MANTE CATALANE,

"

A.

THE LONDON AND PARIS

LADIES' MAGAZINE OF FASHION,

POLITE LITERATURE, ET C.

HER MAJESTY'S THEATRE.

EW OPERA of "LA TEMPESTA."eat work, which has for so lengthened d occupied the thoughts and excited osity and interest of the entire musical has at last been produced with triit success. Indeed, we doubt whether ent of any previous new opera has so conscientious and profound a senEre we enter upon an analysis of its merits, poetically and musically, we ad to award all praise for the thought tically illustrating the most marvellous at had even emanated from the golden f our own Shakspere. To secure a adaptation to the desired purpose, the genius of the prolific Scribe was sucsought, and to wed to the "winged of the poesy musical interpretation monious intelligence, the powers of it French composer, M. Halévy, were ely secured. With what happy result irable combination has been realized, t perfect success of the first night conthe truest proof.

JULY, MDCCCL.

priate, that we are reminded of the fact that M. Halévy originally composed ballets. The notion of making Ariel a personage not of words, but of gesture, was very judicious on the part of M. Scribe, when he had in view so exquisite a pantomimist as Carlotta Grisi to realize the imaginings of Shakspere. She is thoroughly the delicate, the intelligent Ariel, affectionate in nature, rejoicing in a deed of benevolence, and sharp in apprehension beyond the level of mortality.

The canzone, sung by Madlle. Parodi in the character of Steffano, with a chorus of sailors, has every chance of being a leading favourite with the public. It is nightly encored, and the spirit with which it is sung by Madile. Parodi, and the dance, admirably wild, of the sailors, make it one of the chief features of the opera.

operatic purpose, have been made with a just,
and, therefore, a true poetical feeling. M.
Scribe's book is perfect for its purpose, for all
the characters are unchanged-while the new
incidents are as picturesque in conception as
they are perfect in application. The thought
of vitalizing the witch, Sycorax, was peculiarly
happy, as serving still further to develop the
earthy nature of Caliban, his filial ingratitude,
and his brutal self-love. The incident of the
talismanic flowers serves also to strengthen the
character of Miranda-for their use in her
hands affords a felicitous opportunity for the
display of the decision and heroism which she
has inherited from her kingly father, Prospero.
The seizing the flowers from the besotted
Caliban, and fixing in immobility the group of
mariners in the midst of their drunken orgie,
is a masterpiece of dramatic effect. Verbal
description is vain to depict the excitement, the
picturesque movement, the absorbing interest
effected by this truly wonderful fusion of the
powers of the poet, the dramatist, the musician,
the painter, and the actors. And amidst this
maddened scene of the rescued sailors, and the
drunken elation of the savage, stands apart the
figure of Miranda, as some bright saint elevated
in her purity, and saved from pollution by the
potency of her virtue, and the sanctity of her
woman-hood. The last act is admirable in The scenery of Mr. Marshall adds to the
every respect, and the final scene is unequalled imposing character of this remarkable work.
in splendour, and appropriateness. Halévy's The view on the sea-coast, with which the
music will place him upon an equal elevation second act terminates, is an excellent specimen
with the greatest masters of lyrical composition of scenic art.
of any age and time. Our space will not
permit a present notice of the individual
successes of the artists; the composer, the
author, Mr. Balfe, and Mr. Lumley, were all
called for, and the performers were continually
summoned forth to receive the enthusiastic
greetings of the public.

oncurrence of circumstances, various
lost unhoped-for, are strange as they
en fortunate; for assuredly at no ante-
od in the chronicles of the lyric stage
ich performers as Lablache, Coletti,
le, Madame Sontag, and Carlotta Grisi,
ced in such felicitous antagonism. It
as though each separate creation of
ird of all time" had found in them its
and physical identity. The mighty
the large intellect, and the massive
f Lablache, appeared as if for the first
y had centred in the monster Caliban;
fected beauty, simplicity of action, fresh
d-like voice of Sontag in the charming
on of Miranda; the sonorous tones
al dignity of Coletti as the exiled mo-
the infantile and playful faëriesque ac-
Carlotta Grisi-that "creature of the
s finely mingled ;" and the youthful
f Baucarde, formed a union of such
I diverse qualities, as was hardly to be
plated for the embodiment of a work
ing such manifold illustrators as did
ad opera of "LA TEMPESTA."
Scribe has approached his task with a
erence and instinctive appreciation for
final play. The poetic feeling and the In fitting the peculiarities of Madame Son-
ic consistency have been held intact. tag, M. Halévy has been remarkably happy.
ssions, the motives, the inner meaning Her brilliant and exquisitely correct style of
kspere have remained sacred. The singing was never more effectually brought
of pseudo-improvement has tempted out than in her first cavatina, and in the va-
wrong. There is no thought in La riations" of her finale, both of which have been
sta unwarranted by the poet's text. encored. The ballet music with which the

The performers, with each repetition of the
opera increase in smoothness, and the audience
in a disposition to appreciate.

Lablache's Caliban remains the central figure of the whole. His entrance, with the wily caution of some half-timid half-ferocious animal, was hailed with universal applause, and the drunkenness into which he so naturally rises elevated every hearer into corresponding hilarity. The grandeur which Lablache infuses into the character of Caliban is not the least of his merits. In his feelings, in his malice, he is below humanity, but he still looks the lawful monarch of the isle.

The care with which "La Tempesta" has been put on the stage deserves the highest commendation. Not only are the costumes exceedingly beautiful, but the costly garb of the mortal characters is well contrasted with the ethereal splendour of the preternatural beings. The dresses of the attendant spirits, consisting of a thin gauze over skirts of silver tissue, produce a novel and particularly fairy-like effect.

THE SLAVE'S DREAM.

BY LONGFELLOW.

BESIDE the ungathered rice he lay,
With sickle in his hand;

His breast was bare-his matted hair
Was buried in the sand.

Again, in the mist and shadow of sleep,
He saw his native land.

Wide through the landscape of his dreams,
The lordly Niger flowed;
Beneath the palm trees on the plain
Once more a king he strode;
And heard the tinkling caravans
Descend the mountain road.

He saw once more his dark-eyed queen
Among her children stand;
They clasped his neck, they kissed his cheek,
They held him by the hand!

A tear burst from the sleeper's lids
And fell upon the sand.

And then with a furious speed he rode
Along the Niger's bank;

His bridle-reigns were golden chains,
And, with a martial clank,

At each leap he could feel his scabbard of steel