ON THE PRESENT STATE OF THE OPERA IN LONDON. 213 



pies of their art ; thus will they eftectually deprive the enemies of 

 art of their favourite sophism, which would represent such absurdi- 

 ties as inherent or essential features of the subject of their ridicule. 

 With this view I proceed to examine the Somnamhula, dwelling not 

 on trifling blemishes only to be detected by a hypercritical observer 

 on a minute inspection, but directing attention to its essential cha- 

 racteristics. 



This opera may be pronounced, on the whole, the chefd'ceuvre of 

 Bellini ; a degree of animation and vigour seems to have inspired 

 the composer of the dull and insipid Ajina Bolena, Norma, and the 

 Capuletti, operas which can scarcely lay claim to the merit of con- 

 taining a melody worthy of remembrance. In the Somnambula, on 

 the contrary, almost every melody, if not original, is beautiful ; 

 many of the chorusses are effective : yet we look in vain for a good 

 concerted piece. But, although this opera is tolerably successful in 

 amusing the ear, it fails completely in satisfying the mind ; it 

 abounds with the usual sacrifices of sense to sound, and some of the 

 tenderest songs are disfigured by noisy, unmeaning instrumentation. 



An enlightened critic has commented on the absurdity of repre- 

 senting the susceptible and intellectual Amina under the influence 

 of an attachment bordering on infatuation for the repulsive and jea- 

 lous El vino. The reproach is just ; Elvino, who is unable to ob- 

 tain the sympathy of the audience, cannot obtain that of the 

 heroine without lowering, in some degree, the estimate which the 

 hearer had formed of her intellectual powers. Is it inquired by 

 what means this sympathy might have been obtained ? A detailed 

 reply would, at present, lead me too far ; let the inquirer diligently 

 study Mozart, and he will be speedily enabled to answer the ques- 

 tion. It is probable that the intention of Bellini was to render the 

 character of Elvino one of deep interest ; in this case no failure 

 could be more complete : were such not his purpose, he must have 

 speculated largely on the indulgence of the public, in presenting 

 them with an opera in which one character only is possessed of the 

 slightest attraction. But of Amina we are scarcely yet capable of 

 forming an impartial judgment ; Malibran, by her incomparable 

 acting, shed a lustre and an interest over this part of which those 

 who had only seen it in other hands would not have deemed it sus- 

 ceptible. It is also necessary to recollect that the music, as sung by 

 this highly-gifted woman, bore frequently but little resemblance to 

 that which Bellini had written, and displayed, in numerous in- 

 stances, far superior powers of mind. In justice to the composer, I 

 must here mention the Cavatina love ! for me timers power, as 



