tual agitation of her feelings and the conviction is strong that art is exhausted in the masterly delineation of nature. Her voice is Soprano, differing from Malibran's, which is mezzo soprano, undoubtedly the best for pourtraying deep feeling. Her scale is good, although not comparable to Ferons, yet what she does she does well. and her great forte is that she attempts nothing wherein there is a probability of a failure. There is no exertion—every act is performed with ease and great truth.—There is never any over-excitement, nor does the sublimity of her conceptions ever degenerate into extravagance or bombast. She irresistibly carries the feelings into the very situation she endeavours to pourtray; the admiration she produces is but in the great perfection of the representation. Her ornament is sparing but always well applied,—her shake good, yet rarely employed,—her roulades are thrown off with ease—her her appogiaturas strong and true. Her ascending chromatique is powerful and correct, but there is a defect in the descending which she skillfully conceals in sotto voce. She made her debut in Elisa E'Claudio, and her success was complete, although her triumph was reserved for Il Pirata. Montresor, the tenor is good, but we think his voice defective, yet he has been educated in so excellent a school that physical disabilities disappear before great cultivation. The roles of Ramiso, Cudio, and Guallerio are too high for him to execute with ease, or do himself justice. They impose upon him a constant exertion, which fatigues him, at the same time he loses expression. He executes the music in Il Pirata well, but his acting is far better. It is not overstrained but natural throughout. He is the very Antipodes of the Physical School—there is no rant—no extravagance—every look, feature, and attitude correspond—he is a most accomplished actor, and we think some of our pseudo-tragedians should avail themselves of this present advantage. It would not be fair to institute a comparison between him and Garcia, the great Maestro of Europe; they belong to different schools. His singing is not florid, nor does it seek exuberant ornament—it is without pretension, but it is full of expression, and is often electric. His last aria in Il Pirata is a executed with great taste and precission. He never sings false and his recitative is given with great effect. His merit consists in great accuracy, correct delineation, happy conception, and finished execution, and although he is obliged to avail himself of the falsetto, if is interwoven so accurately with his voce di petto as never to be disagreeable, or destroy the charming of his scale. Fornasari, the Bas Taille is a wonder. His figure is tall and commanding, and his face one of great beauty. Every physical advantage, however, disappears before a voice of extraordinary compass, depth, and execution. The bass of Angrasani was grand, yet it was stiff, and wanted that flexibility which so pre-eminently destinguishes Fornasaris. It is most extraordinary that his fame never reached this country. He must be a formidable rival of Lallache and Zuchelli, and will, no doubt, when more years pass over his head, be at the very summit of his profession. He has appeared in Cenerentola, L'Italiani in Algieri, and il Pirata; in all of which he acquitted himself with increasing reputation. His duet with Orlandi, Un Segretto, was admirably given. He sustained entirely the Italiani, and although most indifferently supported, gave great power and effect to his part. He is the lion of the Opera, and wherever he goes will always command attention and applause. Nature has been most bountiful to him, and if he does not throw away the rich endowments he possesses, he will, no doubt, grace a very important page on the history of the Italian Opera. He is still very young, and if applause do not stop his industry, he will soon be without a rival.
Signor Orlandi is the most perfect comic actor that ever trod upon our boards. Nothing can exceed his Magnifieo and Inatazi in Cenerentola and Elisa E Claudio. There is no buffoonery at any time, and if he be a little extravagant, it seldom attracts attention with disapprobation. His voice is barratone, clear, and flexible, and always in tune, especially in recitative. In the mad scene with Pedrotti in Elisa E Claudio, he executes his part of the duet with great clearness and skill. He is an acquisition, and vastly surpasses the mummery of Rosich.
The operas which have been given are Cenerentola, Italiani in Algeri, Eliza E Claudio, and Il Pirata. The two first were failures for the want of a Primma Donna—the last two were eminently successful, and we believe, productive to the manager. The chorusses are well got up by Salvioni, and last though not least, Bagioli the director has given two delicious morceaux in Elisa E Claudio, and Il Pirata, which place his reputation upon high ground.
Our limits do not permit our giving an analysis of the Operas we have mentioned, which must, therefore, with such strictures as we may think of advantage to the musical taste of our city, be deferred to future numbers of the Magazine.
