ft4rairrs.
Whether it speaks the language of prose or of poetry, originality does not often thrive on the London stage. An original drama in four acts, entitled A Life's Trial, was produced on Thursday at the Haymarket; and, though acted as well:as times will permit, and decorated in a style that a few years ago would have created admiring wonder, wan received in a manner the very reverse of satisfactory. Far worse pieces have been infinitely better treated. The story of a young lady, who is forced by circumstances to marry one man while she loves another—is left alone in the world by the flight of her husband, who has committed a forgery—is troubled still further by the return of her husband, when she is flattering herself that he is dead, and preparing to marry her first love,—this story, we say, is by no means ill-told, nor are the situations that occur at the various stages of its progress at all deficient in strength. The personages are indeed rather too much inclined to indulge in unpractical dialogue, and to retard the action for the make of analyzing their own emotions ; but nevertheless, their fortunes during ten imaginary years are various enough to satisfy the veriest gourmand of vicissitudes. Why then does not so promising a foundation lead to a happier result ?—Because, when the husband of the unfortunate lady breaks the matrimonial tie by swallowing poison, he does not perform the operation in an effective manner. The problem is indeed solved, but the curtain falls on a weak picture. Careless about dramatic literature, and less fastidious than formerly on the subject of histrionic art, the English public, by a long familiarity with French construction, has become very acute as to the minutia) of dramatic contrivance. The words "Bad finish!" shouted at the fall of the curtain, embodied a technical objection that would scarcely have been intelligible forty years ago ; for it had no reference whatever to the moral-of the catastrophe, but simply to the means by which it was brought about. Let it be added, that it was the verdict of an audience who had been perfectly satisfied with the piece laughing at the facetious, and sympathizing with the persecuted, till the unlucky moment arrived.
The opening of Her Majesty's Theatre on the 14th of next month has been heralded tteeording to custom by the lessee's prospectus of his arrangements for the season. Mr. Lumley prefaces his announcements with some expressions, of gratitude to the public and his performers, for
the success of last season ; a success well deserved, both on his own part
and that of his company, to whose honourable fulfilment of their duties he ascribes the fact—" without a precedent," he says, "in operatic
history "—that the entertainments promised for each evening were given
without a single disappointment or change of performance. He relies on the continuance of the encouragement he IIRS received, and hopes to be able to achieve "still higher triumphs than were immediately attainable on the restoration of the establishment." This is the true spirit—" progress " is the order of the day, in art as well as polities: Mr. Lumley is doubtless well aware that the public will now expect from him more than he was able to accomplish when he suddenly found himself called upon to reopen a theatre so many years closed. The list of performers includes four leading members of last year's company—Piceolomini, .Alboni, Belletti, and Beneventano. Jo hanna Wagner's name has disappeared ; nor is there any tenor previously known to us. But two new soprani are announced—Mademoiselle Spezia and Mademoiselle Ortolani, both of high Italian name as singers and actresses. The new tenor, Giuglini, has the reputation of being the greatest singer of his class in Italy. As baritones, our acquaintances Belletti and Beneventano leave nothing to be desired ; and the chief desideratum of last year, a good basso profondo, is likely to be supplied by Signor Vialetti, a singer of celebrity—the more wanted as Lablache, it is said, is to be at the other house. We thus see, that, .Alboni being the only great contralto and Giuglini the only great tenor, the utmost account will be made of their powers : and in regard to Alboni, we trust that this constitution of the company will keep her within her proper sphere, and prevent her profitless excursions into tho range of the soprano. Whether Giuglini has any pretensions to rival Mario—the hitherto unrivalled successor of Rubini—remains to be seen ; but at all events he has comparative youth and freshness on his side. As to Piecolomini, the last year's idol of the opcmgoing public, Mr. Lumley probably relies on her again as his greatest card : but he should bear in mind that she has a severer trial before her than she has hitherto undergone. Last year she had the prestige of novelty added to the fascinations of youth, beauty, and great natural gifts of genius. These advantages will still exist; but youth and beauty, fleeting in themselves, are still more fleeting in their impression ; and natural gifts, to maintain their power, demand higher and higher cultivation. The somewhat spurious excitement of la Traviata cannot be expected to be kept up to the same pitch ; and Mademoiselle Piceolomini's future career must depend on higher and moro legitimate efforts. We arc glad, therefore, to see that her appearance is announced "in a varied and attractive repertoire " ; and, as Don Giovanni is to be produced with the throe first ladies in conjunction, we take it for granted that she will be the Zerlina, —a part for which (supposing tho necessary studios) she is preeminently fitted.
On the first night of the season, we are to have La Favorite ; in 'which the three principal now-comers will boldly measure themselves with their most formidable rivals ; Spezia with Grisi, Giuglini with Mario, and Vialetti with Lablacho. T us their powers will be at once and most effectually put to the test. Piccolomini, Ortolani, and Alboni, are to appear in succession, in April and May. So much for performers. In regard to operas, all that Mr. Lumley says is—" Although in an establishment especially devoted to Italian opera, the compositions of Italy will naturally predominate, the gems of other schools will not be neglected." He does not promise a single new opera, either of the Italian or any other school ; a thing without precedent in any prospectus of an opera season. The silence is most significant of the state of dramatic musical cousposition throughout Europe. But Verdi's Simon Doecanera had not yet convulsed Venice when Mr. Lumley was pondering his programme. .
For the ballet there is a long list of names, mostly new ; but we have our old favourites Marie Taglioni, Rosati, and Paul Taglioni. A new ballet is promised, founded on the opera of Marco Spada, and a revival of Esmeralda, once made so popular by Carlotta Grisi and Perrot. Bonetti continues chef d'orcheetre ; and the band has been strengthen. ed by the engagement of the first violoncello of La Scala and a noted contrabass° from Bergamo. The subscription for the season will consist of the unusually small number of thirty nights.
The Royal Italian Opera is to be domiciled, not at Drury Lane as had been expected, but again at the Lyceum. It appears that this has arisen from an unforeseen " difficulty" with the Drury Lane renters ; and also, we understand, from a clause in the Drury Lane lease which restricts the private boxes to a very limited number, and thus renders the theatre incapable of accommodating the opera subscribers. After all, Drury Lane could scarcely be a more unlit locality than the Lyceum, which would scarcely contain a remunerating audience were it crammed every night ; and yet last season it was seldom even full, doubtless because it was felt that great operas could not be performed in it, nor the great orchestra heard, to advantage. Mr. Gyo will probably have again to eke out his receipts by concerts at the Crystal Palace.
PARISIAN THEATRICALS.
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