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    902 The Saturday Analyst and Leader. [Oc...

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    ENTERTAINMENT S. KOXAL ENGXisn OPEHA—The...

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    Record Of The Week. Home And Colonial. L...

    the « tate of things in Italy , it draws the conclusion that a congress is possible , and defines the p ' art France would take them * . . The article Concludes by urging that an organised and powerful Italy is henceforth S the interest of Europe . In consecrating it by an act of high jurisdiction , Europe would show as much prudence as justice . The Prince of Wales had , it appeared by the last advices , armed at NewTorl ; and received an " ovation" of the usual demonstrative character from the citizens of the transatlantic commercial metropolis .

    902 The Saturday Analyst And Leader. [Oc...

    902 The Saturday Analyst and Leader . [ Oct . 27 , 1860

    Entertainment S. Koxal Engxisn Opeha—The...

    ENTERTAINMENT S . KOXAL ENGXisn OPEHA—The production of Trovatoreyin ^ giigmmmMimpm —toTake the lady fii ^ t ; Madame Palmicri met with a reception due t ^ her rovers asl singer and an actress , and which are _ unequivocably Inch L tcTrank her Imongst the most valuable acquisitions of any Sera company in which her services might be " retained . Her pow-° * Z * , \ C ° ™? ™ Zoice is not wanting in the sympathetic quahty , so

    essential in a first-class singer , and she possesses a force and impulsiveness which gives a decision and effectiveness to her performances . In the opera we are noticing she sustains , as a matter of course , the part of Sonoma , and her development of the part in its twofold aspect , musicaland dramatic , was in the highest degree effective , although there were indications that , while apparently quite familiar with the stage , ^ p articular role 4 ms new to her . Mr . Alberto Lawrence has not onlvthe Italian in the orthography of his name , but in his " school . He was already favourably known as a baritone concert singer , with unmistakable traces of Italian training in his style of singing , and shows himself on the stage to be zealous , attentive , and painstaking , in study and application . It was remarked , as our classical readers will remember , by a high authority , that in eloquence a little redundancy and luxuriance in a young beginner was a hopeful sign , and the remark

    , question . On Monday , Donnizetti ' s chef dveuvre , Lucrezia Borgia , was produced with the following distribution of the powerful parts : — Lucrezia , Mdlle . Titiens ; Gennaro , Sig . Giuglini ; Alfonso , Sig . Gassier ; MalTio Orsini , Madame Lcmaire ; the other characters also were efficiently represented . The respective powers and characteristics of the several artistes who appeared are well knotvn . Sig . G-assier , who is at home in every opera and up to every part , made an eifectiye Duke ; his vocal qualifications , for the role being , perhaps , second to those of no artiste onthelvric stage , andliis histrionic powers bcingvery considerable . Sig . Giuglini was in excellent voice , and in all the passages which are marked by subdued pathos , his acting , as well as singing ( especially in the dying scene , which concludes the opera ) , was feeling and expression itself . Of Mdlle . Titiens it is not too much to say , that her whole performance , from first to last , vocally and histrionically , was perfection itself . Her singing was superb ; her acting magnificent ; her vocal displays never combined the elements of immense power and unequalled sweetness with greater effect j and her perfect command

    Her Majesty ' s Theatre . — This week JRobin Hood is played three time 3 . This opera has drawn move than any now production , native or foreign , that has been brought out oil lyric boards for many a season . Indeed , in it all the elements of attraction are concentrated into a focus , of which ifc forms the centre . The sentiment of patriotism , evoked by the essential naticeness of Mr . Macfurren ' s opera ; the time-honoured traditions of early history , always a favourite subject with the bulk of the people ; even the reminescences of the nursery tales and stoiy books which amused our infancy ; all these circumstances contribute their quota to make the piece take . Then there is the magnificent cast of the leading characters ; the great dramatic power suddenly developed by Madame Lemmens-Sherrington ; the universal publicity which Mr . E . T . Smith has given to the work itself , and the company to whom its representation has been assigned . These few words , therefore , are all that norA be devoted in our notice this week to the performance in

    is equally applicable to other descrip tions of artiste s wor ^ besides eloquence . A young singer or actor had much better be too energetic than too tame ; it is a good fault , as it is in a clock to be too fast ; we can tone down superadequaey of force , but we cant supply the want of it A young artiste who shows that he is m . earnest gives the best promise of future success . The part of the Count de Luna was Mr . Lawrence's share in the performance in question . Mr . 1 . -L » istin , also well known as a concert singer , and whose voice might be described as a bass-baritone of effective quality , was the Ferrando of the opera ; bis first appearance on the lyric stage is sufficient to show that he is not likely to forfeit the favourable impression which his powers had already created . Mr . Henry Haigh resumed his character of Manrico ; which , in all its points he proves , that he has carefully studied , and in which he entirely at homepresenting the audience with a

    over her voice , her capability of adapting it to every exigency of passion and feeling , issued in a degree of finished execution that was pathos and expression itself . The opening scene , where Lucrezia discovers Gennaro sleeping , where the gentler feelings of her nature predominate ; her wounded pride and humiliation , coupled with suppressed rage , in the scene , where Orsini snatches the mask from her faee ; the agonising struggle of feeling , where she is compelled to give the poison to her son ; the energy and eagerness she displays in administering the antidote and providing for his escape ; her passionate pleading with the Duke for Gennaro's life , in which the expression she throws into her deep thrilling tones is absolutely harrowing ; the horror with which she discovers that her son is poisoned a second time , and not only refuses to . take the antidote , but overwhelms her with reproaches and imprecations ; her cry of despair , " e epentO ! " when be dies ; her wild announcement to the Duke , ( who had supposed Gennaro to be a lover ) , that rendered in le

    appears , highly effective rendering of this very difficult part . Miss Lefller had the part of Azucena apportioned to her in the new caste of this piece . One of the principal features at this house is the performance of a favourite overture by the unequalled orchestra under Mr . Mellons masterly guidance . To hear one of this che f d ! osuvres , such as Kossim s "GazzaLadra , " or "Semiramide , " or Weber ' s " DerFreischutz , played by a band so perrfect in all its parts , and which goes like a single instrument , -worked by one hand and inspired by one mind , is in itself no ordinary treat . In addition to this " feature , " the evening's performances terminate with a very elegant divertissement . On Tuesday AVP « TiiTi «» the onera of The Crown Diamonds was produced , tor the

    he is her son ; and lastly , her own death ; are all a sty which leaves not one single point on which criticism could do otherwise than award unqualified praise . Eneores were generally declined by the singers . The encore of the famous trio in the second act ( counting the " prologue" as one ) , must not , however , bo omitted ; and the principal artists were called before the curtain and received an ovation" from a fashionable and discriminative audience , which , however , was not so crowded as the admirable performance of this grand opera deserved . On Wednesday , JDon Giovanni was given , with the same casto as that of the first performance this season , which will be touncl in ' our notice of last week . The arrangements of tho current weeic included the production on Friday of Le $ Huguenots , tho parts being assigned to Mdlle . Titiens and Signor Giuglini as Valentina and Kaoii diNangis ; Mdlle . Vaneri , Marguerite di Valois ; Signor Gassier , 11 Oonte de San 13 ris ; Signor Mercuriali , Trovannes ; Signor P » » > ^ Cosse : Signor 13 riaui , II Conto de Norers ; Signor Cuslotti , ^^ \ f 3 Signor Vialctti , Marcollo ; Madame Lomairo , Urbano : ami amus . Morlacchi ' s aocoinplislunonts are in requisition in t-ho baUet , winiMi forms an agreeable cpisodo in this magnificent porfomumci .

    first time tins season . Miss Louisa Pyne and Mr . W . Harrison sustained their original characters of Catarina and Don Henrique j Mr . H . Hornoastle appeared for the first time as the old diplomatist the Count de Campo Mayor , and the rest of tho parts wore distributed as follows : Don Sebastian , Mr . A . St . Albyn ; the three Coiners , Rebolledo , Mugnos , and Barberigo , were respectively represented by Messrs . H . Corri , Lyall , and Wall worth , and Miss Thirl wall appeared as Diana . The admirable and characteristic acting and singing of Miss Pyno and Mr . Harrison appear , if possible , more finished in each successive representation , There is an archness and a grace in Miss Pyne ' s

    porformance that stamps ifc as ono of tho best portrayals over witnessed on the lyric boards , and her singing , if possible , surpasses her acting . She looks hor part well , as also does Mr . Harrison that of the Portuguese exquisite ; " looks " on tho stage as off , go for much in this sublunary sphere , and when the look is not bolicd by tho reality , but on the contrary , the reality turns out to be moro than even appearances gave promise of , there is nothing more to bo desired , we suppose , in any sphere , superlunary or otherwise Tho goms of the opora wo " tumultuously" appluudod and rodornanded , but tho " encores" wore not responded to by repeats , oxoept in tho duet between Oatarina and Diana , in tho second aot , which the audience positively rofused to dispense with . Mr . Horncastle made a bustling , oOloious , Polonius-like prune ministei ' , and entered thoroughly into tho oharaoter . Miss Thirl wall deserves praise for hor representation of Diana . Mr . Oorri , as tho ohief roguo of tho gang of ooinere , who afterwards fills tho cognate and congonial oflloo of chief government spy and thief-taker , infusod his spirited drollery into tho ivtr aii rwtwwwi

    Dnvnr Lane ;—Tho Game of Speculation has boon revived hero tins week , with a cast in which Mr . Lambert represented Earthworm ; wv . Robert Boxby , Sir Harry poster ; Mr . Tcmplotou , ; Ch-ossmnrk 5 JUi . Tilbury , Prospectus ; and tho inimitable portrayal 0 Sir Aflnblo Ilaj ke by Mr . Charles Mathows , stamped tho piece with a degree of onginniity calculated to obliterate hi tola tho consciousness that the piuic 1 . one Of those which wo have « taken from the French . " The 1 uxnov on the bills is a now production , new at least to London a ulioice 1 , at u boasting a groat transatlantic popularity . It rejoices , far a s » ° oe ° « " * pTeco must bo supposed to rejoice if it does anything , in t ho s ome « lurt enigmatical title of CAony and JMtte . Ono Horace baeln 11 le " J ?^ duly mado happy at church , and ought to load tho sober , p osji e'i , un / omantio sort of life which , according to a high authority , find > > advent after tho honeymoon has « wan « cl into a orosccnt s coi usca tiora . " Ho takes to reading bad books , however , and is stin glit « ay struolc with an itoh to bo omitio , disoursivo , and gallant , again-l " » rules of propriety , morality , and convontionalily . Acoorcl . tfi n , " initiates a romantic liaison with an unknown fan- ono , wpk ^ ss n ni tho attractions of novelty and mystcviousnoss , enhanced hj '"^''' J naaiirnntions . in a cvotto ; that being a vory poetical p looo oi » oiiUt / o »

    pare , ana was weu supporcea . oy . xiy anu mr . » -, _ >»«; personated tho remaining desperadoes of tho worthy trinity mentioned nbove . Mr . St . Albyn was an offootivo Don Sebastian . Tho curtain had to be raised in response to the plaudits which suoooodod its fall , Mies Pyno and Mr . Harrison , in ooodionoo ' io a subsoquont " oall " of the most onthusinstio oharaotor , passed along tho foot-fights amidst an ovation of applause from all parts of tho house . After tho opora ; tho ovorturo to Serairamido was superbly playod by tho band . Why is not some first olass ovorturo always played boforo tho oonimonoomonfc of operas which have no overture 01 their own P or why should not good overtures bo substituted for those which are not good P Will the operatic managements of tho metropolis take tho hint P The performances terminated with a ballot divertissement , in which Mdlles . 3 Piorron and Olara Morgan appear to groat advantage , and various very pretty devices we aocompfiehod by moans of ribands and iWor baeliote .

    This interesting unknown , however , is no other than f ^ : »" . '" . j . ( Mws Ardon ) in disguise 5 a oiroumstanoo which is illustrijtno 0 cuu ous psyohologioal idiosyncrasies , as it shows that tho " old love v »»•¦» » intllolanguago of Miss Pool ' s favourite ballad , so mniiy wnnt to do « oirwith , ' is oapablo of proving quito as attraotivons ( t the nou , u " •« imagination can only bo got . to invest Jit with « spico of ncj c J . Byron toUs us that of tlio same « lovo" « pleased for over it J « "J bo most salisfiidtory for « tho lioart ns woll ns liver . Can " ° V , " sophor invent a proooss for vamping up tho old " lovo » "t 0 " "" ,, ono , " and sorapirtg a nap upon its throadboro surfaooP iJut - " " infoote MB with hisi blemish of digression . To return : —Mr . Sne uno , having tho bump of cautiousness vory largely dovolonw , nao 1 w soonor oommonood his liaison than ho is torrlnod out ol ' » ?™ i » i « u lio Mrs . SaoUvillo should disoovor it , and sh < J being in tho secret ( w ' "J » J Uttlo dreams of ) , is enabled to turn tho tables upon him , and matfos

• Citation
  • Leader (1850-1860), Oct. 27, 1860, page 14, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/cld_27101860/page/14/