THE ITALIAN OPERA.
Corrado d'Aitamura, performed at Her Majesty's Theatre for the first time on Saturday night, is a work so excellent in parts, as to occasion some regret that it has not been fashioned into a more complete and perfect whole. Mingled with many redundancies, and scenes that are to be wished remodelled or recomposed, there are in this opera of FREDERIC° RICC/---whOID we should describe as the more esteemed of two brothers of that name—traces of a new pen in the lyric drama ; no slight blessing, in the terribly long reign of convention and of imitation upon imitation to which we have been subjected. The good points of this composer are chiefly a natural vein of melody, a fine feeling for choral effect, and a very judicious manner of modulating in his accom- panied recitative, in which he often adapts his harmonies to the sen- timent and situation so beautifully as to recall the most classical models. Nothing would seem to interpose in his career towards very high dis- tinction save want of selection and due castigation of his materials,— that hasty finishing, in short, which is the bane of modern Italian com- position, and commonly defeats its own object. For nothing takes permanent hold on the public ear that is incomplete ; and a few failures will always consign many excellencies to oblivion. That this will after a brief term be the fate of Corrado d'Altamura, it re- quires no profound vaticination to foresee ; and yet there are things in it which would adorn a completer work, and might from time to time he heard with great pleasure. The story is one of slighted love, in- gratitude, and revenge. Corrado d'Altarnura, (FonwAsAat,) a veteran Sicilian warrior, protects and instructs in arms a young exile, Roggero di Morreale, (11Lutro,) between whom and Delizia, (Gnisi,) daughter of Corrado, a mutual affection subsists. The joy of the lovers on meeting after absence supplies the interest of the introduction. Roggero departs, ostensibly to the wars, after giving a ring to his betrothed ; and now we learn from Bonello, (Fsverm,) a rejected suitor to the lady, that he is false, and about to espouse Margaret, daughter to the Grand Chan- cellor. The first act closes amidst the emotion created by this news. On the second rising of the curtain, Roggero is discovered surrounded by his military comrades, but with many misgivings at his own baseness. The nuptials, however, are about to proceed ; Margaret, the Grand Chancellor, noblemen and ladies, are walking in procession— when Delizia enters, to present Roggero with a ring ! Reproach and passion fill up the remainder of the act. The third act displays a cloister, with Delizia about to take the veil. Solemn music goes for- ward ; and the parting-scene between the father and daughter affords room for much pathos. In the third scene, a stranger accosts Corrado— it is the repentant Roggero ; who offers his life ; but this is scorned by the outraged father. They engage in a duel apart ; and Roggero, mor- tally wounded, returns to breathe his last in the arms of Delizia, after obtaining her forgiveness. The libretto is nicely put together ; there is much ease and elegance in the musical dialogue ; and the parts appropriated to recitative and air are more judiciously discriminated than usual. The absence of an overture, and the indifferent character of the introduction, give no very favourable prepossession of the work. But patience is rewarded—the second scene improves on the first, and the third on that. Energetic harmonies from the chorus, and pleasing combinations in the band, occupy attention at intervals till the appearance of the heroine, GRIST. A scene of reverie and tenderness now takes place, and is embellished by her sweetest warbliogs. The whole of the music here—commencing with the subject in A fiat, " Arnica un giorno io era lieta," the subse- quent accompanied recitative, and the concluding joyful bravura in C major, with its rapid scale passages and syncopations—is the work of no common hand. Here GRIST was encored, and some confusion arose from a misunderstanding as to the starting-point of the encore: the admirable singer, however, recovered herself with her wonted address, and gave four lines of recitative which it was easier to hear than it will be to forget. One really recurs to the enchanting contrasts of expres- sion in MOZART'S Idomeneo, on hearing lines so beautifully set as the recitative commencing " Lasciami o amica." Roggero's first air in D major, " In questo petto," is, it must be confessed, a very unequal composition ; and the hoarseness of MARIO in the singing did not improve its effect. The duet in octaves at the end of this scene, " Ah! m'abbraccia," should have been taken much faster, accord- ing to Italian traditions. The ireful air of the Count, " Ah ! del codardo insulto," was expressed by FORNASARI with energy, but too much noise and a painful departure from music in his tone. He offends the ear grievously by his forgetfulness on this head. A strange failure is observable in the drinking-chorus at the opening of the second act; in which melody and joviality of character are alto- gether deficient. But in the following concerted piece between Roggero and his friends the chorus has a great deal that is excellent : the re- sponses of the latter were often of beautiful effect. We admired also the truthful expression of many passages in the scene in which Delizia desires to restore the ring. This, though an extensive and complicated piece of music, has an interest which fixes the attention. A symphony in the mournful key of F sharp minor ushers in the conventual business of the third act : and here Ricci shows that he does not belong to any great instrumental school. His orchestral effects in accompanying the voice are often novel and excellent, but we should almost doubt his ability to produce a good overture. Delizia and her father part amidst much pathetic and beautiful music. The prayer " 0 pietoso Signor," with its accompaniment of soft muted violins, is of this character. A tender air of Corrado, " Io l'amava sulla terra," a conventual chorus in the distance in F major, " Nella pace," and the final duet between Delizia and Roggero, are worthy of especial attention. In all these pieces, individuality of style and genuine feeling are preeminently re- markable.
The costumes and scenery were in excellent taste ; and the whole
work seemed to give much satisfaction to an audience unusually dis- criminating in the selection of the best things. Objection was occa- sionally directed at the failures of FAVANTI ; who has now had a long trial, and, it must be confessed on all hands, is out of her place among musicians.
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