THE LATEST MUSICAL GOSSIP OF THE OPERA-HOUSE.
LABLACHE, the celebrated primo basso cantante of the Italian Opera in Vienna, 'will, we are informed, be among the fir3t-fruits of the new and spirited direction of our Opera-house which the public is to enjoy. If this performer does not make a great sensation in London, we shall be out in our judgment. It is impossible to decide whether the singer or actor predominates in him. So highly, indeed, are his musical qualifications in esteem among the Germans, that the best composers in Vienna have dedicated to him some of their choicest productions for the chamber,—a compliment which is seldom conferred upon a dramatic singer. In person LABLACHE is as remarkable as in his professional endowments. He has the build of a Hercules: tall, with a broad chest and huge limbs, an intelligent and handsome cast of features susceptible of every variety of expression,—a more commanding figure, we should think, was never seen on any stage. When we say that LABLACHE is an actor, it is to be understood that he is equally at his ease and equally clever in the serious and the gay. One of his best parts is that of Lberto, in I3AER'S celebrated Opera of Agnese ; —which the reader probably knows is the same in which AMBROGETTI formerly exhibited some very powerful acting. Uberto is a father, who loses his reason after the flight of his daughter: this affecting incident is deeply felt by the composer ; and his first actabounds with beauties, particularly in the accompanied recitative which describes the fancies of (Iberia in the madhouse. The second act is comic' at least the conduct of the frightened master of the bedlam, when left alone with his patient, makes you laugh in spite of your better feelings. In this charac ter, LABLACHE not only acts, but sings finely ; AMBROGETTI acted finely, but did not sing. The basses of the Opera-house have, during our memory, ever had some damning fault as a foil to their best excellence. The beautiful voice of ANGRISANI was lost for want of knowledge in the science, and dramatic capabilities. He was eminent only as Masetto and the Ghost in Don Giovanni; but the sepulchral tone in which he made the response to the supper-invitation, was a solitary piece of genius, and the recollection of it makes us almost shudder as we write. AMBROGETTI was OM into whom singing was drilled late in life, to match a talent for acting which was discovered by accidei.i. Nature had not assisted him with a correct ear, or good quality of voice ; and to the last he never sang in time. We believe the truth of the following relation may be relied on. AMBROGETTI was indebted to his wife for what he knew of music. She was a celebrated singer ; and on the occasion of an opera being brought forward abroad, where one little part was vacant, she persuaded her husband to attempt it. He played with so much spirit that she became his instructress in music. Soon after, Signora AMBROGETTI, by a severe illness, was obliged to relinquish the stage altogether ; but she had still the satisfaction of witnessing her husband's splendid success. Asunaooarri was, as he himself said on a memorable trial in which the whole of the Opera-singers gave evidence, "Don Giovanni everywhere." The character almost interfered with his identity. But the picturesque attitudes and the triumphartt libertinism which the public rightly admired in him, caused an immense deal of bad singing to be overlooked. Not having seen LAnawcue in this part, we cannot draw a comparison bet wen him and AMBROGETTI ; but from what we have seen and beard, we will venture to say that he would play it as well and sing it finer. That gay deceiver Don Juan requires youth, good looks, elegant manners, a persuasive tongue, and above all animal spirits, and a certain corporeal robustness, which should float him merrily over a whole tide of crime. These are the identical qualifications of the Neapolitan LABLACHE ; and they have this slight makeweight, that he can sing the part, which has never yet been sung in England. Zueitama," the admirable," as he is termed by some of the rapturous critics of the Morning Papers, was a lamentable spectacle in Don Giovanni. Add to a total want of grace and ease, that he wholly misconceived MoZART'S meaning in the airs, and interpolated ugly ornaments in every bar. It is surprising that a large portion of vulgar assurance, with a voice little aided by study, and unassisted by nature, should put a man in possession of an excellent income. To pay such people as TORRI, PORTO, DEVILLE, above the rate of chorus • singers, is to otii:r a premium to ignorance. LABLACHE will give us something for our money. While we are upon this subject, we should be glad to hear that BENINCASA, of the Italian Opera-house in Dresden, was engaged in London. He is pronounced by good judges to be an excellent buffo, and a thorough musician.
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