Unfortunately it is the nature of an Italian opera-house to have its shelf poorly furnished. It cannot, however, be denied that the managers of the Opera Buffa take every pains to vary and increase their stock. The following are the pieces which I have seen at this theatre.
Furberia e Puntiglio, which is a second-hand imitation of GOLDONI. The music, by Signor MARCELLO DI CAPUA, is agreeable, particularly a quartetto and a cavatina. RAFFANELLI shines in this piece as a first-rate actor.
Il Matrimonio Secreto, the chef-d'œuvre of CIMAROSA, and of its kind, perhaps, the most charming opera extant. Throughout it, the composer has lavished beauties; there is not to be found in it an air of inferior merit, or which, of itself alone, would not sustain the reputation of a piece. What then can be said of a work in which they are all united? Nothing can surpass the variety, spirit, grace, and originality of the duos, terzettos, quartettos, &c. with which this opera abounds. CIMAROSA has here combined the strength of German harmony with the grace which constitutes the charm of Italian melody. He is particularly famous for the brilliancy of his ideas, the fecundity of his genius, the richness of his style, and, above all, for the finish of his pictures.
The certain effect of such a production is to eclipse every thing put in competition with it. This effect is particularly conspicuous at the representation of other pieces, the music of which is by the same composer.
Gianina e Bernadone, another of CIMAROSA'S productions, makes less impression, though it is in the graceful style, what Il Matrimonio Secreto is in the serio-comic.
La Molinara, however, upholds the reputation of that celebrated composer, PAËSIELLO. This opera requires no eulogium. Selections from it are daily repeated in the public and private concerts in Paris. Il Matrimonio Secreto is a masterpiece of spirit and originality, while La Molinara is a model of grace, melody, and simplicity.
To the great regret of the lovers of Italian music, CIMAROSA died not long since, just as he was preparing to visit Paris. But his fame will long survive, as his works bear the stamp of true genius, combined with taste and judgment. His Italiana in Londra is just announced for representation.
Il Matrimonio Inaspettato, a composition of PAËSIELLO, is likewise in rehearsal, as well as Le Nozze di Dorina, by SARTI, and La Vilanella Rapita, by BIANCHI. MOZART too will soon enter the lists; his Dom Giovanni is to be speedily brought forward.
The orchestra of the Opéra Buffa, though far from numerous, is extremely well-composed. It accompanies the singers with an ensemble, a grace, and precision deserving of the highest encomium. BRUNI, a distinguished Italian composer, is the leader of the band, and PARENTI, a professor, known also by several admired productions, presides at the piano-forte.
NEUVILLE, the manager of this theatre, is gone to Italy for the purpose of completing the company by the addition of some eminent performers.[[1]] In its present state, the Opéra Buffa maintains its ground. It is thought that the French government will assist it in case of necessity, and even make it a national establishment; a commissary or agent having been appointed to superintend its proceedings.