ; and -the little part of Ifasello is -made a great part by that consummate comedian Roneoni. As to Donna Anna and Zerlina, these two cha-, 'meters have generally been in good bands, and they are still in good hands while represented by Penco and Miolan-Carvalho. In! short, we have now on our Italian stage the chef d'oeuvre of Mozart' -in all its grandeur and beauty.
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