thrutrro out 3iluoir.
.Don Giovanni was revived at Covent Garden on Thursday. We say revived ; for, although this opera has not been altogether dead to our stage, yet for some years past it has existed only in a state of suspended animation. Its life and soul departed with Tamburini, and have re- turned with him. For nearly half a century we have had but one Don Giovanni—one representative of that gallant, gay, graceful, reckless, heartless Spanish libertine. Tamburines picture has been the only true thing ; all the others have been faint shadows or coarse caricatures, even though the painters have been artists of merit and eminence. His only legitimate predecessor was Ambrogetti ; but that once-celebrated per- former was not his equal. Ambrogetti was a great actor, but his vocal powers were not first-rate. Tamburini, in his best days, was one of the greatest singers as well as actors of his time. After a total retirement of three years from the stage, he has returned to it as fine an actor as ever, but with small remains of his once superb voice. Yet the effect of his performance was comparatively little impaired ; as in the case of Ambrogetti, the defects of his singing were lost in the brilliancy of his action. The attraction of his name, in conjunction with Mozart's chef- d'couvre, brought an immense audience; and he was received with all his old favour.
In other respects, theperformance was mediocre. Mademoiselle Bosio was a charming Zerlina ; but none of the other parts were satisfactorily sustain- ed. Mademoiselle Jenny Nay—reputed the best Donna Anna on the modern German stage—was ill, and unable to appear ; and her place was filled, on short notice, by Madame Rudersdorff, who got through it as well as could be expected under such unfavourable circumstances. Mademoiselle Maui has neither voice nor energy for the arduous character of Elvira ; and Lablache as Leporello indulged more than ever in overcharged buf- foonery. The raise en scene lacked care and completeness.
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