In the Ballet will appear—Mme. Ronzi Vestris; Mdlle.
Legras, Mdlle. Idalise Grener, Mdlle. Noblet; M.
Albert, M. Charles Vestris, M. Ferdinand, &c.
Principal Ballet-master—Mons. Aumer."
The season opened on January 24 with "Zelmira," a new opera conducted by "the universally fashionable composer of the day, Signor Gioacchiso Rossini."
How strangely reads the repertoire of the representations given at the King's Theatre during the next months! Two only are heard at Covent Garden nowadays, and those but rarely—"Don Giovanni" and "II Barbiere," which latter was given with Mme. Vestris as Rosina, di Begnis as Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One may perhaps add to the number of those still heard occasionally the "Nozze di Figaro"; but this is only given at the most attenuated intervals.
As for the rest, what can we say of Zingarelli's "Romeo e Giulietta" and Rossini's "Otello," in which Mme. Pasta makes her rentrée? Add to these "Ricciardo e Zoraide," "Semiramide," "Turco in Italia," "La Donna del Lago," and "Il Fanatico per la Musica" which Catalani chooses for her reappearance.
But there are other musical events worthy of attention during these months.
We read that "Master Liszt, the young German pianist, had a concert at the Argyll Rooms, when he exhibited talents that astonished all the leading professors who were present."
Further, we find Signor Rossini giving two subscription concerts at Almack's Rooms,—how strangely the names of the fashionable concert rooms of the past sound to us now!—"Tickets two guineas."
They are announced "To Begin at Nine o'clock"; while the composer has the assistance of the leading operatic artistes of the day—Catalani, Pasta, Vestris, Garcia, di Begnis, et hoc genus omne.
But what is of especial interest is the fact that Rossini not only conducted, but sang. He gave "a cavatino (sic) from Figaro," and a duetto with Mme. Catalani, "Se fiato in corpo avete" by Cimarosa.