The instrumentation, however, as compared with ours, first introduced by Mozart, is still very meagre, and the Italians in that still cling too much to the old. The viols and bassoons almost always go through the whole opera col Basso, and the clarinets and hautboys in Unisono. As in most Italian operas with from six to eight contra-basses there is only one violincello, and usually not even a good one, they as yet know nothing here of the (since Mozart’s day) frequent use of the violincello for middle voices, which, skilfully brought in, has such a splendid effect; and they are far behind the Germans in the knowledge of how to get the best effect from the wind instruments. But what surprised me most, was to hear sometimes in these operas a very uneven cantabile, while a flowing and for the voice grateful and well arranged cantabile is the only praise-worthy quality of the modern Italian operatic music, and must compensate for all the deficiencies and faults. The two following passages struck me most; the first in an aria of the prima donna, the second, in the first finale, where it frequently recurs:
Both these passages are not only unsingable but exceedingly insipid, and the second especially, from the somewhat slow movement and its frequent recurrence, is wholly unbearable.
Among the singers in this opera, Madame Georgi, the prima donna, is the only remarkable one. She has a full, powerful voice of rare compass, from
The ballet, which is given every evening between the two acts of the opera, is the most splendid of any I have ever yet seen. I think it is called “The Destruction of the Western Empire,” and is especially remarkable for the constant introduction of great masses of persons on the stage in full activity who form the boldest and most surprising groups. It has been studied with extraordinary correctness, and is performed every evening with the same precision. At the end a cavalry engagement was represented, which however always looks somewhat stiff and awkward.
November, 8.