Madame Sontag continues the unique and undiminished attraction at Her
Majesty's Theatre. She appeared on Thursday as Desdemona, in the Otello of Rossini. This opera has not been performed here for a good many years: it is, indeed, rarely performed anywhere, and seems to be al- most laid aside by the present generation of artists. It is, however, an opera in which Garcia and Rubini, Pasta, Malibran, and Sontag herself) achieved triumphs in former days; and, though we do not highly esteem either the drama or the music, we conceive that the characters of Orefie and Desdemona, in the hands of great performers, are susceptible of power- ful effects.
No character is better adapted than Desclemona for Sontag's genius as .an actress. Its beautiful features are but faintly indicated by the Itabsa dramatist; but Sontag, in her personation of it, seems imbued wit.h.the spirit of Shakspere. It is from the fountain-head, we cannot but tluel4 that she has drawn that just conception of the character—a conception essentially different from that of every one of her predecessors. Her Der- demona is thoroughly feminine, g.-armful, delicate, soft, and tender; withold strong points or violent demonstrations of passion. Hence her repretenigr den, though less superficially striking than that of Pasta or Malibran, is much more consistent, truthful, and pathetic. In the last scene, where the piri"t of Desdemona is roused by the vile charges of her furious husband, se-nd she boldly and firmly repels them, Sontag preserved a beautiful con- sistency; her warmth appearing like sparks struck by violence from a Katie nature. Her singing had all its usual artistical perfection, though ills had much to contend with in the undramatic character of the music. The principal airs of the part are brilliant concert songs and nothing more: and she so treated them, lavishing upon them her whole powers of voice, execution, and embellishment. It was only in the last scene that she had to sing anything intrinsically expressive; and her little romance' " Assisa el pie d'un salice," (Shakspere's song of "Willow,") was like the dying murmur of a broken heart. The ensemble of the opera was admirable. Moriani's Otello is, as far as the part itself will allow, a fine piece of acting; and the excellent perform- ance of Lablache, Calzolari, and Belletti, gave the characters of Elwin), Rodrigo, and logo, greater importance than we ever before found them to
possess.
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