"This ceremony being concluded, the two rewarded generals presented themselves on the principal balcony of the palace, in front of which passed the brilliant column of honour; at its head marched the commandant-general, Don Valentin Canalizo; and the brilliancy, neatness, and elegance, which all the corps of the garrison displayed, is above all praise. When the regiment had passed, a sumptuous entertainment was served in one of the halls of the Minister of War, in which elegance, good taste, and propriety, rivalled one another; while repeated toasts showed the most sincere joy, united with the most patriotic and fraternal sentiments. Rain having begun to fall at about three in the afternoon, the paseo was on this account not so crowded as might have been expected; nevertheless, the military bands were present, and at six in the evening their Excellencies Generals Bustamante and Valencia having presented themselves there, were received with vivas and universal joy.
"At night the chiefs and officers of the plana mayor gave a ball in the college of the Mineria; and the theatre of New Mexico dedicated its entertainment to his Excellency the President. Nothing disturbed the joy of this day; one sentiment alone of union and cheerfulness overflowed in the capital, proving to those illustrious generals the unanimous applause with which Mexicans see their country reward the distinguished services of their children, who are so deserving of their love and gratitude."
Notwithstanding the ineffable joy which, according to the Díario, is generally felt on this occasion, there are many who doubt the policy of this celebration, at a time when the troops are unpaid—when the soldiers, wounded at the last pronunciamiento, are refused their pensions, while the widows and orphans of others are vainly suing for assistance. "At the best," say those who cavil on the subject, "it was a civil war—a war between brothers—a subject of regret and not of glory—of sadness and not of jubilee." As for General Valencia's congratulation to the president, in which he compares the "honourable troops" to the Supreme Being, the re-establishment of order in Mexico to the creation of the world from chaos, it is chiefly incomprehensible. Perhaps he is carried away by his joy and gratitude, and personal affection for Bustamante—perhaps he has taken a leaf from a translation of Bombastes Furioso.
One thing is certain: the whole affair had a brilliant appearance; and the handsome carriages, fine horses, gaily-dressed officers and soldiers, together with the military music and the crowds of people collected, produced an imposing effect.
LETTER THE FORTY-SECOND
Italian Opera—Artists, Male and Female—Prima Donna—Lucia de
Lammermoor—Some Disappointment—Second Representation—Improvement—Romeo
and Giulietta—La Ricci—La Señora Cesari—The Mint—False
Coining—Repetition of Lucia—Procession by Night—A Spanish
Beauty—Discriminating Audience—A little Too Simple—Gold
Embroidery—Santiago—Pilgrims—Old Indian Custom—Soiree—Mexico by
Moonlight—Mysterious Figure—Archbishop—Viceroy.
13th July.
We little expected to be still here at the opening of the new Italian opera, and had consequently given up our box. Señor Roca, who went to Italy to bring out the requisites, has arrived at the end of a wonderfully short period, with the singers, male and female, the new dresses, decorations, etc.; and the first opera, Lucia de Lammermoor, was given last week. The theatre is the former Teatro des Gallos, an octagonal circus, which has been fitted up as elegantly as circumstances would permit, and as the transition from the crowing of cocks to the soft notes of Giulietta rendered necessary. The prima donna assoluta is the Signora Anaide Castellan de Giampietro, born in Paris, bred in Milan. The prima donna soprano is the Signora de Ricci; and the second donna is called Branzanti. The first tenor is Signor Giampietro, husband to the prima donna; and the second tenor is the Signor Alberti Bozetti. The first bass is Signor Tomassi, and the buffo bass Signor Spontini. They have been so much prone, and public expectation has been so much excited, that we supposed it probable that the first evening at least would be a failure to a certain extent. Besides, the Mexican audience, if not very experienced, is decidedly musical; and they have already had a pretty good opera here, have heard Madame Albini, la Cesari, Garcia (the father of Malibran) and the beux restes of Galli; therefore can compare.
The first evening, the Castellan made her appearance as Lucia. She is about twenty; slight and fair, with black hair, graceful, and with a very sweet, clear, and pure young voice, also very correct. The tenor rests upon his wife's laurels. He looks well, but little more can be said in his praise. Tomassi has some good notes, and a fine figure. Of the others who sang that evening there is little to be said. The theatre is extremely well got up, the dresses are new and rich, and the decorations and scenery remarkably good. The public, however, were disappointed. They had prepared for wonders, and were not satisfied with a fair performance. The applauses were few and far between. The Castellan was not called for, and the following day a certain degree of discontent pervaded the aristocracy of the capital.
At the second representation of the same opera things mended. The voice of La Castellan was appreciated. Applauses were loud and long, and at the end of the opera she and the director were called for and received with enthusiasm. She seems likely to become a favourite.