Theatrical Review. 329 



By the way, we cannot conceive why " Figaro's" scena in the gar- 

 den, under the influence of jealousy, which is one of the finest mor- 

 ceaus in the opera, is invariably omitted. Torri played " Don Bar- 

 tolo," and sung the air, *' La Vendetta," which is seldom introduced, 

 very well. The insignificant part of" Don Basilio" gave Catone no 

 opportunity of displaying his powers. We should like to hear him in 

 " Don Octavio." Right sure are we he would do justice to " II mio 

 tesoro intarite. Pass we on to Giannoni, who alone of the cast of the 

 " Nozze di Figaro" added to her reputation by this night's perform- 

 ance. Young in years, and new to the stage, she has much experi- 

 ence to acquire, and that confidence which enables the actress to make 

 full use of her powers, unfettered by any apprehensions of failure. 

 But she possesses an intuitive genius for acting, and has a soul for 

 music. She feels as well as sings, and enters so completely into the 

 sentiment of her part as to identify herself with the character. Her 

 " Porgi amor" was a beautiful specimen of unadorned pathos not a 

 note added to or taken from Mozart, and all given with an expression 

 that charmed the delighted hearers. In *' Dove sono" she was 

 equally successful, and we need scarcely add was encored in both. 

 We trust we shall see her on a stage which will give fuller scope to 

 her abilities, which are of the very highest order. Rubbi, in " Anto- 

 nio," played the drunken gardener to the life. No wonder ! It is a 

 part he has rehearsed daily for some years past. The orchestral de- 

 partment was admirable and how could it be otherwise when every 

 performer is a professor on his instrument most of them unrivalled? 

 In closing our account of this performance we cannot say that it 

 gave us the same unmixed satisfaction as the previous productions of 

 the season. But it is only fair to state that when we last saw the 

 " Nozze di Figaro'* Sontag,Malibran,Donzelli, and Pellegrini played 

 the " Countess," " Susanna," the " Count," and Figaro ;" and as it 

 was natural to make that a standard of perfection it is not surprising 

 that we should feel dissatisfied with the performance of any inferior 

 artists, albeit skilful in their profession. 



The " Nozze di Figaro" being announced as the last of the perform- 

 ances by the Italian Company at the Lyceum, we are now enabled 

 to make a few observations on the nature and results of the experi- 

 ment. 



England is, we believe, the only country where the attractions of 

 the ballet are united to those of the opera at least it is not so in 

 Italy or France. There the lovers of the higher class of dramatic 

 npusic are enabled to indulge their inclinations without paying for an 

 expensive spectacle they do not see, or staying to witness an exhibit 

 tion which is neither very moral nor intellectual. We do not profess 

 to be squeamish ; we can and do admire the exquisite grace and fi- 

 nish of Taglioni, the elegance and beauty of Duvernay, and the neat- 

 ness and precision of Fanny Elsler. But we would rather have some 

 theatre specially appropriated for pantomime in all its forms, includ- 

 ing ballet, and have the music-stage clear for the singers. Besides, 

 if nothing is given but an opera, the entertainment is not protracted 

 to such an unconscionably late hour as when dancing is superadded. 

 In the expectation that the town would entertain the same opinion 



