3*28 Theatrical Review. 



bad hint for future speculators. Notwithstanding the imputed want 

 of tuste for music in the English, we believe that good operas, well 

 sung, would never be in want of an audience ; that the worksof Mo- 

 zart, Beethoven, Weber, Cimarosa, Rossini, and, perhaps, we might 

 add Auber and Mayerbeer, if properly and effectivelyVepresented, 

 might be played night after night to crowded houses. ^ We are not 

 finding fault with the production of novelties, but we may reasonably 

 object to the conductors of the Opera Bufta that they have too exclu- 

 sively aimed at novelty, when they might have better satisfied their 

 supporters and consulted their own interests by serving up some of the 

 old standing dishes. 



We suspect, however, that there were other good reasons why Mo- 

 zart was not brought forward earlier. It must not be forgotten that 

 the difficulty of executing his music is considerable ; that it will not 

 bear any unskilful handling, but at once betrays imperfections of 

 voice, of science, of industry, and of musical feeling. The Italians 

 arc accustomed to hash up their songs and introduce such alterations 

 as are adapted to bring forward the best qualities of their voices, or 

 any peculiar powers they may possess ; and it must be confessed that 

 the music does not appear to suffer by these changes. Change a 

 note of Mozart's, give it an undue value, or introduce a cadence out 

 of place, and the same effect is produced as by altering Shakspeare 

 you cannot improve, and the chances are a thousand to one in favour 

 of your spoiling. Mozart too requires intent study and frequent re- 

 hearsal two points not very consonant with the impatient feelings 

 engendered by the warm sun of Italy. His music is a touchstone of 

 merit, and many have succeeded in the execution of inferior works 

 who have utterly failed when tried by this test. 



To cut short a dissertation which we fear has already extended to 

 too great a length, we were not so well satisfied with our old fa- 

 vourites as we have been heretofore. Blasis sung the music properly 

 belonging to her part with great archness and spirit, and acted the 

 lively waiting woman as well as need be; but why did she seize 

 upon the page's song? It is, we allow, generally sung by the 

 " Countess," but an artiste should always consult her own capabi- 

 lities before she undertakes a song so difficult as " Voi che sapete." 

 It requires the deepest pathos of expression throughout, and ^Blasis has 

 no more of that sort of thing about her than master John Reeve has. 

 In fact, her singing that song was a failure.* Ronconi, as the " Count/*' 

 was chaste and elegant, but did not seem at home in the music, which 

 indeed requires a much more powerful voice than his to give it due 

 effect. Miss Fanny Wyndham too disappointed us ; she has done 

 very well in every thing else, but is not up to Mozart. Bellini 

 stumbled through " Figaro's'' part, and, we suppose for the sake 

 of the orchestral accompaniments or because every one is familiar 

 with the air, was encored in '* Non piu andrai," which, however, he 

 sang very indifferently. 



*Many of our readers will recollect the intensely earnest feeling with which poor 

 Malibran gave this exquisite aria. We .are not mueli given to the melting mood, but 

 ve never heard her sing it with dry eyes. 



