SONTAG'S " ZERLINA," AND BLASIS' " DONNA ANNA."
THE Morning Journal has the subjoined just critique on the per- formance of Don Giovanni on Thursday night. We intended to offer sonic observations on the same subject ; but our contemporary has completely anticipated us, and our feebler remarks in posse must give place to a notice not to be improved in nice discrimination, or neatness of execution.
" Zerlina, as represented by Mademoiselle SONTAG, exhibits a rural, natural plainness and naivete, undisfigured by any of that vehement and ex- aggerated rusticity of behaviour by which Madame MALIBRAN had thought proper to vitiate the character, and for a model of which that lady would vainly search in real life. SONTAG'S performance of the part is as favourable a specimen of her dramatic abilities as any that we have ever witnessed. The tenour of her musical studies and performances will account for, though they cannot justify, the few ill-placed, though beautiful, ornaments which she last night introduced into the music of her part. In general, however, she was temperate and judicious in this respect ; and the loud applause be- stowed upon her by the audience was twice honourahle'—honouring those who conferred and her who received it. The action of Mademoiselle SONTAG had none of those violent transitions which a rage for novelty or morbid appetite for effect had on other occasions introduced into the part. She yielded naturally, and, therefore, quietly and gently, to the sweet blandish- ments of the seducer ; and continued, what we think, was not the easiest part of the performance, to look the character with propriety. Mademoiselle BLASTS, in the character of Donna Anna, was most successful in the passages which required the greatest exertion. In the splendour and facility of execu- tion she was inferior to Mademoiselle SONTAG'S achievements in the same part, but much exceeded her in the impressiveness of her manner. Of senti- ment and feeling—fresh, natural, and warm feeling—Mademoiselle Btasts possesses more than all the female performers of the Opera-house taken together. Zuciftw's Don Giovanni, and DONZELLI'S Don Ottavio, are well known. PELLEGRINI, as Leporello, showed, in conjunction with some humour, a considerable quantity of buffoonery, which those who have seen him play the part must be well acquainted with. The Commendatore was respectably represented by GALL!, and Masetto by GRAZIANI. The woman who professes to act the character of Donna Elvira is a great curiosity."
. There is no greater merit than that of doing justice to modest, un- presuming, and neglected merit; and our contemporary has in every way done himself honour by the fair estimate of the qualities of Made- moiselle BLASTS. A sat of courage by no means common is necessary to the recognition of talent in the shade. People are prompt and care- less in dealing out their censures, but they are nervously apprehensive of misbestowmg, their praise. They would appear to entertain a feeling similar to that which may be observed every hour in the province of ch'arity. With what throes and troubles and pains of doubt is the mind of the man moved who deliberates whether he shall give a copper to a beggar !—how he passes before his judgment all the forms of im- posture, and grieves himself with the idea that his halfpenny may be- nefit an "unworthy object !"—but on a light suspicion he would with complete satisfaction set the said mendicant in the stocks, as a vagrant, or commit him to the tread-mill as an incorrigible rogue and vaga- bond. So prompt are we of punishments, so retentive of rewards. There is generally, the difference respecting the thing at issue, between the doubters in regard to praise and those in regard to charity, which there is between the value of the smallest coin and an opinion below any conceivable denomination of price. Yet it is hoarded with an avaricious care, unless the object be of accredited title to it ; when it is poured forth with the vile abundance of the issue of base coin from the Jew's girdle in Anastasius.
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