THE LYCEUM.
WE regret to cee that Manager ARNOLD is returning to his former practices, and famishing the English opera from his theatre. We Moped that the experience of last season would have taught him wis- dom, if not justice; and that he would have learned that it was politic as well as generous to foster that talent which had carried him tri- umphantly through his first year. His patent was originally obtained upon the plea that one theatre, at least, ought to be appropriated to the production of English operas, properly so called—that such was the case in the German capitals, as well as in Paris, and that so it ought to be in London. The justice of the plea was admitted, and ARNOLD obtained his licence. The opening of his theatre was, however, but a signal for the exclusion of all English dramatic composers, and it was exclusively appropriated to the production of foreign operas. The pieces in which the assistance of native composers was required, were farces or melodrames, in which just as much music was inserted as served to keep within the letter of his licence. The operas were fo- reign.
In vain did one composer after another endeavour to obtain access to a theatre in which all had been taught to expect at least the chance of earning popularity and profit. All were denied. The Manager had ob- tained his patent, and his doors were closed against the very men whose interests he had affected to regard as identified with his own. Many leading members of the profession, especially such as were more imme- diately connected with dramatic music, feeling indignant at being thus tricked and proscribed, took some steps towards the erection of a theatre which should be, not nominally, but really, an English opera- house. Whether this movement on the part of the profession had any influence on ARNOLD'S plans regarding his new theatre, can only be matter of conjecture; the certainty is, that he changed his scheme of tactics—publicly and privately professed his determination as well as his wish to abide by the spirit of his patent, and to afford to native talent a fair trial and ample encouragement. He opened with Nourfahad ; a piece written by himself, and singularly unfitted for the employment of music ; the composer ( Mr. E. LODER) was a young man who bad never written an opera : nevertheless it succeeded, even under disadvantages so formidable. BA RNETT'S Mountain Sylph followed ; an opera replete with genius, and well deserving the brilliant success which attended it. TnomsoN's Hermann was the third successful opera of the season ; which, though produced in a way disgraceful to the Manager, afforded additional proof of the existence of sufficient talent in dramatic compo- sition to sustain our musical reputation, and to provide for this theatre a succession of classical and popular operas. Will it be credited, that not one of these writers has received from the Manager a shilling for his labours ?—that BARNETT especially, whose opera was performed at least sixty nights, has shared no part of those receipts by which ARNOLD'S treasury was enriched ? Such, however, we know to be the fact.
The success of these operas appears to have been regarded by the Manager with discontent and jealousy,—for they succeeded, not in con- sequence, but in spite of his endeavours ; and he seemed determined to contrive a plausible pretext for again discarding English composers, and reverting to his former plan of rendering his theatre a receptacle for foreign Operas only. Upon no other principle can we account for his employing one of the Tenterden Street young gentlemen to furnish the piece that was to open his second season. He must have anticipated the fate of Sadak arid Kalasrade ; which was, probably, such as he designed as well as wished. His conduct, at any rate, justifies this surmise.
The Somnambulist has, unluckily, awaked from her trance, and is now walking her nightly rounds at three of our theatres. The history of the revival of so dull an opera, is briefly this. When MALIBRAN was engaged by Manager BUNN two years since, having but a mean opinion of the audience before whom she was to appear, and a similar one of BELLINI'S opera, she fixed upon it for her debut. The music in itself was nothing; but there was a humdrum monotonous accompa- niment, upon which she could construct any thing she pleased—she could make it simple, florid, or vulgar, as best suited the taste of those who had to listen to it. She did so; and certainly added to her repu- tation for discernment, if not to her musical fame. Amina is a pretty acting part, and has been a favourite with ladies, both Italian and Eng- lish, ever since the introduction of the original melodramatic version of the story : and MALIBRAN calculated, that those who could not under- stand the excellence of her singing, would be interested by her acting. She has chosen to commence her present engagement at Covent Gar- den with La Sonnambula; the announcement of which was a signal for ARNOLD to produce the same piece at the Lyceum, and for LAPORTE to bring it out at the Opera-house. And thus it is that we have three rival Sleep-walkers.
BELLINI'S opera has one merit—it is always new to us. We have often been compelled to hear it through, but never have been able to remember more than the air in the first act. All the rest is common property ; a sort of compilation, which any person in the habit of fre- quenting the Italian Opera might easily make without an atom of in- vention. How the singers contrive to recollect their parts from night to night, is a mystery we are unable to solve. We are writing an hour after having heard it, and we can remember nothing—not a single phrase besides "Soars it sen'."
Miss ROMER is the Somnambulist of the English Opera-house ; concerning whom Mr. ARNOLD thus writes at the head of his playbills, those veracious commentaries on the progress of the drama- " The whole effect of the performance of La Sonnambula on Monday, was absolutely electrical on one of the most crowded audiences of the season.Fully
i acknowledging the admirable acting and singing of all parties engaged in this opera, the proprietor feels himself called on by a principle of justice to announce the splendid triumph of that favourite English artist, Miss E. limner."
Let puffers despair, and critics be silent, after such an explosion as this. But will our readers be content to accept the Manager's paper without our endorsement ? We fear not ; and we venture to hint, that it may not be expedient to draw quite so largely on public credulity. The sober truth is, that the opera is, as a whole, better got up at the Lyceum than at Covent Garden, inasmuch as Witsosi, BLAND, and Miss HORTON, excel their rivals of that theatre—why GIUBILEI was preferred to PHILLIPS, it is for the Manager to explain. Miss ROMER performs Amino quite as well as the part de. serves. She has a good flow of animal spirits, and enters con actors into the character. Her acting is interesting when natural, but sometimes outrageously absurd. WILSON makes the most of his character, and contrives to invest some very feeble music with considerable interest.
Previous page
