KING’s THEATRE.
THE practice of giving fragments of operas has been continued during the last month, and so far as such feeble stuff as Anna Bolena, Norma, &c. is concerned, it is not worth while to complain: but when a work like Semiramide is exposed to the same treatment, it is time to protest against such barbaric taste, such an insult to common sense. This fine opera has actually been compressed into one act, and so performed! But La Cenerentola, one of Rossini’s inferior operas, has been given in an entire state, and strongly got up, Mad. MALIBRAN in the principal part.
On Saturday the 20th of July, BELLINI’s promised serious opera, I Capuleti e Montecchi, (which may be translated, The Capulets and Montagues,—or, Romeo and Juliet,) was performed for the first time here, and thus cast:—
Romeo
Mad. PASTA.
Julietta
Mad. DE MERIC.
Tebaldo
Sig. DONZELLI.
Capuleto
Sig. V. GALLI.
It was performed twice, then, it is said, finally withdrawn. Mad. PASTA’s acting could not save it! It had not even the negative support of the proverbially tolerant audiences at this theatre: none scarcely, except of the orderly kind, attended the second performance, and it died without a groan; for privileged visiters never express their disapprobation, and only such were in at the death. Let it rest in peace! We will only say of this wretched work, that it is inferior even to Norma. Anything more would be superfluous, and a wanton waste of ink more valuable than Bellini’s opera.
The musical product of the season, then, has been two operas, fit only for the Milanese, for the Italian subjects of the Austrian government, to hear! But the apologists for such management cry out, ‘where are better to be procured?’ We will tell them—in Germany: nay, in the library of the King’s Theatre are operas enough to be found that are unknown, or forgotten, which, if properly prepared and brought out, would suffice for ten years to come,—operas that would not merely satisfy the public, but meet with their warmest approbation and most effectual support.
A Sunday paper has talked again and again about the expenses of this theatre considerably exceeding a thousand pounds a night. Doubtless the writer believes what he asserts; but we will tell him, fearless of contradiction, that they do not amount to anything like three-fourths of a thousand pounds. We know upon what saving terms the performers have all, except Pasta, been engaged; how their benefits have been managed; we have looked attentively at the scenery, dresses, &c. and challenge the lessee to produce any proof that our calculation is incorrect. Moreover we will add, that, in spite of the terms which performers, through the mismanagement of the three or four principal impresari of Europe, are enabled to demand,—the Italian opera in London ought, if well conducted, to yield a certain profit of some thousands every season.