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 THEATRICAL REVIEW. 



ENGLISH OPEBA HOUSE. 



OPERA BUFFA. " Chiara di Rosenberg," the opera from which 

 Balfe is said to have derived the best part of his Siege of Rochelle, 

 and from which at least the plot is taken, was presented to an English 

 audience at the Lyceum on the 24th of January. 



The story is somewhat as follows : tc Clara of Rosenberg" when 

 about to marry the " Marquis of Valmore,'' is suspected of destroying 

 his infant son by a former marriage, whose claims might have inter- 

 fered with her own prospects or those of her expected offspring. 

 The real murderer is a person whom she supposes to be her father, 

 and whose guilt she conceals through motives of filial piety. He 

 aids her escape from prison, and at the commencement of the opera 

 she is found residing with " Marcella," the wife of " Michel," a re- 

 tainer of " Count Rosenberg." The " Countess," who long since 

 lost a daughter, is inclined to adopt the amiable " Clara." At this 

 juncture the " Marquis of Valmore'' arrives and denounces the sup- 

 posed murderess, though he still retains much affection for her person. 

 By the instrumentality of " Michel," " Montalban," the father of 

 " Clara," is proved to be the assassin, and as this discovery would 

 leave the principal characters involved in much distress, a further 

 discovery is made, namely, that " Clara" is the lost daughter of 

 " Rosenberg." 



Such a farrago of nonsense is reasonably to be expected by every 

 one acquainted with the usual run of Italian librettos ; but of course 

 the music is the principal attraction. We must do Mr. Balfe the jus- 

 tice to say that the resemblance of his opera to Ricci's is principally 

 in the story, though we do not think any of his works bear the stamp 

 of originality. He is rather, we think, a man of talent than a man of 

 genius. However, to return to our opera. The music throughout 

 is agreeable, but we do not think in any part pre-eminently fine. As 

 a whole the performance went off well, but no separate portion was 

 particularly striking. 



The part of " Clara" was supported by Blasis, who has not any of 

 the natural attributes of a heroine, and though she acted very well 

 throughout, burlesque notions were constantly excited either by as- 

 sociation or by the intrinsic comicality of her style. Especially in 

 her scenes with " Montalban," played by Bellini, who is utterly unfit 

 for any thing in the shape of tragedy, we were constantly reminded 

 of the mock parting of Dido and ^Eneas in the '* Avventura di Sca- 

 ramuccia." Let Blasis eschew the buskin and stick to the sock. In 

 comedy she is excellent in tragedy only endurable. We are much 

 surprised that this part was not entrusted to Giannoni,* who would 



* We are enabled to lay before our readers the following interesting particulars with 

 regard to Giannoni. She was not originally brought up for the stage, but, residing at 

 Naples, attracted the attention of a Spaniard, who was so ardent an admirer oH.he 



