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THEATRICAL REVIEW. 



ITALIAN OPERA-HOUSE. 



Thursday, April 27M. About and after this time the benefit-nights 

 produce the novelties. M. Conlon had the good taste to revive this 

 evening " Don Giovanni," the master-piece of the immortal Mozart, 

 for his benefit; and he was well rewarded by one of the most 

 crowded audiences that the Opera walls have ever contained. The 

 manager has found it to his interest to present this opera two or three 

 times since ; and we are at a loss to conceive why, when this magni- 

 ficent production is so universally a favourite, he should set before 

 us so continually the affected prettinesses of Donnizetti and Bellini, 

 instead of the acknowledged chef-d'reuvre of the highest composers. 

 The " Don Giovanni" is so well known, that it would be an imperti- 

 nence to offer on it our remarks ; and we, therefore, content our- 

 selves with a few observations on the present cast of the piece, which 

 is strong and effective, except in the choruses which were not ex- 

 ecuted in a manner at all creditable to the house. La Grisi was the 

 "Donna Anna;" and we think that she never looked better, sung 

 more sweetly, or acted with greater feeling for her part. Of Ru- 

 bini's " Giovanni" we cannot speak in equally high terms. He treats 

 the severe classical music of Mozart, just as he would the flowery 

 compositions of the Italian school, and continually overlards the chaste 

 melodies of his part with ornaments quite out of character with the 

 general style of the opera. It is vain to suppose that this singer can 

 alter what forms the essential character of his singing ; but we may 

 still hope that he will, when singing Mozart's music, in some degree 

 refrain from such exuberance of embellishments. They spoil, ruin 

 its effect altogether. Madame Albertazzi was the " Zerlina" of the 

 evening ; and although her singing was chaste and graceful, there 

 was a want of animation about her acting, that painfully recalled to 

 our memory the spirit of Pasta and Malibran. This tameness was 

 evident in the *' Vedrai carino" more than in another that we heard. 

 Her duet with Rubini, " La ci darem," however, was very beautifully 

 executed, and drew down very general applause. Inchindi was 

 just respectable as "Masetto;" and we may say a very little more 

 in praise of Mademoiselle Assandri's " Elvira." The best acted cha- 

 racter of the opera was beyond all question the " Leporello" of 

 Lablache, who makes the accommodating valet more grotesquely 

 humorous than he ever was made by former personators. He seems 

 to be full to overflowing with wit and fun ; and then his tremendous 

 voice most effectively seconds his comic abilities. " Laughter hold- 

 ing both his sides" had undisputed sway throughout the house. Of 

 his way of treating the music, we may fairly say, that no one con- 

 cerned in the piece understood the purity of Mozart's composition, 

 and knew how to exhibit it, as well as Lablache. His performance 

 came as near to perfection as any thing we ever saw or heard on th( 

 Opera stage. 



