The Covent Garden Opera has this week paid a handsome
instalment of the "justice to art" which was held out as the leading principle on which the new establishment was based—that we should there enjoy the best weeks of the great masters performed in the most complete manner. Don Giovanni was produced on Thursday, if not in the very best way that the resources of the theatre could afford, yet certainly with a care and completeness to which we have long been unaccustomed. We are informed that Le Nozze di Figaro is about to be produced in a similar style; which will be a second and large payment of the arrears due to the public.
Donna Anna, Zerlina, and Ottattio, were performed, as at the old house, by Grisi, Persiani, and Mario. The hero was once more in the hands of Tamburini; the only actor, since Ambrogetti, who has been able to per- sonate the gallant reprobate. His grace and polish were delightful after the swell-mob blackguardism of Fornasari. On the other hand, we had Rovere in Leporello; an inadequate substitute for Lablache: but there is only one Lablache, and a theatre which cannot have him cannot probably have a better buffo than Revere. Mademoiselle Corbari, as Elvira, sung and acted with considerable power; and was, indeed, the best representa- tive we have met with of a character which, contrary to the evident design of the author, is generally in inferior hands. Elvira has bursts of passion, expressed in notes sufficient to tax the energies of the greatest performer. Signor Lay's Masetto was a failure: the part is an important one, and might easily have been better sustained. Tagliafico was good in the Com- mendattrre: his voice told well in the unearthly music at the close.
Two or three airs, generally omitted, were restored, particularly Donna Anna's "Non mi dir,' and Elvira's "Mi trash." From the terms of the announcement, we expected a more imposing getting-up of the masquerade scene. There were, indeed, two orchestras on the stage; but they con- sisted of some half-a-dozen performers each; and the waltz and quadrille played by them, along with the slow minuet from the principal orchestra, were barely audible. The design of the scene is that three distinct groups on the stage should dance to the three distinct measures: but this was not attempted; Fanny Eleader and Dumilatre being introduced to figure in minuet, though the dancing in this scene ought evidently to be de societe, without individual display, and producing its effect by general grouping. The instrumental orchestra and chorus deserved the highest praise; and the spectkle (an essential feature in this opera) was rich and splendid. On the whole, Mozart's chef d'oeuvre has certainly been produced with a be- coming reverence for the great master's memory
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