THE THEATRES.
The Italian stage does not afford a pleasanter entertainment than the Barbiere di Siriglia. The most saturnine spectator must yield to the ex- hilarating influence of its gayety; and none but a very Midas could be insensible to the charms of its music. No composer whatever—probably not even Cimarosa, and certainly not even Mozart—has rivalled Rossini in the use of music as the language of comedy; in combining grace, beauty, and richness of harmony, with the most sparkling brilliancy, and with that quaint and grotesque phraseology which excites ludicrous ideas without the assistance of words. The Barbiere, consequently, has had the most extensive as well as the most durable popularity that any comic opera ever possessed. It has been performed thousands of times in almost every language and every theatre in Europe; and its reception on Tuesday and Thursday showed that it still continues, when well acted and sung, to be enjoyed with undiminished relish. Mr. Lumley has done well to produce it at this time, for it could scarcely be more agreeably performed than, by his present company. Belletti, dramatically speaking, is the best Figaro we have seen, excepting La- blache when he first came to England; though even then, the vraisera- blance of his acting was impaired by the unwieldiness of his person. Bel- letti, with his small stature, light and active figure, and shrewd humorous countenance, (how changed in expression from that of the stern Ruy Gomez de Silva!) is an absolute impersonation of the dapper Spanish barber; and his air of easy nonchalance, covering the most alert watchfulness, is admirably in keeping with the character. Ills singing of the famous "Largo al factotum" is a nice piece of Italian buffoonery, very ludicrous, but less exaggerated than that of most other performers of the part. Made- moiselle Cruvelli is the most engaging Rosins we have ever seen. Her youthful aspect, personal graces, the air of naivete which seems natural to her, all contribute to a true picture of the simple-minded, tender-hearted, quick-witted ward of the astute Doctor Bartolo; and the Doctor himself was excellently represented by the younger Lablache, who wisely and ably copied his father's delineation. Gardoni, as the Count Almaviva, was the very beau ideal of a• young romantic lover; but be lacked that aristo- cratic repose, that natural air of high birth and breeding, which ought to distinguish the Spanish grandee. Gardoni is so accustomed to play pea- sant lads—Elainos and the like—that he is apt to exhibit ruyticity and fidgettinass, sometimes out of piaci, The vocal performanci1/2490, mid admirable, though less ffiultless than the acting. The young singers being all of the- new Italian school, are apparently less conversant with the style which prevailed when the Bar" biere was written,---tbe style which was carried to the highest 'Perfection by Rubiui, and of which Madame Persiani and. Tamburini now give us the finest specimeits. This style demands the nicest and most finished execution of roulades and divisions—from which area baritone and bass voices are not exempted—and- the power of clothing the composer's pas- sages with an exhaustless variety 'of florid ornament. This was essayed by Mademoiselle Cruvelli; and she showed that her vocal powers were equal to its accomplishment. Her execution, though occasionally a little overstrained, was articulate and brilliant; but in her method of embellish- ment she betrayed a boldness not sufficiently chastened by experience. On the first night, her aria d'intrata, "Una voce poco fa," was so overlaid and disguised, not only by ornaments but kr mere gratuitous changes of the text, that Rossini, had he heard it, might have exclaimed, as he did when he first heard Velluti, "Non pin conosco la mitt musical" The great duct with Balletti, " Dunque io son," was perfectly well sung on both sides; and the duet between Belletti and Gardoni, " All' idea di quel metallo," was equally effective. Gardonrs principal air, " Ecco ridente it cielo," though not quite perfect in Rossinian finish, was beautifully executed; and the little Spanish serenade which he introduced was so charming in melody and so full of tender melancholy, that no one could quarrel with the interpolation. The pleasure derived from the whole performance was en- hanced by the admirable manner in which the delicate and sparkling accompaniments were executed by the orchestra.
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