Theatrical Review. 213 



to her powers. She was deservedly encored in two of her songs 

 " Or son d'Elena invaghito," and " Come il di che i nostri cuori." 

 And here we must not omit to narrate a trait of kindness in Blasis, 

 who commenced the scene succeeding this last song, and evidently 

 with the best will in the world not merely yielded her place for the 

 repetition of the aria, but led on the debutante, who seemed too fear- 

 ful of intruding a second time on the audience without a sufficient 

 call. It was not merely the act we are desirous of recording, but the 

 manner, which does infinite credit to the good feeling of the talented 

 prirna donna. 



As far as we could judge in the unbecoming disguise which her 

 part compelled her to wear, Miss Fanny Wyndham's person is as en- 

 gaging as her singing is delightful ; but of this we shall better be 

 able to judge when we see her in petticoats the only dress in which 

 woman can look as she ought to look. 



Here we take leave of " Un avventura di Scaramuccia." It is the 

 first opera of Ricci's which has been performed in this country, as we 

 believe. It has obtained for him a popularity which we trust the 

 qualities of such works of his as may hereafter be performed will ren- 

 der an established and well-earned reputation. 



January IQth. " Nina, 5 ' the music by Coppola, introduced to the 

 notice of the public Madame Elguera Giannoni. The story of the 

 drama is old enough, having appeared in various shapes before on 

 the stage, and may be despatched in a few words. " Nina" is pas- 

 sionately attached to " Enrico," but a rich suitor is preferred by the 

 father, who insists on her acceptance. At a stolen meeting between 

 the lovers, this unwelcome admirer intrudes mal-a-propos, and runs his 

 sword through " Enrico's'' body. The lady goes mad of course and 

 the father repents. After a time the favoured gentleman re-appears, 

 none the worse for the hole drilled in his person ; the lady recovers 

 her reason, and the papa blesses their union. So much for the plot. 

 The music is not in itself very striking, but contains many agreeable 

 passages. Catone and Ronconi performed their parts to admiration, 

 preserving the high reputation they have already acquired by their 

 delightful execution of the music allotted to them. The duet in the 

 second act was required twice, and would have been demanded twice 

 more but for considerate feelings on the part of the audience. We 

 have reserved all mention of the debutante to the last, fearing we 

 might exhaust all terms of praise, and so be compelled perforce to 

 leave the deserts of the others unlauded. Madame Giannoni is in 

 face and figure all that could be desired in woman. Regular features, 

 with a fine expression, dark Italian eyes, now melting to sadness, now 

 glowing with fire, of that middle height which is most beautiful in 

 woman, perfectly well formed,"without any tendency to that super- 

 abundant robustness which gives to so many of the Italian cantatrices 

 an air of clumsiness, it will readily be believed that her premier abord 

 was not unfavourable. Her voice is a contralto, the natural or lower 

 notes being very rich, full, and firm; the upper notes rather harsh 

 and wiry, as is almost always the case with voices of that quality when 

 forced up to a soprano pitch ; but this unpleasant tone is utterly for- 

 gotten in the euthusiasm excited by her spirit and energy. Strange 



