Theatrical Review. 



Thursday, May 4th. Perhaps the finest specimen of the Italian 

 opera buffa is the " Matrimonio Segreto ;" and it is highly creditable 

 to Lablache's taste, that he should have selected for his benefit a pro- 

 duction so little known to our opera-frequenters, but so replete with 

 pure and classical melody. The house was not so full as it might be 

 expected to have been ; but the audience evinced by the warm re- 

 ception which they gave Lablache how highly they value his great 

 abilities. We need scarcely say that the btneficiaire himself was the 

 ". Geronimo :" he both sung and acted quite d merveille and beyond 

 all praise. Madame Albertazzi was the maiden aunt " Fidalma ;" 

 but she had no conception of her character, and seemed content with 

 doing the vocal business: Malibran was rather extravagant in her 

 way of treating the part ; but in, such a piece we could more easily 

 tolerate over-colouring than cold correctness. Mademoiselle Assandri 

 was an efficient representative of the petulant and jealous " Elisetta ;" 

 and her singing in the concerted pieces indicated her possession of 

 no ordinary musical science. The " Carolina" was of course con- 

 signed to Madame Grisi ; and to what better hands could it have 

 been committed ? The music in many parts is extremely difficult, 

 and could only have been executed by a singer of consummate 

 skill : the dramatic part, besides, requires the exercise of very high 

 histrionic talent to set it off to perfection. Grisi acquitted herself 

 both as singer and actress in a way that called down, as it deserved, 

 the warmest applause from all parts of the house. 



May 16. Costa's 'Malek A del,' which first appeared in Paris last 

 season, was produced this evening for Rubini's benefit. It professes to 

 be founded on Madame Cottin's * Mathilde ;' but it is a most spiritless 

 production, one of the poorest affairs that ever served as a peg for 

 music. The words, however, are quite good enough for the music, 

 which is in the very worst style of the Italian school and cannot boast 

 of novelty either in the melody or instrumentation. There is no over- 

 ture to M. Costa's opera, unless the introduction consisting of two or 

 three pieces from the body of the opera be so called. The choruses, 

 too, and the finales are feeble and ineffective. There were parts, 

 however, which very much pleased us and showed that the composer, 

 if not quite original, has great tact in adapting the ideas of other writers 

 to his own purposes. 



The close of the second act, including the fifth and sixth scenes, is 

 unquestionably the best portion of the work. We were forcibly struck 

 with the hymn performed within the convent. The conception of this 

 scene, indeed, reflects no inconsiderable credit on the composer: it is 

 decidedly impressive, if not absolutely new. A quintett in the first 

 act pleased us much, though it abounded with reminiscences. The 

 brightest point, however, in the opera, is a solo for Malek, in which 

 that heroic personage pledges himself to slay Lusignan. It is skil- 

 fully adapted for Rubini's voice; and splendidly was it delivered: 

 indeed Rubini was in his glory the whole t night. Grisi, too, sang in 

 her most finished manner particularly a prayer in the second act. 

 Lablache, Tamburini, Ivanoff, and Albertazzi, acquitted themselves 

 with their usual excellence. 



