THE DRAMA.
THE ITALIAN OPERA.
RETIREMENT OF RUBINI.
(Exclusive.)
N.B.—PUNCH is delighted to perceive, from the style of this critique, that, though anonymously sent, it is manifestly from the pen of the elegant critic of the Morning Post.
On a review of the events of the past season, the souvenirs it presents are not calculated to elevate the character of the arts di poeta and di musica, of which the Italian Opera is composed. The only decided nouveautés which made their appearance, were “Fausta,” and “Roberto Devereux,” both of them jejune as far as regards their libretto and the composita musicale. The latter opera, however, serving as it did to introduce a pleasing rifacciamento of the lamented Malibran, in her talented sister Pauline (Madame Viardot), may, on that account, be remembered as a pleasing reminiscence of the past season.
The evening of Saturday, Aug. 21st, will long be remembered by the habitués of the Opera. From exclusive sources (which have been opened to us at a very considerable expense) we are enabled to communicate—malheureusement—that with the close of the saison de 1841, the corps opératique loses one of its most brilliant ornaments. That memorable epocha was chosen by Rubini for making a graceful congé to a fashionable audience, amidst an abundance of tears—shed in the choicest Italian—and showers of bouquets. The subjects chosen for representation were apropos in the extreme; all being of a triste character, namely, the atta terzo of “Marino Faliero,” the finale of “Lucia di Lammermoor,” and the last parte of “La Sonnambula:” these were the chosen vehicles for Rubini’s soirée d’adieu.