Capuleto
Sig. V. GALLI.
It was performed twice, then, it is said, finally withdrawn. Mad. PASTA’s acting could not save it! It had not even the negative support of the proverbially tolerant audiences at this theatre: none scarcely, except of the orderly kind, attended the second performance, and it died without a groan; for privileged visiters never express their disapprobation, and only such were in at the death. Let it rest in peace! We will only say of this wretched work, that it is inferior even to Norma. Anything more would be superfluous, and a wanton waste of ink more valuable than Bellini’s opera.
The musical product of the season, then, has been two operas, fit only for the Milanese, for the Italian subjects of the Austrian government, to hear! But the apologists for such management cry out, ‘where are better to be procured?’ We will tell them—in Germany: nay, in the library of the King’s Theatre are operas enough to be found that are unknown, or forgotten, which, if properly prepared and brought out, would suffice for ten years to come,—operas that would not merely satisfy the public, but meet with their warmest approbation and most effectual support.
A Sunday paper has talked again and again about the expenses of this theatre considerably exceeding a thousand pounds a night. Doubtless the writer believes what he asserts; but we will tell him, fearless of contradiction, that they do not amount to anything like three-fourths of a thousand pounds. We know upon what saving terms the performers have all, except Pasta, been engaged; how their benefits have been managed; we have looked attentively at the scenery, dresses, &c. and challenge the lessee to produce any proof that our calculation is incorrect. Moreover we will add, that, in spite of the terms which performers, through the mismanagement of the three or four principal impresari of Europe, are enabled to demand,—the Italian opera in London ought, if well conducted, to yield a certain profit of some thousands every season.
COVENT-GARDEN THEATRE.
ON Saturday, June 29th, Weber’s opera, Euryanthe, was produced at this theatre, by the German company, for the first time in England. Owing to the abominable practice of advertising pieces ‘for the last time,’—though it is almost always intended that they should continue to be performed as often as the public will attend to hear them, and that there should be two or three, or even more, ‘last times,’—we were defrauded of an opportunity of hearing this able work of Weber, knowing that it would be more correctly given on a third or fourth night, and entirely disbelieving the manager’s announcements. Hence we are enabled only to lay before our readers the dramatis personæ and the story, (for which we are indebted to the Observer,) and to state our general opinion of the work, not as now performed, but from a pretty intimate acquaintance with it from the vocal score, as published at Vienna, by Steiner. Of this, it is true, we have heard portions in concerts with the full orchestral accompaniments, but have had no means of judging its complete effect as a whole, either as a musical or dramatic composition.
The parts were thus cast—
Ludwig, King of France,
HERR UETZ.