THE THEATRES.
The great interest excited this week by the appearance of two young English singers, who, though not quite new to the public, may yet be re- garded as debutante on the stage, is another disproof of the alleged indiffer- ence in this country to the claims of "native talent." We allude to Mr. Charles Braham and Mr. Sims Reeves. The former appeared at the Prin- cess's on Monday, in Leoline, a newly-imported opera by M. Flotow; the latter at Covent Garden on Wednesday, in the Sonnambula. Both were welcomed by crowded audiences, and their successful exertions were libe- rally rewarded by cordial and even enthusiastic applause. Mr. Charles Brabam, we need scarcely say, is the son of the illustrious veteran, who, after a career of unexampled length and brilliancy, has re- tired, full of years and honour, into the quiet of private life. Mr. Charles Braham sang for a few seasons at the concerts given by his father before his retirement; but for several years he has not appeared before the public, being engaged, doubtless, in the study of his art. The opera chosen for his debilt was not happily chosen. It is an English version of a piece called L'Ame en- Peine, originally produced at Paris with only moderate success. The author is a young composer, who gained in Germany a sud- den reputation, which, judging from the quality of his two operas per-
formed in this country, Strada& and this Leoline, he has not sufficient power to maintain. Timid and feeble correctness is the characteristic of his music. There is nothing to offend, and nothing to strike or delight. He does his work in a musician-like manlier; and the best parts of it are his orchestral accompaniments and choral harmonies. Hence, no doubt, the favour he gained in Germany, the land of harmony, where part-writing and scoring are valued in more than their due proportion to originality and variety of melody. The libretto is taken from one of the fancifal and somewhat childish popular legends so rife in the wilder parts of Germany, and so suggestive to the tale-writers and dramatists of that country. It is founded on the belief that the ghosts of unmarried damsels are allowed on one day in the year to revisit the glimpses of the moon, and to make them- selves seen by the lovers who have been faithful to their memory, while they remain invisible to those who have forgotten them. The idea is simi- lar to that of the famous ballet of Giselle, but not so well worked out. The female ghost in Leoline is a very prosaic and commonplace personage, and is not turned to the slightest account in the production of striking effects or an interesting story.
Such a piece WAS necessarily unfavourable to Mr. Braham's debftt. The principal character, which he performed, Count Something-or-other,
can never be anything but a mere walking gentleman, in the hands of the bast actor in the world. Perhaps, however, this was as well after all; for Mr. Braham, even setting aside his excessive awkwardness arising from embarrassment, did not appear to have the slightest idea of acting. He hurried through the few sentences he had to speak, very much like a schoolboy repeating his lesson; though, when he came to sing, his decla- mation was distinct and emphatic. In this he resembled his great father, whose speaking elocution, even in his best days, was so thick and inarticu- late as to give occasion to Lord Byron's oft-repeated joke about ear:myna:zee. John Braham, however, became something of an actor towards the end of his career; and Charles, with care and study, may become one without waiting so long. As a singer, he reminded us a good deal of his father. He inherits a great deal of his magnificent tenor voice; which flows freely from his chest in a rich and beautiful volume. It is free, too, from any vicious formation—neither nasal (to which his father's had some ten- dency) nor throaty; and his falsetto is well joined to his chest-notes. His style is pure, and entirely free from vulgar ornament; indeed, for M. Flotow's meagre melodies, a little more richness of embellishment would have been desirable. On the whole, this young tenor singer promises not to discredit the honoured name of Braham.
Mr. Sims Reeves is by no means new to the musical stage. He per- formed with success in Italy, and was the chief support of M. Jullien's
Drury Lane concern last season. As a concert-singer' too, he distinguish-
ed himself by the variety of his attainments. Enough was known of him to stimulate, but not to satisfy, curiosity. In appearing as Elvin° in the Sonnambula, he measured himself with the greatest of the Italian singers, and stood the test to which he submitted himself. Mr. Reeves is less indebted to nature than Mr. Charles Braham for the qualities of his voice, but an immense deal has been done for it by art. His Italian studies have given him that smoothness of execution—that "linked sweetness "—conveyed by the term portamento, which charac- terizes the Italian school. His tones are exceedingly pure, and, through- out the greater part of his compass, rich and mellow; but he frequently stretches his voice beyond its real extent, and produces harsh,
unpleasing sounds, by forcing it beyond its powers. In florid passages he uses the falsetto so much, and carries it to such altitudes' as to have an effeminate effect; and the transition from the chest to the head voice, and vice versa, is often so violent as to give the impression of two different singers. He has some habits which require correction, especially the very common one of dwelling too long and too loudly on the penultimate note of a close; which always has the air of a vulgar display. As an actor, he showed both intelligence and energy; taking great care never to lose sight of the character and situation, even when not immediately occupied. His reading of the character was good, and less nnpleasing than that of some of the most eminent performers of the part. He is somewhat deficient in quietness and repose; and his being accustomed to the conventionalities of the Italian stage makes his action sometimes appear artificial and over- strained; but if he devote himself to the English stage, this fault will na- turally disappear. Taken for all in all, Mr. Reeves is a performer of a high class, who has in all probability a brilliant career before him.
Kiss Romer was the Amina. She is too mature in appearance, and for- cible in manner, to be a good representative of the delicate young girl; and she is not happy in singing light and graceful Italian music. She exerted herself, however, with her usual earnestness, and completely wore out her Voice with her exertions before the end of the opera. The piece, on the whole, was well got up and performed.
We must not omit to mention the MAU of Miss Rafter, who appeared at the Princess's along with Mr. C. Braham in Leoline. She is a pretty girl, with a pretty voice, and a pretty manner. She pleased greatly, and will become a very useful performer.
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