102 Theatrical Review. 



for Malibran and Ivanoff, and a charming little opera it is ; full of gay 

 and lively music, with an occasional touch of the pathetic as opportu- 

 nity offers for the introduction of a few sighs and tears. 



The plot is soon told. " Adina," a country coquette, trifles with 

 the affections of her devoted lover, 4i Nemorino/' and by way of play- 

 ing him off flirts with a smart serjeant who is quartered in the village. 

 "Nemorino," in despair at her apparent preference of the son of Mars, 

 applies to a mountebank doctor, "Dulcamara," for a love-potion, 

 which is not to produce its effects till after a day has elapsed. Mean- 

 while the disciple of Esculapius bids him appear indifferent to the at- 

 tentions lavished on '* Belcour" by his mistress. This nonchalance 

 exasperates her, and she consents to marry the serjeant, a proceeding 

 which drives the unhappy peasant to distraction. In order to obtain 

 the means of purchasing* a second draught of the elixir, he enlists with 

 " Belcour." " Adina," moved by his distress, re-purchases his con- 

 tract of enlistment, confesses her affection, and a rich old uncle of 

 '* Nemorino'' having died a-propos, the play ends to the satisfaction of 

 all parties, except the soldier. 



The libretto of the opera, as is usual in these cases, is beneath con- 

 tempt ; and the translation is even worse than the Italian : it serves, 

 however, as a vehicle for very pretty music, the greater part of which 

 was most admirably executed. Indeed with regard to the orchestra, 

 which is small, it would be impossible to pick out a finer band of the 

 same numbers throughout Europe. As for example there are two 

 violoncellos, Lindley and Rousselot; two double basses, Dragonetti 

 and Aufossi, and so of the others all the first players, on their re- 

 spective instruments, in the country; it is not surprising that such a 

 band, led by Mori, should perform its part with uncommon excel- 

 lence. There is no overture to the opera, but they played that of 

 the " Gazza Ladra" between the acts. Blasis appeared again in 

 England for the first time, after an absence of some years, in the part 

 of " Adina." We do not find her altered for the better or worse. A 

 clear sweet voice, perfect intonation, and good style, are always 

 delightful to hear, and in her these qualities are displayed in great 

 abundance. She was very well received, and acted and sung with 

 great spirit. The " Sergeant" and " Quack Doctor" were repre- 

 sented by Signors Bellini and Torri, both basses the former as fat 

 as a prize ox, with a voice somewhat husky but agreeable and ap- 

 parently cultivated the latter makes pretensions to the character of 

 a comedian, and is not altogether destitute of merit, though we can- 

 not say that we admire either his singing or his acting ; and indeed 

 he met with considerable disapprobation at first, though towards the 

 end of the opera the audience became accustomed to and endured his 

 inordinate stock of assurance. The novelty of the night was the first 

 appearance of a new tenor, Signor Catone. He is apparently a very 

 young man, and is quite unknown in this country, but a more suc- 

 cessful debut was perhaps never made. He possesses a natural tenor 

 voice of such compass that he is not obliged to have recourse to fal- 

 setto for his upper notes, which are as pure and as liquid as the most 

 fastidious ear could require. His style is quite his own a great 

 merit, for imitation detracts most wonderfully from excellence in 



