THEATRES AND MUSIC.
Meyerbeees famous opera, Les Huguenots, promised by the management of the Royal Italian Opera at the beginning of the season, has at length been produced, when the season is drawing to its close. Madame Viardot- Garcia, whose success in Germany, in the character of the heroine, has far transcended that of every other performer of the part, was engaged in an especial manner for the purpose of being its representative; and on her arrival, the speedy production of the opera was expected as a matter of course. Not only was it delayed, however, from week to week, but this great musical tragedian, whose European reputation is not surpassed by that of any one now on the stage, has been precluded from appearing in a single character in which she could dojustice to her fame. It has been cur- rently affirmed, even within the theatre itself; that this treatment of Madame Viardot, at once unjust and impolitic, arose from petticoat influence behind the scenes, with which the management had not sufficient strength or firm- ness to contend: nay, more, it is added, that the Huguenots would not have been produced even now, had not the device been resorted to of obtaining from the Queen's kindness a "Royal command" that the piece should be performed on Thursday; when her Majesty intimated her intention of visit- ing Covent Garden Theatre in state. We have no hesitation in mention- ing these statements, because they have come from quarters that give them more claim to credit than is due to mere green-room gossip. At any rate, if they are incorrect let them be denied by those who have an evident in- terest to do so if they can.
Everybody who pays attention to musical sukects is more or less ac- quainted with the Huguenots. Originally produced in Paris twelve years ago, it has had an extraordinary degree of popularity both in France and Germany; and has been made known to the English public by very creditable performances, by the German company who occupied Covent Garden several years ago, and by the Belgian company who more recently visited this country in two successive seasons. It is, more than any modern opera that we know, entitled to the designation of a lyrical tragedy—even more than the other chef d'oeuvre of the same dramatist and composer, Robert le Diable; for it is made up of pure tragic elements, without any admixture of the mystical and the supernatural. The event on which it is founded, the massacre of St. Bartholomew, is one of the most striking and impressive in the history of the world; an event, too, involving innu- merable scenes of private wo, which, suggesting themselves to the imagi- nation as things which must actually have happened, may readily be made the foundation of dramatic or romantic fiction. Such is the melancholy tale of Raoul and Valentine, which the dramatist has interwoven with the his- torical incidents of the piece—the monstrous plot of Catherine of Medicis, its hidden progress and ruthless consummation. The subject of the drama, moreover, affords room for broad pictures of what may well be called a picturesque age—of its splendid and chivalrous but fierce and fanatical aris- tocracy, its powerful and domineering priesthood, and its half-savage ferocious commonalty: all these classes are exhibited in their pursuits, their feuds, their pastimes—every situation calculated to rouse their unbridled passions; and the music gives to these pictures a strength and richness of colouring without a parallel in the productions of the art. It is by his gigantic powers of combination that Meyerbeer accomplishes this object. He boldly grapples with whole multitudes, engaged in the most dissimilar occupations, and moved by the most dissimilar feelings: holyday groups making merry, soldiers carousing and singing camp-songs, a religions procession chanting a hymn to the Virgin, contending zealots venting mutual threats and im- precations—all these are brought at the same moment before the eyes and ears of the audience, till the antique chant of the city-watch stills the tumult, and the scene of uproar becomes silent and deserted. This is one of the many pictures, illustrated and heightened by musical painting, with which Les Huguenots abounds.
Even the scenes of a more private and individual nature are carried on chiefly by means of musical combination. There are very few regular airs, and those do not make much impression. But the concerted pieces, which form in general the language of the dialogue, are full of melody and passion. The same thing is the case with the two great duets, between Valentine and Marcel, and between Valentine and Raoul. They have no pretti- nesses; but as dramatic scenes they are equally beautiful and true to na- ture.
The concerted pieces are extended to a much greater length, and have much less apparent symmetry of form, than those of the older masters, Gluck and Mozart. This has been laid to their charge as a fault; but we are not convinced that the criticism is just. The music of this opera must be heard repeatedly before it can be safely judged. As discord has been said to be harmony not understood, so irregularity may often be form not perceived. In many instances such has been found to be the case in music: witness, in particular, the latest compositions of Beethoven. Meyerbeees music satisfies every dramatic exigence; and, doing this, it only requires to be heard till its construction is known, to satisfy the requirements of the musician.
In the new Italian version, the opera bears the title of Gil Uyonotti. It has been reduced from five acts to four, by a very judicious process of compression; the dialogue being condensed, and many repetitions of pas- sages in the long concerted pieces omitted, without the smallest detriment to dramatic continuity or musical effect. Meyerbeer himself not only sanctioned but assisted in making these alterations.
The opera was finely performed at Covent Garden; not on the immense scale of the Academie Royale at Paris, but, in some respects, in a manner never equalled even in that superb theatre. There has never, we are con- vinced, been such a Valentine as Madame Viardot-Garcia. By her pathe- tic and inspired representation of this interesting character, and by her thrilling execution of the music, she has vindicated her claim to stand, with only one rival, at the head of the lyrical tragedians of Europe. Mario, too, roused by the subject, sometimes equalled Duprez in energy and passion, while he surpassed the great French tenor in vocal beauty and sweetness. Marini was powerful, if somewhat rough, in Marcel, coming nearer to Staudigl than we could possibly have expected. The part of Urban, the page, having been assigned to Alboni, the composer had, to strengthen it, introduced a new air written expressly for her; but it was not very successful, being neither consistent with dtamatic propriety nor intrinsically effective: Alboni, however, did it every justice, as well as the little part itself. The part of Saint Brie was ably sustained by Tamburini; and Tagliafico was sufficient in Nevem The ensemble of the chorus and the orchestra, when the short period of preparation is considered, was remarkably perfect. The scenic effects were such as we have rarely seen equalled.
The Queen and her suite were accommodated in a manner which height- ened the splendour of the state visit. A Royal box was fitted up in the centre of the grand tier, of which it occupied a considerable space; forming a spacious pavilion, beautifully decorated, and surmounted by a gorgeous canopy. The Queen was welcomed with the usual demonstrations of loyal attachment; and the marks of approval and enjoyment, in which her Ma- jesty and Prince Albert were observed to indulge, completed the satis- faction of the numerous audience.
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