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    learn , I lost little by ^^ B * "&' . Instead of my jeport , you shall have that given by the critic of the Morning Chronicle , abridged . Mr BiXPE ' s grand opera , whidi has been for some time in preparation , The Sicilian Bride , was given last Saturday evening with that degree of snccess which « u £ h clever scoring and a profusion of the old cut-and-dry 33 alfeian school of ballads , acting upon the favouring sympathies of a first night s audience , were liielv ' to produce , but without / so far as can be judged from a first representation , achieVino-that genuine and unmist&eable impression wrought by works destined to live and be admired and studied as solid and worthy efforts of musical genius . The Sicilian Bride \ & wv ambitious attempt at the most ambitious form of the grand opera . We could have wished Mr . Baufe to have continued his devotion to the lighter and more graceful opeva comique . In pieces like the Quatre Fik d'Aymon , and Le Puit d'Amour he is only second to Aubee , b ut in venturing upon Meyeebeeb ' s ground his feebleness becomes apparent . He has neither the continuity nor profundity of musical imagination—he has neither the heated fancy nor the extraordinary command over orchestral and choral resources of the great musical dramatist ; and . accordingly , a vast and complicated scene , involving

    massive volumes of sound , which in Meyeebeer ' s hands would have soared into a gloomy sublimity , becomes in Mr . Bame ' s a mass of confused noise , in the production of which it is evident that the agencies used by the author of the Huguenots have been appealed to , but just as evident that they have not answered to the call of the weaker enchanter . Throughout the first act of The Sicilian Bride the imitation of Meteebeee is very apparent . We have much the same musical effects kept in view as those in the second act of the Huguenots—the contending choruses of two warlike factions , hushed by the light and tripping music of dancing girls , and the contrast of martial with ecclesiastical music at the close of the act , being cases in point . But the opera has graver faults . In the first place , the subjectalthough not devoid of good dramatic points , is colourless and uninteresting .

    , The incidents are glaringly improbable , the links of connexion between act and act not very apparent , and the denouement so weak , and so obviously capable , by a very easily applied means , of improvement , that we wonder Mr . Bttnn did not in this respect take a further liberty with M . St . Geoege , other than that of turning his libretto out of French into another language . Ingenious the work may perhaps be called , but it shows no fancy , or warmth , Or glow of mental conception . The mind refuses to be carried on by the neatly-conceived , but far from catching or enthralling march of incident ; while the * personages are mere lay figures , without a breath of individuality or separate colouring * in whose fortunes no mortal can take the slightest interest . There is little or no difference made in the sentiment of their music : the French tyrant of Sicily sings just such ditties

    as the lover and the patriot ; in fact , any one of the characters might change parts with another without any violence to at least the feeling of the music . _ ¦ The general character of the opera is ambitious and elaborate , aspiring to complex choral treatment , and seasoned , for the sake of the music-sellers and the youn ° - ladies , with ballads in Mr . Baxee ' s ordinary sentimental manner . The instrumentation is full and noisy . keeping all the instruments well upon the stretch , and introducing several brass solos , to which but the scrimpest justice was done . The introduction or overture is short and brassy . It contains the principal motivos—particularly one repeated copiously in the work , and first introduced thera when Androzzi is dictating the determination of the conspirators . The opening double chorus went flatly and heavily , although it contains clever and musicianlike writing . The executants were by no means at their ease , and the music

    suffered proportionally . An aria , sung by Miss Hoeton , as the young armourer , " The moment invites us , " is quaint and lively , and its repeat by the chorus was effective . Bianca has then her first ballad , " 'Tis mine to weep , " a plaintive melody of no very striking originality , but well adapted to mild drawing-room temperature . The duet for the lovers , " Oh delight!—oh hour enchanting ! " is better . It has passion , spirit , and colour , aiid the cabaletta is bright and playful , and was encored . A general chorus of the two parties to the feud is marked by breadth and a piquancy of treatment , not long sustained , and which fades into comparatively common-place scoring in the mingled choral and solo passages which ensue , and which are varied again a la Huguenots , by dance music , the main theme of which is one of the Tarantula airs . The ecclesiastical music celebrating the wedding , brings down the act drop . The second act contains a prettyish ballad for which red

    Mr . Whitwobtit , " Thy beauty , while it thrills my soul , " was e ncp , and which is perhaps the gem of the opera ; Sirena ' s air , " Like a bright dream ;" another ballad , " My happy home , " nicely instrumented , and which after much opposition was also encored ; with a cavatina for Montluc , form the main features of the act . A lachrymose plaintive character is common to all the ballads , and their style is so identical as to awaken a tedious feeling of monotony . In the third act , the most dramatic music occurs in the duo for Montluc and Bianca , changed to a trio by Rodolfo ' s entrance . The subject is handled with musicianlike skill and the various phases of feeling expressed with a lucidity and breadth of idea which is not common in the opera . The effect , however , was marred by Miss CBIOHTON ' S want of physical power . Her efforts to force a breaking voice were painfuland occasionally produced absolute discord . After another

    very , common-place ballad for Rodolfo , Bianca being supposed while ho is singing it to bo in a fainting state , we have the scene of the armourer t > cave . I he grand chorus to the clanging of the hammers is not effective , although it suggested reminiscences of a similar scene in the Crmon Diamonds . A pretty rondo from Miss Hobton , " The armourer loves his trade , " had something of the piquancy of the opening air . After a reprise pianissimo of the conspirators' chorus , we have the entrance of the French soldiers . The proceedings are carried on m recitative , and the act end * with a ' noisy cursing chorus directed against Bodolfo , from which one hardly wonder * at the hero ' anxiety to fly . The fourth act opens with a chorus of judges , solemn and gravely coloured . There is next a ballad—these eternal and hich tstrong

    ballads which are not balliuls-for Mr . Sims Beeves , w suggess reminiscences of JFra Diavdlo , if wo mistake not . The succeeding duet between llodolfo and Bianca was again marred by the failure , at the critical passages , of Miss CnionxoN ' s voice . Thcro waa dramatic energy and excellent intention in her efforts ; but she ' must nutoo her physical powers , and learn that all-important vocal secret—to manager the voico . The remainder of tho opera fell flatly ; the last chorus was an introduced work of an Italian composer , and lfc brought down the curtain—with applause certainly , but without any Bymptom of enthusiasm . Mr . Balfh was called , and then a species of laughing demand was made for Mr . Bttnn , who told tho audience that ho hod done all ho could for them , and would persevere in tho same lino of policy . . The opera on tho whole was respectably given . Mr . Sims Reeves woe in good

    gave a couple of ballads with commendable neatness . Miss Crichton has much to struggle against in peculiar awkwardness of manner . Her sleep-walking scene was curiously ungraceful , and—meaning to be impassioned in her last duo—she jerked herself up and down in a manner which produced irrepressible laughter Miss Ceichton oug ht seriously to apply herself to the study of the demeanour ' and bearing necessary for the stage ; Without some degree of accomplishment iu this respectj the best dramatic music is thrown away . She sang with great purity of tone and delicate justness of intonation ,, but the general effect was sadl y marred by the two fiascos which we have noticed , but which a little more care and nursing of the voice will easily prevent a repetition of .

    voice at the beginning of ' . the evening * but the constant drag upon the higher notes told on his organ , which became coarse and uncertain towards the close . He san his "ballads , " however , with the usual effect . Mr . Whitwobth was evidently hoarse . His best point was the encored ballad , "Thy beauty , while it thrills m soul ; " but latterly his voice was nearly as inuch broken , and as wildl y out of tune as Miss Cbichton ' s . Mr . Beattgn ; took a small part—that of the necromancer who gives Montluc .. the sleeping draught ; and Mr . 13 . Q . TotnoijNfj whose first appearance it was , went , respectably through the nob very bright role of the Ihtke He possesses a bass voice of moderate power and compass . Miss P . Hobtok- san >> her songs , as she always does , with energy and colour ; and Miss Rebecca . Isaacs

    In point of getting up , there is nothing original , and little appropriate . Chain armour and Louis Quatorze interiors do not go quite smoothly together , and the grouping and scenic arrangements are such as would be favoured by the oldest fashioned stage-manager . It is not necessary to criticise the English rendering of the libretto—it will suffice to say that it is Mr . Bttnn ' s .

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    FREDERIC'S DON CESAR . A moee unfortunatejpiece , as regards attractiveness , Mr . Mitchell could not have chosen for Frederic Lemaitre ' s re-appearance . Every theatre in London and the provinces has had its Don' Cesar de Bazan , witit people are wearied of the name on the bills . ' Nevertheless , for those who went to see Frederic there was a treat in store . Perfectly unapproachable is that picturesque , original , fantastic buffoonery—so graceful , and yet so absurd ! The grand d'Espagne has squandered liis fortune , has soiled his reputation in the company of sots and blackguards ; but he has preserved his honour , and with it something of the dignity and grace which he inherited with his name—the dignity to be resumed whenever the occasion needs it ; the grace abiding ! The fiery pleasure of wine—the excitement of the dice-box—the fascination of facile amours—the demoralization of debts have made him a blackguard ; but Nature gave him the birthright of a gentleman , and through all his ragged dissoluteness shines the original splendour of his nature : his pourpoint may be old , stained with wine , and torn in a hundred quarrels , but you see it is a pourpoint , and you know what it must have been . Vividly and artistically does Frede * ric paint that picture . He has the freedom 6 f a master-hand , conscious of the truth which will appear in its most vagabond caprices ! The first three acts are unrivalled . In the two last , there is great fault to be found with him ; and I wish to insist more strongly upon his defects , because they are essentially stagey errors , and , with the sanction of his immense reputation , are likely to be dangerous . , If there is one thing which separates the Artist from the Actor , it is the subordination of details to a whole—the refusal to make " points" when those " points" are not details of character . All actors sin in this way . Applause is the only test they have ; and if they can raise a laugh , the laugh is held as valid warrant for the means which produced it . If you object to an actor for some misplaced action , look , or intonation , he will infallibly reply , " But , you see , it told : " i . e . laughter saluted it . But we have only to extend the licence a little , and its absurdity becomes apparent , —we have only , for example , to ask what the effect would be it a Hamlet , eager for points , were to " go in for comic business m Ins playful scenes : let us suppose him digging his elbow in Polormiss ribs , would the certain laughter justify the " point" P Actors forget that an audience may laugh—and despise . The sudden transition may startle risibility , but it will not carry approbation . 1 I confess how Fre"deric , in that scene with the king , made me Jaugn ; but I add , that the muscles of my face had not resumed their quiet condition , before my judgment revolted at tho means by which tho lauguter had been raised . Buffoonery , which was amusing in the earlier scenes , became intolerable as tho tragic earnestness of the situation de 0 P ^ - instead of the wronged husband and dishonoured nobleman ( such as tnac scene demands ) , he threw over the character the buffoonery ot liooeri Macaire ; and this did not leave him even in the final scene , where von Char stands forth , imposing , almost heroic . . wimr Efface that stain from his acting , and what a performance it is I vv nau dignity and impassioned grace in tho serious passages!—what bounaic ( ^ caprice in tho comic ! He is the greatest melodramatic actor this a has Boon , and unlike all other groat actors !

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    JAMKS VI . Mr . PnELrs is deservedly tho most successful of managers , . " ? „ stands first among our tragic actors . I had a certain hesitation m sowif , down the last sentence , lest it should look like a sarcasm to tal * . b actors . Phclps may perhaps think it hard to bo classed with Anaom Charles Kean , W . J . Wallack , or Barry Sullivan , even though ho f placed at the head . . * Va . « i <» d On Tuosday , Phelps took his benefit , and for the second time . pprloi " ! , tho llev . Mr . White ' s now play , James VI ., remodelled from his jlot ^ Qoxorie , published some years ago . It is not a very ? ntor % , ng nreBOnt nor do I soo how tho Gowrio plot is to bo made interesting . J- » ° P yj piece depends wholly on tho exhibition of tho character ot Ja 1 tt ~\ „ . ( our James I . ) , and its success is owing to Pholps ' s admirable ™ l ^ fa x pedantic , covetous , cowardly , cunning , James was placed b ° iori ? . j ong extraordinary vividness , and tho ollbcfc was unquestionable . Ac , - since Phclps has had so good a part . Tho play was mounted wh « care and artistic excellence for which Sadler ' s W ells has a repun * and its recoption was enthusiastic .

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    258 THE LEADER . [ Saturbay ,

• Citation
  • Leader (1850-1860), March 13, 1852, page 258, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1926/page/22/