1825.] 
tance is) to have aspecimen or two of 
Bishop—especially as one of them gave 
Miss Love an opportunity to come forth in 
full power (for, in truth, in mere abso- 
lute oratorio-singing, she is not quite at 
home); and another of them reminded us 
that Miss Stephens, whether playful or 
sublime, whether joining the angelic choir 
with the great spirit of sacred song, or 
whispering soft echoes to her own sportive 
and delicious trills, can be equally sweet 
and captivating—touching every key of 
sense with equal harmony. 
THE ITALIAN OPERA, 
Tn consequence of the dangerous state 
of the gallery of the King’s Theatre, and 
the consequent repairs now going on, has 
been removed to the Theatre Royal, or 
little Theatre in the Haymarket ; which 
opened on Tuesday the first ef March, 
with La Nozze di Figaro, and the ballet 
LT Offrande aux Graces. In the opera, 
Madame de Begnis, in the Countess, and 
Madame Vestris, as Susanna, did ample 
justice both in acting and in song; and the 
latter duet between them was ardently 
applauded. De Begnis was amusing in 
Figaro, and sung his buffa songs with equal 
execution and drollery ; while Garcia’s 
Count, and Porto’s Bassil, kept up the 
spirit of the performance. Madame Ca- 
radori did the page prettily; though not 
with all the spirit of which it is susceptible. 
Notwithstanding the smallness of the stage, 
they contrived to make the ballet a splendid 
and tasteful spectacle; and though the 
whole corps de ballet could not be exhibited, 
the dancing was excellent: Vestris and 
Leblond, Mme. C. Vestris, Mme. Julie, 
&e. neyer fail to charm. We wish, how- 
ever, that a little more elegance and beauty 
could be found to represent the still-life 
graces. Il Barbiere di Siviglia was not, on 
the Tuesday following, equally fortunate. 
Remorini, indeed, did justice to Figaro, 
for De Begnis took the more appropriate 
part of Dr. Bartolo ; and Garcia’s merits in 
both kinds, as the Count, will not be dis- 
puted ; but Madame Vestris was the only 
female singer: and, though an admirable 
Susanna, she is no proper representative of 
Rosina. As for the Signora who occupied 
the place of her attendant, we will in mercy 
spare her name; and could have been 
obliged to her if she had spared our ears 
her song. ’ 
A new Drama of one act, called Adelina 
(the music by Generali), was performed on 
Saturday 19; which, as a drama, was as 
interesting as its brevity and the simplicity 
of its structure could well admit. ‘The he- 
roine has been betrayed into an unautho- 
rized marriage ; and returning to her 
father’s house, apparently deserted, is re- 
pelled with anguish and anathema ; the un- 
justly suspected, or repentant husband (2r- 
neville), however, by a fortunate coincidence 
is brought. to the spot, and a reconciliation 
Theatrical Review ; and Music. 
267 
is effected by the good offices of Don Si- 
mone, the schoolmaster of the village—a 
sort of benevolent Lingo (though with a 
more respectable sort of pedantry, and Jess 
buffoonery ;)—but not till powerful ap- 
peals have been made to the feelings of the 
audience, by some trying situations, and, 
we must say, very fine acting. It is as an 
acting drama, indeed, that it is principally 
to be regarded ; for the music, though 
pleasing, is by no means brilliant. But 
the humour of de Begnis in Don Simone, 
and the exquisite pathos of Signora de 
Begnis in Adelina, were finely contrasted ; 
and Remorini, in the heart-rent father, 
Varner, shewed himself to be no less an 
actor, than in the varlet-like humour and 
effrontery of Figaro, in the act of I/ Bar- 
biere, which had preceded. Signora Cara- 
dori condescended to support the charac- 
ter of Cuarlotia, the sister of Adelina ; and, 
although we cannot ascribe the favouritism 
with which she is always received exclu- 
sively to the captivations of her voice, un- 
doubtedly it was a condescension. As for 
poor Garcia, he was so hoarse, and had 
so much difficulty to suppress his cough, 
that it was wonderful how he got through 
his part at all. The castanet dance be- 
tween Leblond and Madame C. Vestris, in 
the divertisement, was admirable ; and, in 
the ballet La Coquette Sowmise, the eye was 
gratified with tasteful combinations of 
grouping and scenery; and Vestris, the 
very prince of agile and graceful dancers, 
was well seconded and supported by Le- 
blond, Mesdames Aumer, C. Vestris, &e. 
ARGYLL ROOMS. 
Madame Catalani’s farewell concert: 
have rested for their attraction principally 
upon herself; and, as we are now, in all 
probability, to bid her a final adieu, we ought 
to give her a word at parting. Though not 
all that she has been, she is still the very 
Siddons of song; and graces and excellen- 
cies she has peculiarly her own; such in 
their kind as we have never heard before, 
and, probably, never shall again—for they 
belong to the very constitution of her voice 
and mind. Brilliancy, compass, volume 
and facility in the most rapid transitions, 
all are illustrative, and subservient emana- 
tions of one commanding attribute—power. 
With all our admiration, however, of that 
fulness of rich and commanding harmony, 
with which the empire of this attribute is 
manifested, we do not admit that it is every 
thing; or that there is nothing that is deli- 
cious and enchanting but what falls within 
the range of such domirion. Neither in 
the drama nor in song should every thing 
be Siddonian. ‘There are some soft moods 
that melt into the heart and thrill it into 
tenderness—that engage our sympathies 
too much to excite the vehemence of admi- 
ration, and charm us so much the more 
powerfully, even by this apparent want of 
power. And these are also among the le- 
gitimate triumphs of music, Madame 
2 Catalani, 
