The balls at the Casino, which formerly enlivened the Carnival, have likewise declined, from the unwillingness of the natives to mix in any degree with the Austrian garrison, the general and officers of which were of course invited to be present. Even those families of Codini, whose known retrograde principles rendered them well disposed towards the Barbari, were afraid of braving public opinion by appearing to be on good terms with the supporters of their pontiff; so that the Austrian officers, at the first public ball, to which they repaired with all their proverbial eagerness for the dance, found a large and handsome ball-room, brilliant lights and excellent music, but, alas, to their great chagrin, nought but empty benches to receive them!
The theatre is now the only neutral ground where all assemble; but even there the line of demarcation is very jealously observed, and it is only in one or two boxes of native families that the obnoxious white uniform is ever discerned. To an Italian, the theatre is home, senate, forum, academy—all and everything in life. He does not go there half so much for the sake of the performance, as to fill up four or five hours of his daily existence, to see his friends, to hear what is going forward, to look at any strange face that may attract his notice, to contemplate from his stall near the orchestra the different flirtations carried on in the boxes above and around him, and to take his own share, perchance, in the numerous little comedies of real life that are here nightly performed, while the mock-drama on the stage forms but a minor part of the interests so curiously concentrated in this building.
There was but one theatre in the town—a very pretty structure, much larger and handsomer than would be met with in any provincial town in England; and all its accompaniments of dress, scenery, and orchestra on the same scale of superiority. Either operas or prose pieces were given, according to the seasons of the year and established custom. In the autumn, comedies and dramas were performed from September till the beginning of Advent, when theatrical entertainments were suspended. From Christmas till the end of Carnival there was the Opera, succeeded during Lent by a dreary time of mortification. After Easter, the public spirits were sustained by the speedy prospect of a good spring campaign; and great excitement always prevailed as to the operas to be represented, the names of the singers engaged by the manager, whether the municipality, by assisting his funds, would enable him to give a ballet; and so forth.
Of course, none of the great vocalists, whom the north seems to have monopolized, were ever heard, although this theatre could often claim the distinction of having been the nursery in which they were trained, and their latent powers first called forth. The Government, impoverished as it is with gaunt distress assailing it in the shape of houseless poor, decaying buildings, and an exhausted treasury, never hesitates to support and promote theatrical entertainments. The theatre, to an Italian population, is like a sweet cake to a fretful child: it serves to stop its crying, and divert its attention for a moment, and the intelligent nurse is satisfied. It is a safe diversion: they cannot conspire or talk politics, for spies, as they well know, are largely mingled with the audience, and every movement or knot of whisperers would instantly be noted. The pieces performed are carefully selected, and none with any allusion to freedom, revolt, or anything of the sort permitted; for instance, a chorus containing the word libertà would be suppressed, or another word of different signification substituted for it. Auber's Muta di Portici is not allowed to be represented, because its hero, Masaniello, is the leader of a popular insurrection; nor Rossini's Guglielmo Tell, for similar reasons; besides many others that it would take too much space to enumerate. Verdi's Ernani is no longer given, although in the early days of Pius IX., when, after granting the amnesty to all political offenders, he was hailed as the regenerator of Italy, the scene in which Charles V. pardons the conspirators, and exclaims, “Perdono a tutti,” was received in every theatre of Italy with a frenzy of enthusiasm that must have been perfectly electrifying. It has often been described to me how in Ancona the whole audience used to sit hushed in reverential awe till the expected words had been pronounced, when, as with one voice and impulse, they would break forth into a wild clamour of applause, which had in it something inexpressibly thrilling and sublime.
But all this has passed away; the brief glory, the dream of independence, the unwonted exultation, with its lamentable reverse of ingratitude and folly, opportunities neglected, and powers misapplied. The daystar has risen again for their brethren, while the Anconitans are shrouded in even darker oppression than of yore, and heavier chains have been riveted upon them; yet stay, for I have wandered from my theme, which was of the garlands twined around their fetters, and of the gay strains and idle talk beneath which the patriot's sigh is often stifled. So let us go back to the interior of the theatre, if you please, and take a survey of its various occupants.
It is seven o'clock, and the house is beginning to fill: clerks, shopkeepers, spies, artisans and their wives, Austrian soldiers, are taking their places in the pit, and the orchestra are tuning their instruments. As the overture begins, the frequenters of the stalls saunter into their usual places. Of these, the majority are the officers of the garrison, who always make a great clanking of their long broadswords, and always twirl their moustaches. The boxes, too, are rapidly becoming tenanted. Every family has its own, and the scene grows more animated as one bright well-known face after another appears in her accustomed seat.
The husband, in all well-regulated establishments, accompanies his wife to the theatre, and remains in the box until some visitor appears, which is generally the case as soon as she has been seen to enter. He then takes his leave, and does not trouble her with his presence till the close of the evening, to escort her home; as it would be considered very insipid to be seen sitting long together, and infallibly be looked upon as the result of the lady's want of attraction, or the lack of resources on his side to fill up the time. Released from his attendance, therefore, as soon as the welcome sound is heard of the curtain at the door being drawn aside to give admission to a visitor, he hastens in his turn to commence a round of calls, to those ladies especially whose houses, when the theatre is not open, he is most in the habit of frequenting. Thus the leading belles gather round them their usual società, and they talk and laugh, as is their wont, without much regard to the performance, except at any favourite air or duet, when, as if by magic, the whole audience is silent and breathless with attention. The loquacity prevalent is sometimes annoying to the pit and gallery, particularly in a prose piece, when the actors are scarcely audible from the hum of patrician voices, and an angry “Zitto, zitto!” gives an indication of popular feeling. But even this departure from the usual orderly demeanour of the people is very rare. It would be difficult to find more decorum and correctness of deportment than they present: there is no bad language, no quarrelling, no drinking—not even any popping of ginger-beer, or fragrance of orange-peel.
The same operas are repeated night after night, without intermission, for weeks. In the course of a season lasting nearly two months, seldom more than two operas are given, the expense of getting up a greater variety being of course one reason; while the taste of the Italians themselves leads also to their preferring the frequent repetition of their favourite composers, rather than a constant change, which, in music, they declare is a drawback to enjoyment.
The price of admission during the Carnival appears ridiculously low, the ticket being only fifteen bajocchi—equal to 7-½d.; and a subscription for the season can be taken out for fifteen pauls—6s. 9d., which insures admission for every night, excepting benefits. In the spring, as there is a ballet besides the opera, the price is doubled; in the autumn, when the commedia—the national term for dramatic representations—is given, it is only a paul—5d.
The boxes, as I said before, are all private property; each is partitioned off from the other as at the Italian Opera in London. They are fitted up on either side with narrow sofas, on which the società lounge and gossip at their ease. Amongst their fair owners, the respective number of visitors is a great subject of heart-burning, it being an enviable distinction to have one's box constantly filled. As regards the toilet of the ladies, there is but little display: in winter, they are scarcely more dressed than for a walking out, many of them even retaining their bonnets; and on account of the extreme cold, it is often customary to send chauffepieds to keep their feet warm during the performance. The house is dimly lighted to English eyes, accustomed to the flaring gas of our own theatres, for there is only a large chandelier from the centre, and the foot-lights; but Italians are not fond of a strong glare, and resorting thither so constantly as they do, a greater degree of brilliancy would prove fatiguing to the sight. The existing arrangement permits them to see and to be seen, and with this they are perfectly satisfied; and thus they go on, every night of the week while the season lasts—excepting Mondays, when an inferior singer takes the prima donna's place, and Fridays, when the theatre is closed—gossiping, trifling, complaining, but still led there by an irresistible impulse, a void in domestic life which, so long as English hearths and homes maintain their proud supremacy, will happily remain an unsolved mystery to us.