43$ Theatrical 



tern aspect of the wronged and vindictive Eleanor? Who has nof 

 pictured to himself the anguish of the first Plantagenet as he hung 

 over the cold remains of his beloved and lovely paramour ? And 

 who would not be disappointed and vexed, if, by any unforeseen 

 event, documents should come to light that would prove the whole 

 story a fabrication? And yet for the sake of a happy marriage at 

 the end (a la Colburn and Bentley novel school), the plot has been 

 deprived of its climax, the story of its interest, and the romance of 

 its truth.* Another serious fault is the great length of the opera, 

 which took more than four hours to perform, that is, it being in four 

 acts, nearly an hour to each, exclusive of intervals. We think too, 

 that it has been overloaded with recitatives, which are not consonant 

 to the genius of our language except for highly impassioned pas-' 

 sages, and even in such case should only be used to introduce an 

 air. We have yet to speak of the merits of the composition, the 

 exertions of the performers, and the beauty and splendour of the 

 scenery and decorations. 



The music as a whole is heavy and even dull, but has redeeming 

 qualities. But little of it is adapted for private performance, and 

 that little does not include the best compositions, which are a canon 

 in the first scene of the fourth act and a madrigal in Rosamond's 

 Bower. The canon is in four parts, and commences with the subject 

 sung- by Phillips : 



"Tell her that words have no power 



"A passion like mine to declare/' 



. This is a charming piece, and well repays the listener for the tedium 

 so lavishly spread over the first three acts. In the bower at Wood- 

 stock, a crowd of "ladyes faire and gentles gaye," hail the fair Ro- 

 samond as Beauty's queen in a madrigal, which is as delightful as any 

 thing we have ever heard, though introduced somewhat mal-a-pro- 

 pos in a place of concealment, such as that in which it takes place. 

 This composition has, besides, the peculiar merit of being not only 

 a madrigal in name, but in fact, most modern pretenders to that 

 title being glees sung by a multitude of voices. There are besides 

 two ballads, one sung by Phillips, disguised as the Troubadour 

 in the castle of Clifford, and the other by Miss Poole as a page; 

 both of which are pretty, but we think rather common-place. The 

 recitatives and some of the concerted music, especially a sestett 

 in the first act, were very effective, but mostly rather too long and 

 too ponderous. However on the whole the music is highly credita- 

 ble to Mr. Barnett, and deserves to the full that success which it met 

 with. 



The exertions of the singers were very praiseworthy. Phillips as 

 the king, Giubilei as Lord de Clifford, and Miss Poole as the page, 

 sang their parts as nicely as we could have wished, and Wilson did 

 what little he had to do equally well ; but though constantly on the 

 stage, and constantly singing, the tenor part is, we think, what is 



* The play-wright might have remembered, that Henry had two fair sons by his- 

 mistress, who firmly maintained and upheld the power of their father, when his lejjiti- 

 aaate offspring rebelled against his authority, and at once failed in their duty as children, 

 and tbeir allegiance as subjects. 



