PARIS.
Théâtre Italien.—After being postponed for some time, on account of the illness of Rubini, Bellini’s Capuletti e Montecchi was at length brought out; the hero and heroine represented by the sisters Grisi, and Tebaldo by Rubini. Few of Bellini’s operas have enjoyed so great a share of popularity in Italy as this; which, however, was written without premeditation, and begun and finished in fifteen days, at the urgent request of the Venetian managers, to fill up a gap in their performances occasioned by the complete condemnation of some other pieces. Bellini, himself, appears to be partial to it, for he has dedicated the printed copy to his fellow-citizens in Catania; but even considered as a work of Bellini’s, it bears evident marks of the haste in which it was got up. It was tolerably successful, however. The last movement of the finale to the first act, in which Romeo and Julietta sing an impassioned melody in unison, accompanied by the other voices and chorus in arpeggioed staccato notes, was particularly applauded, and in fact decided the fate of the opera.
Bellini’s opera was followed by the revival of Mozart’s Don Juan, which was very nearly a failure. Nothing can render Mozart’s operas old; their triumph over both time and fashion was sufficiently proved by the crowds which the announcement of his chef d’œuvre drew to the theatre: but the best music, to produce its effect, most be well and spiritedly performed, and it is but too true that the great majority of the Italian singers neither like, nor understand, nor can sing Mozart’s music. It is too foreign to their habits, they find no hooks left in it for them to hang their fiorituri on,—and persuade themselves, therefore, that it precludes them from all opportunity of showing off their talents.
Tamburini looked Don Juan well, and was encored in the rondeau Fin ch’han dal vino; but he spoiled the air by introducing into it a long pause and holding note on the E
towards the close, when the whole spirit and effect of the composition consists in the rapid and uninterrupted movement the author has given it. The women were all out of their places, and felt so; Mlle. Grisi has too tall and commanding a figure and too loud a voice for Zerlina. Mad. Tadolini is totally unfit for Elvira, and Mlle. Karl, who performed Donna Anna, is unfortunately no favourite with the public, which is too frequently as capricious in its dislikes as in its favoritisms. Rubini alone seemed in his element; his Il mio tesoro was, as usual, a finished morceau.
A very successful début has lately been made at the Opéra Comique, by a M. Hebert, a young man with a very fine bass voice. He appeared in Jean de Paris. It is said that he wished to select the Maitre de Chapelle, but the composer objected; if so, and the same composer heard M. Hebert, he must have felt some regret at his refusal. The débutant possesses superior taste; and a certain elegance and facility in his delivery; to which he adds a good figure, self-possession, and intelligence, qualities which practice, and the habit of appearing before the public, will no doubt develope and improve.