Opera House Opening
London: King’s Theatre; Tickets: Stalls 5s., Gallery 3s.
✗Programme
| Overture, Semiramide | Rossini | |
| Aria, ‘Ah ! che forse’ | Mrs. Seguin; Horn Accompaniment: Mr. Platt | Bonfichi |
| From Robert le diable: Cavatina, ‘Idole de ma vie’ | Mme Stockhausen | Cherubini |
| Septet for Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet and Double Bass [in E flat major] | Messrs. Nicholson, Cooke, Willman, Mackintosh, Platt, Harper, Howell | Neukomm |
| Aria | Mme Stockhausen | |
| Piano Fantasia, The Recollections of Ireland, with Orchestral Accompaniments | Mr. Moscheles | Moscheles |
| From Tancredi: First Act | Mlle Brambilla, Signora Galvani, Signors Curioni, Giubilei | Rossini |
| National Hymn, ‘God save the King’ | ||
| Ballet, Nina, ou La Folle par Amour | Deshayes | |
| Principal Vocalists: Mlle Brambilla, Mme Stockhausen, Mrs. Seguin, Signora Galvani; Signors Curioni, Giubilei | ||
| Principal Dancers: Mlles Adele, Calara, Chavigny, Varin; Messieurs Appiani, Coulon, Fumolle, Perrot | ||
| Principal Instrumentalists: Messrs. Cooke, Harper, Howell, Mackintosh, Moscheles, Nicholson, Platt, Willman | ||
| Leader: Mr. Nicholas Mori; Conductor: Signor Michael Costa | ||
———————————
Charlotte: ‚Am 21. März musste Moscheles dem Director der italienischen Oper, Laporte helfen, sein Haus zu eröffnen. Nicht, dass er plötzlich italienischer Sänger geworden wäre. Die Primadonna, Madame Trinklohr, hatte in der elften Stunde die Masern bekommen; so setzte man mit dem Rest, der um diese Jahreszeit immer noch beschränkten Truppe ein Concert zusammen, und erhöhte seinen Reiz durch ein hinterher gegebenes Ballet‘.
AML I, 294.
Advertisements
The Atlas (March 15, 1835): 165.
Extensive preparations are understood to be making for the opening of the Italian Opera next Saturday. The list of names announced, in which, however, we do not place credit, is most promising. It includes Pasta and Grisi, Tamburini and Lablache; and in the ballot Taglioni and the Elslers.
The Observer (March 15, 1835): 2.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this Theatre WILL OPEN for the Season on SATURDAY next, when will be presented Rossini’s Opera Seria, entitled TANCREDI. The principal characters by Madame Fincklohr (from the Theatres Royal Turin and Paris), her first appearance in this country, and Mademoiselle Brambilla (from the Theatres Royal Milan and Paris). Signor Giubilei, and Signor Curioni. After which will be revived (by M. Deshayes) the favourite Ballet of NINA, or LA FOLLE PAR AMOUR. Principal performers and dancers, Mademoiselle Clara, Mademoiselle Chavigly, Mademoiselle Adele, and Mademoiselle Varin; M. Coulon, M. Fremolle, and M. Appiani, (their first appearance in this country), and M. Perrot.
The Band will be composed of the same talent as on former seasons. Conductor M. Costa; Leader, M. Mori.
The Chorus will be numerous and complete, under the directions of M. Lejeune.
The following eminent Performers are also engaged, and will shortly appear Mademoiselle Grisi and Madame Pasta, Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Mademoiselle Taglioni.
Applications for Boxes, Stalls, and Tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
Ibid.
KING’S THEATRE.
The official announcement of the opening of this Theatre will be found in another part of our paper, and amongst the professors engaged, it will be observed, are those whose names we gave in our last as forming the “principals” of the company.
It was not until Thursday that the intention of commencing the season last evening was abandoned. It was the found that, in consequence of the continued tempestuous states of the weather, and the disinclination of the foreign artistes to be brave its violence, it would be a matter of impossibility to collect sufficient material to constitute either an opera or a ballet. The partial cessation of the wind has now, however, removed the chief obstacle, and by Tuesday, or Wednesday at latest, at all the parties whose powers will be put into requisition prior to Easter, will have arrived in London. Several of them, with Laporte himself, have already reached the metropolis. Grisi, Pasta, Rubini, Ivanoff, Dinovo, Lablache, and Taglioni, will not be with us until the second or third week in April.
The late period at which the Theatre opens will necessarily curtail the number of nights of performance. The ordinary number was 60, but it is supposed that 45 will now be the utmost extent to which the season can be carried, for by the end of the second week in August scarcely a family of ton but will have quitted town.
The Times (March 16, 1835): 4.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this Theatre WILL OPEN for the Season on Saturday next, when will be performed Rossini’s Opera seria, entitled TANCREDI. The principal characters by Madame Tincklohr (from the Theatres Royal, Turin and Paris, her first appearance in this country), and Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris); Signor Giubilei, and Signor Curioni. After which will be revived, by M. Deshayes, the favourite Ballet of NINA; ou, La Folle par Amour. Principal performers and dancers—Mademoiselle Clara, Mademoiselle Chavigly, Mademoiselle Adele, and Mademoiselle Varin; M. Coulon, M. Fremolle, and M. Appiani (their first appearance in this country), and M. Perot. The band will be composed of the same talent as on former seasons. Conductor, M. Costa. Leader, M. Mori. The chorus will be numerous and complete, under the directions of M. Lejeune. The following eminent performers are also engaged, and will shortly appear:—Mademoiselle Grisi and Madame Pasta, Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Mademoiselle Taglioni. Applications for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
The Morning Chronicle (March 16, 1835): 2.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this THEATRE will OPEN for the season on Saturday next, when will be presented Rossini’s opera scena [sic], entitled TANCREDI. The principal characters by Madame Fincklohr (from the Theatres Royal, Turin and Paris), her first appearance in this country; Mdlle. Brambilla (from the Theatres Royal Milan and Paris); Signor Giubilei, and Signor Curioni.
After which will be revived (by M. Deshayes), the favourite ballet of NINA, or, LA FOLLE PAR AMOUR. Principal performers and dancers, Madlle. Clara, Madlle. Chevigly, Madlle, Adele, and Mdlle. Varin; M. Coulon, M. Fremolli, and M. Appiani (their first appearance in this country), and M. Perrot.
The band will be composed of the same talent as on former seasons. Conductor, M. Costa. Leader, M. Mori.
The chorus will be numerous and complete, under the directions of M. Lejeune.
The following eminent performers are also engaged, and will shortly appear:—Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Madlle. Taglioni.
Applications for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
The Morning Post (March 16, 1835): 2.
THE KING’S THEATRE.
The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this Theatre WILL OPEN for the season on SATURDAY next, when will be performed Rossini’s Opera Seria entitled
TANCREDI.
The principal Characters by Madame Fincklohr (from the Theatres Royal, Turin and Paris, her first appearance in this country) and Mdlle. Brambilla (from the Theatres Royal, Milan and Paris); Signor Giubilei, and Signor Curioni.
After which will be revived the favourite Ballet (by M. Deshayes) of
NINA; or, La Folle par Amour.
Principal Performers and Dancers—Mdlle. Clara, Mdlle. Chavigny, Mdlle. Adele, and Mdlle. Varin; M. Coulon, M. Fremolle, M. Appiani (their first appearance in this country), and M. Perrot.
The Band will be composed of the same talent as on former seasons. Conductor, M. Costa; Leader, Mr. Mori. The Chorus will be numerous and complete under the direction of M. Lejeune.
The following eminent Performers are also engaged, and will shortly appear:—Mdlle. Grisi and Madame Pasta, Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Mdlle. Taglioni.
Application for Boxes, Stalls, and Tickets to be made to Mr. Seguin, Opera House, Haymarket.
The Morning Chronicle (March 17, 1835): 4.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this THEATRE will OPEN for the season on Saturday next, when will be presented Rossini’s opera scena, entitled TANCREDI. The principal characters by Madame Fincklohr (from the Theatres Royal, Turin and Paris), her first appearance in this country; Madlle. Brambilla (from the Theatres Royal Milan and Paris); Signor Giubilei, and Signor Curioni.
After which will be revived (by M. Deshayes), the favourite ballet of NINA, or, LA FOLLE PAR AMOUR. Principal performers and dancers, Madlle. Clara, Madlle. Chevigly, Madlle, Adele, and Mdlle. Varin; M. Coulon, M. Fremolli, and M. Appiani (their first appearance in this country), and M. Perrot.
The band will be composed of the same talent as on former seasons. Conductor, M. Costa. Leader, M. Mori.
The chorus will be numerous and complete, under the direction of M. Lejeune.
The following eminent performers are also engaged, and will shortly appear:—Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Madlle. Taglioni.
Applications for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
The Morning Post (March 17, 1835): 3.
[Same as issued in The Morning Post on March 16]
The Times (March 17, 1835): 4.
[Same as issued in The Times on March 16]
The Courier (March 18, 1835): 2.
THE KING’S THEATRE.
Mr. LAPORTE respectfully begs leave to inform the Nobility, Subscribers to the Opera, and the Public, that this Theatre WILL OPEN for the season on SATURDAY next, March 21, when will be presented Rossini’s Opera Seria, entitled
TANCREDI.
Principal Characters by Madame Fincklohr (from the Theatres Royal, Turin and Paris, her first appearance in this country). Madame Casteli and Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris); Signor Giubilei and Signor Curioni.
After which will be revived the favourite Ballet (by M. Deshayes) of
Ballet of
NINA: ou, La Folle par Amour
Principal Characters and Dancers—Mdlle. Clara, Mdlle. Adele, Mdlle. Chavigny, and Mdlle. Varin; M. Coulon, M. Fumolle, M. Appiani (their first appearances in this country), and M. Perrot.
The Band will be composed of the same talent as on former Seasons. Conductor, M. Costa; Leader, Mr. Mori. The Chorus will be numerous and complete under the direction of M. Lejeune. The following eminent Performers are also engaged and will shortly appear:—For the Opera, Mdlle. Grisi and Madame Pasta; Signor Rubini, M. Ivanoff, Signor Lablache, Signor Di Novo, &c. &c. For the Ballet, Mdlle. Taglioni, &c. &c.
Mr. Laporte begs to add, that he is in treaty with Signor Tenchini and Mesdemoiselles Elssler, whose talents he entertains no doubt of adding to those above mentioned.
The Subscribers to the Boxes and Stalls are entreated to intimate their wishes respecting them to Mr. Seguin. Opera Office Haymarket. Subscriptions to be paid at the Office of the Theatres; or at Sir James Esdaile’s and Co., 21, Lombard-street.
The Morning Chronicle (March 18, 1835): 4.
[Same as issued in The Morning Chronicle on March 17]
The Morning Post (March 18, 1835): 3.
[Same as issued in The Morning Post on March 16]
The Times (March 18, 1835): 5.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this Theatre WILL OPEN for the Season on Saturday next, when will be performed Rossini’s Opera seria, entitled TANCREDI. The principal characters by Madame Tincklohr (from the Theatres Royal Turin and Paris, her first appearance in this country), and Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris); Signor Giubilei, and Signor Curioni. After which will be revived, by M. Deshayes, the favourite Ballet of NINA; ou, La Folle par Amour. Principal performers and dancers—Mademoiselle Clara, Mademoiselle Chavigly, Mademoiselle Adele, and Mademoiselle Varin; M. Coulon, M. Fremolle, and M. Appiani (their first appearance in this country), and M. Perrot. The band will be composed of the same talent as on former seasons. Conductor, M. Costa. Leader, M. Mori. The chorus will be numerous and complete, under the directions of M. Lejeune. The following eminent performers are also engaged, and will shortly appear:—Mademoiselle Grisi and Madame Pasta, Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Mademoiselle Taglioni. Applications for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
The Morning Chronicle (March 19, 1835): 3.
[Same as issued in The Morning Chronicle on March 17]
The Morning Post (March 19, 1835): 4.
[Same as issued in The Morning Post on March 16]
The Times (March 19, 1835): 4.
[Same as issued in The Times on March 18]
The Courier (March 20, 1835): 2.
THE KING’S THEATRE.
This Theatre WILL OPEN for the Season TO-MORROW EVENING, when will be presented Rossini’s Opera Seria, entitled
TANCREDI.
Principal Characters by Madame Fincklohr (from the Theatres Royal Turin and Paris, her first appearance in this country). Madame Castelli and Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris); Signor Giubilei and Signor Curioni.
After which will be revived the favourite Ballet (by M. Deshayes) the favourite
Ballet of
NINA: ou, La Folle par Amour
TANCREDI.
Principal Characters and Dancers—Mdlle. Clara, Mdlle. Adele, Mdlle Chavigny, and Mdlle. Varin; M. Coulon, M. Fumolle, M. Appiani (their first appearance in this country), and M. Perrot.
Applications for Boxes, Stalls, and Tickets, to be made to Mr. Seguin, Opera-house, Haymarket.
The Morning Chronicle (March 20, 1835): 3.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this THEATRE will OPEN for the season To-morrow Evening, when will be presented Rossini’s Opera seria, entitled TANCREDI. [the rest is the same as issued in The Morning Chronicle on March 17]
The Morning Post (March 20, 1835): 2.
THE KING’S THEATRE.
The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this Theatre WILL OPEN for the season on TO-MORROW EVENING, when will be performed Rossini’s Opera Seria entitled
[the rest is the same as issued in The Morning Post on March 16]
The Times (March 20, 1835): 2.
THE KING’S THEATRE.—The Nobility, Subscribers to the Opera, and the Public, are respectfully informed that this THEATRE WILL OPEN for the Season on Saturday next, when will be performed Rossini’s Opera seria, entitled TANCREDI. [the rest is the same as issued in The Times on March 18]
The Courier (March 21, 1835): 4.
THE KING’S THEATRE.
Mr. LAPORTE respectfully begs leave to announce the OPENING of this Theatre for THIS EVENING, , and to lay before the Nobility, Subscribers to the Opera, and the Public the following certificate:—
“This is to certify that on visiting Madame Tincklohr to-day we found her suffering from the measles, and totally unable to appear before the public.—March 20. “J. S. GASKOIN.
“S. NEGRI.”
In consequence of which, and to prevent a total disappointment, the performance will consist of the first act of Rossini’s Opera Seria, entitled
TANCREDI.
The Principal Characters by Mademoiselle Brambilla (from the Theatres Royal Milan and Paris), and Madame Galvani, who, at a very short notice, has undertaken the part of Amenaide; Signor Giubilei and Signor Curioni
After which a MUSICAL MELANGE.
To conclude with NINA, or La Folle par Amour.
Principal Characters and Dancers—Madlle. Clara, Madlle. Adele, Mdlle. Chavigny, Mdlle. Varin; M. Coulon, M. Fumolle, M. Appiani (their first appearance in this country), and M. Perrot.
Application for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
The Morning Chronicle (March 21, 1835): 4.
THE KING’S THEATRE.— Mr. LAPORTE respectfully begs leave to announce the OPENING of this Theatre for This Evening, March 21, and to lay before the Nobility, Subscribers to the Opera, and the Public the following Certificate:—
“This is to certify that on visiting Madame Fincklohr to-day we found her suffering from the measles, and totally unable to appear before the Public. (Signed) “J. S. GASKOIN.
March 20. “S. NEGRI.”
In consequence of which, and to prevent a total disappointment, the performance will consist of the first act of Rossini’s opera seria TANCREDI. The principal characters by Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris), and Madame Galvani, who, at a very short notice, has undertaken the part of Ameraide, her first appearance at this Theatre; Signor Giubelei and Signor Curioni; and a MUSICAL MELANGE. The particulars of which will be expressed in the small bills.
After which the revived (by M. Deshayes) favourite ballet of NINA, or LA FOLLE PAR AMOUR. Principal performers and dancers, Madlle. Clara, Madlle. Chevigny, Madlle. Adele, and Madlle. Varin; M. Coulon, M. Fremolli, M. Appiani (their first appearance in this country), and M. Perrot.
The band will be composed of the same talent as on former seasons. Conductor, M. Costa. Leader, M. Mori.
The chorus will be numerous and complete, under the direction of M. Lejeune.
The following eminent performers are also engaged, and will shortly appear:—Signor Rubini, M. Ivanoff, Signor Di Novo, Signor Lablache, and Madlle. Taglioni.
Application for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
The Morning Post (March 21, 1835): 3.
THE KING’S THEATRE.
Mr. LAPORTE respectfully begs leave to announce the OPENING of this Theatre for THIS EVENING (Saturday, March 21), and to lay before the Nobility, Subscribers to the Opera, and the Public the following Certificate:—
“This is to certify that on visiting Madame Fincklohr to-day we found her suffering from the Measels [sic], and totally unable to appear before the Public. (Signed) “J. S. GASKOIN.
“March 20. “S. NEGRI.”
In consequence of which, and to prevent a total disappointment, the Performance will consist of the First Act of Rossini’s Opera Seria, TANCREDI.
The principal Characters by Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris), and Madame Galvani, who, at a very short notice, has undertaken the part of Amenaide (her first appearance at this Theatre); Signor Giubelei and Signor Curioni.
Also will be produced a Musical Melange, the particulars of which will be expressed in the small Bills.
To conclude with the revived Ballet of
NINA; ou, La Folle par Amour.
Principal Performers and Dancers—Mdlle. Clara, Mdlle. Chavigny, Mdlle. Adele, and Mdlle. Varin; M. Coulon, M. Fremolle, M. Appiani (their first appearance in this country), and M. Perrot.
The Band will be composed of the same talent as on former seasons. Conductor, M. Costa; Leader, Mr. Mori. The Chorus will be numerous and complete under the direction of M. Lejeune.
The following eminent Performers are also engaged, and wil. [sic] shortly appear:—Mdlle. Grisi and Madame Pasta, Signor Rubinil [sic] M. Ivanoff, Signor Di Novo, Signor Lablache, and Mdlle. Taglioni.
Application for Boxes, Stalls, and Tickets to be made to Mr. Seguin, Opera House, Haymarket.
The Times (March 21, 1835): 5.
THE KING’S THEATRE.
Mr. LAPORTE respectfully begs leave to announce the OPENING of this Theatre for THIS EVENING, , and to lay before the Nobility, Subscribers to the Opera, and the Public the following certificate:—
“This is to certify that on visiting Madame Tincklohr to-day we found her suffering from the measles, and totally unable to appear before the public.—March 20. “J. S. GASKOIN.
“S. NEGRI.”
In consequence of which, and to prevent a total disappointment, the performance will consist of the first act of Rossini’s Opera Seria, entitled TANCREDI. The principal characters by Mademoiselle Brambilla (from the Theatres Royal, Milan and Paris), and Madame Galvani, who, at a very short notice, has undertaken the part of Amenaide (her 1st appearance in this country); Signor Giubilei and Signor Curioni. And a MUSICAL MELANGE, the particulars of which will be expressed in the small bills. To conclude with the revival, by M. Deshayes, of the favourite Ballet of Nina; ou, La Folle par Amour. Principal performers and dancers—Mademoiselle Vartin; M. Coulon, M Fremoille, and M. Appiani (their first appearance in this country), and M. Perrot. The band will be composed of the same talent as on former seasons. Conductor , M. Costa, Leader Mr. Mori. The chorus will be numerous and complete under the direction of M. Lejeune. The following eminent performers are also engaged and will shortly appear:—Mademoiselle Grisi and Madame Pasta, Signor Rubini, M. Ivanoff, Signor Di Novo , Signor Lablache and Mademoiselle Taglioni. Application for boxes, stalls, and tickets to be made to Mr. Seguin, Opera-office, Haymarket.
Principal Characters and Dancers—Madlle. Clara, Madlle. Adele, Mdlle. Chavigny, Mdlle. Varin; M. Coulon, M. Fumolle, M. Appiani (their first appearance in this country), and M. Perrot.
Application for boxes, stalls, and tickets, to be made to Mr. Seguin, Opera-office, Haymarket.
Reviews
Bell’s Life in London and Sporting Chronicle (March 22, 1835): 2.
The Italian Opera opened for the season last night, and brilliantly attended. Among the alterations made elegant and convenient seats have been erected in the lower part of the gallery, which, at the former price of five shillings, may secured previous applications; the admission to the other parts, at the suggestion of many frequenters of the Opera, has been fixed at three shillings.
The Atlas (March 22, 1835): 182.
ITALIAN OPERA—SATURDAY.
THIS Theatre has opened for the season, and made, we sorry to say, but a vary inauspicious commencement. In consequence of the illness of Madame Fircklohr, who, on the evidence of physicians, is suffering from an attack of measles, the manager being put to shifts, was compelled to give n musical melange and one act Tancredi, a Madame Galvani sustaining, on a short notice, the part at the heroine. None of the music produced any elect; even the concert at which the best artists assisted—Moscheles, with his “Recollections of Ireland,” Nicholson, Willman, &c., with Neukomm’s septetto; Madame Stockhausen, with her most favourite airs—with all this aid, the concert went of coldly and with constraint. The performance of Tancredi was beneath criticism. Signora Brambilla, who performed the Tancredi, seems to have made a good study of that character; but the complete failure of the heroine, who spoiled all the duets, all the concerted music, and in fact every thing in which she took part, effectually prevented her from exhibiting the advances she has made in her profession since her last visit to London. Signori Curioni and Giubilei sustained the principal male characters. The chorus was timid and uncertain, and every bar of music gave indications of a hasty and make shiftperformance. We hope to be able shortly to give a better account of the opera, for we sincerely believe that there never was a manager more earnest in his desire to satiety the public than M. LAPORTE.
The Observer (March 22, 1835): 2.
KING’S THEATRE.
This theatre has opened last night for the season, with the first act of Rossini’s opera of Tancredi, a Musical Melange, and Melon’s ballet of Nina. this arrangement was rendered necessary by the indisposition of Mlle. Fincklohr, whom since her arrival in the course of Thursday night, has sickened with the measles. A prima donna, however, was found in a lady of the name of Galvani, of whose merits it would not be fair to offer an opinion under all the circumstances in which she was induced to come forward, rather than that Laporte should not be able to commence operations as promised. Signora, Brambilla, a contr’alto of some time standing, made her re-appearance after an absence of several years, and was warmly greeted on her entrée. Her execution, and chaste and impressive style of singing in the opening recitative “O Patria!” and the beautiful Aria, “Tu che Accendi,” were such as to prove that her studies have been closely attended to during her sojourn in Italy and Germany. Indeed we have heard that for a lengthened period she has been under the tutelage of Madame Pasta, on whose superintendence we feel gratification in here remarking the Signora reflects more than ordinary credit. Her performance throughout was distinguished by a marked improvement upon the youthful character of her former efforts. Her voice is of a peculiarly fine, rich, and mellow quality, and is capable of the greatest expression. Curioni and Giubelei sustained the other parts with their accustomed ability. The ballet of Nina followed, Mdlle. Clara personating the heroine. The plot has considerable interest, for Nina has a lover of her own choice; her father insists on marrying her to another; but finally, after undergoing trials which drive her to actual madness, she recovers her senses and her lover, who was supposed to have committed self-destruction on her account. The piece was interspersed with several par de deux, de trois, and de quatre, the most remarkable of which consisted of some astonishing facile dancing by Perrot, the “Indian-rubber dancer,” as he is termed in the upper circles. The house was tolerably well filled.
An improvement has been made in the gallery, by the appropriation of some of the front seats to “stalls,” for which only the former charge of 3s. is demanded, while the remaining seats are reduced to 3s. this alteration will be found of the utmost convenience to the respectable visitants of this part of the house, as they can secure any particular seat by application at the Box-office.
Morning Advertiser (March 23, 1835): 3.
KING’S THEATRE.
We are happy to announce that this house opened on Saturday for the season, and it affords to us great pleasure to say that the management continues in the hands of M. Laporte, who, by universal admission, has directed this establishment with a liberality of spirit and judgment which ought to have ensured to him greater success and more patronage than he has hitherto experienced. During the five seasons in which that gentleman has had the management, he has introduced more talent both in the operatic and choregraphic [sic] departments than ever appeared in the most palmy days, or rather nights, of the opera, and has only been rewarded by gradually declining support in that class to whom the King’s Theatre almost exclusively looks for existence. To whatever cause this is to be imputed, whether to the variableness of fashion, or to the more limited incomes of high families, the fact is indisputable that the aristocracy of this house on the wane, and that eventually its proprietors must lower their very high prices, and throw themselves on the body of the public.
It is needless now to inquire why the season has been so long deferred, or we would rather ask why it is begun so early, for what opera unless sustained, not merely by respectable performers, but by first-rate artists. The manager, however, is blameless, for when there is no talent in the market must necessarily wait its arrival. Indeed, until Easter his troupe must be anything than select, for the Italian opera in Paris, which commences in October and terminates with Lent, engrosses all the ability worth securing, including at that present moment Grisi, Rubini, Ivanhoff, Lablache, and Tamburini, who, with Pasta, Taglioni, and the Elslers, will all be forthcoming in month hence. Those difficulties which are foreseen and prepared against, far as means will permit, are trifles compared with those casualties—those astounding occurrences which frequently take place in the theatrical world, to the consternation of the poor lessee, who is too often thrown into mental purgatory in the eleventh hour. We are sorry to say that M. Laporte is not exempt from those ills which managerial flesh is heir to.
Tancredi was announced during the week, pour l’ouverture, with Madame Fincklohr, from the Milan Theatre, Amenaide, when on Friday last that anti-musical disease called the measles seized the lady, and left Tancredi without a-sweet heart, and the Impressarioin angustia. To prevent a total disappointment Madame Galvani offered herself substitute for Fincklohr, and the first act of Tancredi, with musical melange and Deshayes’ ballet of Nina, ou La Folle par Amour, constituted the evening’s entertainments. It would be alike ungenerous and unjust to speak too critically of a lady who undertook such arduous role as Amenaide, and at so short a notice. Madame Galvani is a fine woman, and has evidently had a musical education, and we have doubt, with few rehearsals and some more self-possession, is capable of singing much better than she did on Saturday. Mademoiselle Brambilla, who personated Tancredi, appeared in the season of 1827 as Arsace, in Semiramide. Her voice is veritable contralto, possessing depth, full intonation, and a round quality; but remembering the hopes she held out so many years ago, we must confess that were disappointed. We certainly expected to find Brambilla much improved, her organ flexible, her Intonation perfect, and her vocalization expressive, graceful, and refined. In the well-known scena, “O Patria,” she was far from being successful; the recitative wanted tenderness, force, and emphasis; and in the aria, “Tu che accendi,” followed by the universally hummed “Di Tanti,” she was deficient in that exquisite tenderness, intense feeling, and glowing passion, which we have been accustomed to have from Pasta and Malibran. Curioni and Giubilei, as the father and pretender of Amenaide, sang very well the concerted music. The musical melange which preceded the Opera commenced with Rossini’s fine overture to Semiramide, which was admirably played by an excellent band, amongst whom we recognised our old favourites, aided by Mr. Mori. Mrs. Seguin gave the Italian air, “Ah che forse,” with chasteness and expression. She is indeed a credit to our Royal Academy. Madame Stockhausen sang two airs, one from Robert le Diable, in her usual sweet and pretty manner. An instrumental septetto, by Neukomm, was finely played by Wilmar, Nicholson, Dragonetti, Harper, Bauman, Cooke, and Platt. The composition contained many clever passages, and the obligato parts were very beautifully taken up by those able performers. We were only sorry that Dragonetti had so little to do.
Mr. Moschelles gratified the auditory with his “Recollections of Ireland,” and displayed that brilliancy of style and masterliness of execution for which he is renowned. Whatever deficiencies were apparent in the singing were amply compensated for in the dancing. The pretty ballet of Nina is exceedingly well mise en scene. Maddle. Clara enacted the Folle par Amour with a reality, force, and feeling, which evidently surprised the house; those who recollect Pasta in the Opera of Nina Pazza per Amore will recollect her extraordinary histrionic powers in the development of this character. A minuet and gavotte by Mademoiselles Clara and Adele, and Messrs. Coulon and D’Albert, was very gracefully danced. A pas de deux, by Mademoiselle Varin and M. Fremolle, merits especial notice. The lady is very prepossessing, and she is evidently a finished artiste; her style partakes of the grace of Taglioni, and the agility of the younger Elsler. We augur for her great share of popularity. M. Fremolle, who is of the Gnerinot school, displayed great d’amplomb, quickness, and neatness.
Perrot was heartily greeted on his reappearance, and never danced better; his lightness of step, gracefulness of action, and beauty of movement, leave him without a rival in the Terpsichorean school, and justly entitle him to the appellation of the modern Dieu de la Danse. God save the King was sung before the ballet.
The Globe and Traveller (March 23, 1835): 3.
KING’ THEATRE.—The opera season, after many delays, commenced on Saturday evening under the most inauspicious circumstances, the list of artistes, meagre as it always is before Easter, and by no means less so this than in former years, having suffered a further curtailment by the loss of Madame Fincklohr, whose first appearance was announced in the part of Amenaide, and whose absence was sufficiently explained by a certificate of her sudden illness from measles, which was appended to the bills; in which also the indulgence of the audience was claimed for Mad. Galvani, who, it was stated, had undertaken the part at very short notice. Even on these terms it was not found possible to present more than the first act of Tancredi; previous to which a musical melange was given, in which Mad. Stockhausen sang two airs with remarkable sweetness, and Moscheles entertained the audience with a fantasia of his own the pianoforte, accompanied by the orchestra. An instrumental sestet, by Neukomm, was also performed with good and great precision, considering that it had not received that degree of preparation required by such a work. When the curtain did at last rise for the opera we were not doomed to be repaid for the delay previous to its commencement—the disarrangement of its parts seemed to have radically shaken a structure not otherwise sustained by the best materials. Of Madame Galvani’s attempts we feel as little right as inclination, under the circumstances of the case, to say anything; and we must also postpone our positive judgement of the pretensions of Mlle. Brambilla to the rank she has assumed until we shall have an opportunity of hearing her under more favourable circumstances than those she suffered under on Saturday. In all the trios, quartetts, &c., and more particularly in the quintett at the end of the act, which was on this occasion the “lame and impotent conclusion” of the performance, the chaotic elements at work were so jarring that no accurate idea of the composer’s intention could be formed but by those who happened to possess a vivid imagination or retentive memory; the only point of her performance, therefore, on which we could pretend to pass judgment, is that of the celebrated scena “O Patria!” concluding with the air “De tanti palpiti.” And even here we are inclined to hope that the accidents of the evening had so far discomposed the performer a to prevent the full development of her powers, otherwise, with the recollections of her great mistress fresh in our mind, and the thrilling effect which she has made this, perhaps, the most popular song ever written by Rossini, still almost tingling in our ears, we should have to pass an opinion by no means favourable to the debutante. That she is considerably improved in style and finish since the time when we last remember her playing second-rate characters here is evident, and that such should be the case under the tuition of the inimitable Pasta is not surprising. We could, indeed, detect a near imitation of the style and manner, and even occasionally of the intonations of voice of her preceptress [sic]. Of the other performers we may say that Madame Castelli played and sang exactly as ill and no worse than heretofore. Curioni exerted himself considerably more, and with more effect than is his wont; and Giubilei would do well if he could give away a little of this deep powerful voice in exchange for a little more taste to regulate the remainder. The Ballet was as heave as the Opera, notwithstanding the meritorious exertions of Mademoiselle Clara and M. Perrot; and the house (which we are happy to say was as fully and fashionably attended as M. Laporte’s past services and present promises to his subscribers and the public deserve) was nearly deserted before the fall of the curtain.
The Morning News and Public Ledger (March 23, 1835): 2.
THE THEATRE.
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KING’S THEATRE.
This theatre opened for the season on Saturday night, and, considering the difficult position in which M. Laporte was placed by disappointment on the one hand and illness on the other, we are bound to say that he commenced his operatic campaign with as much eclàt as, under all the circumstances, could expected. The illness of Mdlle. Fincklohr, which was produced by an attack of measles, prevented that lady from appearing as prima donna in Tancredi, and her place was supplied by a Madame Galoani, who to a fine figure and a handsome and expressive countenance adds acquirements of no mean or ordinary description, and such will, with care and cultivation, hereafter place her in an enviable position in her profession. We cannot in justice say that she came up to our expectation in the part assigned to Saturday night, but, considering the circumstances under which she made her debut, it would be scarcely fair to criticise her efforts too nicely. Signora Brambilla, after an absence of, we believe, eight years, reappeared in the character Tancredi. This lady’s voice is contr’alto of considerable depth, fulness, and flexibility. Her residence on the Continent has evidently been attended with good result, for her singing on Saturday night was marked by evidence of great finish. Nothing could be more elaborately chaste than her execution of the beautiful recitative “O Patria.” The delightful aria “Tu che Accendi” was also exquisitely given, and was a signal proof of the care and attention which she had bestowed on her studies, which, by the way, did not appear to be solely confined to the perfection of her vocal powers, for her acting was in keeping with her singing, to which it not a little contributed to give effect. Of Curioni and Giubilei we need hardly speak; suffice it to say that they executed the music allotted to them in their respective characters with considerable ability. Previous to the opera (only one act of which was performed) we had a musical melange, in the course of which Mrs. Seguin and Madame Stockhausen sang one or two delightful airs. A little Swiss air the latter was warmly applauded. Moscheles executed a brilliant piece of music, entitled “Recollections of Ireland,” in a masterly style upon the pianoforte; but a sestet, in which the combined powers of Willman, Nicholson, Platt, Cooke, Dragonetti, Harper, and the bassoon performer, whose name cannot just at this moment recollect, were employed, was decidedly the most attractive part of the melange. The pleasing ballet of Nina concluded the performance, in which Mdlle. Clara sustained the heroine admirably: her mad scene was exceedingly clever. But Perrot was the great attraction of the ballet. She was as light, aerial, and graceful as ever, and drew down the most rapturous applause. Upon the whole, the entertainments went off in most satisfactory manner, and were agreeable foretaste of the attraction which Laporte has yet in store for us.
We cannot conclude our notice without observing that the arrangements in the gallery by which a portion of the front seats has been fitted up as “stalls” at 5s. each, while the remainder is to be opened to the public at 3s., a very desirable at arrangement, and is calculated to improve the treasury materially.
The Morning Chronicle (March 23, 1835): 3.
KING’S THEATRE.
The opening of this theatre on Saturday evening attracted a very crowded audience, among whom we observed a number of the most distinguished supporters of the Opera. The first appearance in this country of Mdlle. FINCKLOHR, a lady who has gained considerable reputation on the Continent, excited a good deal of expectation; but she was unable to appear, having been so unfortunate as to be seized with measles since her arrival in London. In consequence of this circumstance, only the first act of Tancredi was given, followed by a musical mélange, and the ballet of Nina. A Madame GALVANI performed the part of the heroine, in the room of the indisposed prima donna; and, as she appeared merely as a substitute, her performance was not a fair subject for criticism. Mdlle. BRAMBILLA, whom our musical readers will remember as having been at this theatre about seven years ago, when she performed along with Madame PASTA, appeared as Tancredi. At that time her personal attractions and fine contralto voice excited much admiration, notwithstanding her extreme youth and inexperience. She retains her beauty and her voice; and, as might be expected, she has improved both as an actress and a singer. Her appearance in the character of the chivalrous youth, aided by one of the most superb and picturesque dresses we have ever seen, was very striking; and her acting throughout the part possessed a good deal of energy and feeling, though she had to struggle with the disadvantage of undergoing a constant comparison with the intense and electrifying passion exhibited by PASTA. The great scene “O Patria!” including the exquisite air, “Di tanti palpiti,” was very well given. The air, in particular, was sung with correctness and finish. We have no doubt that Mdlle. BRAMBILLA, though her powers are insufficient to sustain the weight of an Opera, will, during the season, be found an efficient and attractive performer, when her efforts shall be combined with those of the great singers who are expected, among whom, we believe, is PASTA. The pleasure we have formerly received from seeing PASTA and BRAMBILLA together, in Semiramide and Romeo e Giulietta, may then be renewed; and, indeed, heightened, from the superior manner in which the latter will perform her parts.
The orchestra is now led by MORI, as successor to poor SPAGNOLETTI, and is as good as usual, comprising all, or almost all, of the admirable performers who have so long been members of it.
The Musical Mélange, which was substituted for the second act of Tancredi, afforded us considerable pleasure. Madame STOCKHAUSEN sang charmingly; MOSCHELES played his famous “Recollections of Ireland” in his best a style; and NEUKOMM’S septett was performed in the most perfect manner by some of the finest players in Europe.
In the pretty Ballet of Nina, Mdlle. CLARA represented the poor girl who runs mad for love with considerable sweetness and effect; and PERROT, as a dancer, displayed great powers of execution. On the whole the performances went off very well, notwithstanding the contretemps which marred the arrangements of the evening.
The Morning Post (March 23, 1835): 3.
THE ITALIAN OPERA.
Were we to enter deeply into a disquisition of each and all of the performances which we witnessed at the opening of the King’s Theatre for the season on Saturday evening we should perhaps, be justly deemed guilty of ill nature, or at least of hypercriticism on that which was evidently brought out under disadvantageous and disheartening circumstances to all concerned. To commence a campaign with inadequate forces, and some of these fitter subjects for the hospital than the field, is to be sure against the first rule of military tactics; but there are numerous instances where even these have kept their ground respectably till the flower and strength of the main body were brought into action, and all the pomp, pride and circumstance of glorious war proceeded with, as they ought to be (for the purposes of the poet and historian), on a grand and proper scale. Such a commencement besides musicians must allow to be a con spirito movement, although in a minor key, and if it is to resolve itself into a higher and more brilliant one before long we are not disposed to sneer at even a few consecutive fifths* in the harmony, but are satisfied to await the experiment, and to express our confidence that the promises of the manager will be fulfilled. He has drawn on the sympathy of the public, and we should not go between him and its just expression. The entertainments of the first night of our season commenced with a grand musical melange. The overture to Semiramide went off magnificently; and never before did we hear the strength, brilliancy, and precision of the band to finer effect Next came an aria, “Ah che fosse” (BONFICHI), by Mrs. Sequin, very beautifully given, and well supported by the excellent horn accompaniment of Mr. PLATT. Madame STOCKHAUSEN followed in a sweet song from Robert le Diable, “Idole de ma vie.” Her voice has not the range of the immense balding of the Italian Opera; its delicate sweetness and exquisite pathos require the more circumscribed limits and congenial atmosphere of the concert room, to which the song itself which she selected was also better adapted. The instrumental sestet which followed, by NEUKOMM, was clever but elaborate, and rather too severe for the general audience. The performers, moreover, with one or two exceptions, seemed to play it at first sight. Another song from Madame Stockhausen, and then came a grand fantasia on the pianoforte by MOSCHELES. This was truth a most finished performance, in which nothing more could be wished for in richness of tone, splendour and solidity of style, and the most exquisite polish. With such compensation the length of the composition could well be supported. Some time after the curtain rose for the first act of Tancredi, the most part of which was given with the duet “Frero incontra,” of the second in addition, in consequence of the sudden and severe illness of Madame FINKLOHR, the part of Amenaide was sustained by Madame GALVANI, who also seemed to be very much indisposed. As an altera prima donna this lady seems to be a fair acquisition. Her voice is a mezzo soprano, of which the lower notes are the less objectionable, or her higher ones were overstrained in a part that must have been too high for its natural capability. Mademoiselle BRAMBILLA’S Tancredi was, all circumstances considered, a very good performance. She is a fine commanding figure, and looked very well in the male costume of the character. This was as beautiful as it was judicious. Her voice is a very good contralto, and of considerable compass. The famous “Di Tanti palpiti” was very correctly given; but we know not how it was she seemed to go through it without feeling, and certainly without effect. The rapture with which the same audience listened to MALIBRAN and PASTA in it may in some measure account for the circumstance. But a comparison in this instance on our part would Be unfair, as Mademoiselle BRAMBILLA seemed to be suffering from the effects of the same indisposition which had visited the other queens of the Opera. We must, therefore, postpone our further remarks on her style and delivery till a more favourable and fair opportunity—the more so, as we have been led to expect much improvement from a seven years’ study and reputed cultivation since she made her first appearance before an English audience. Signor CURIONI played the part of Ergirio. GIUBELEI’S fine voice told well in the only thing he had to do—the finale. But oh, the quartette! No, we shall say nothing of that quartette, only that we should not like to be near Signor Costa while he was vainly striving to have the time kept for the worth of DRAGONETTI’S bass.
The ballet of Nina, which succeeded, was really beautiful in itself, and beautifully given. Perrot outrivalled himself. His pirouettes and tours de force were really astonishing. Mademoiselle CLARA’S Nina was a very clever pantomimic performance, and her dancing very respectable. The other artistes, ADELE and CHAVIGNY, are also entitled to a fair share of approbation from all those who witnessed their very pretty movements, and who, like ourselves, although we regretted the absence of the Queen of Dance, yet agreed with the bonhommie of the poet, who sings somewhere:—
“Twere a shame when flowers around us rise,
To make light of them all, if the rose is not there;
And this world’s so full of resplendent” &c.
Any further would be “dancing out of the record,” and an immediate sin against the Lex Tulionis, which we hope to see long defying the efforts of Time, the greatest of all “Destructives.”
* The principal singers on Saturday were five.
The Times (March 23, 1835): 2.
THE KING’S THEATRE.
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After encountering many difficulties which have delayed the season considerably beyond the usual period, M. Laporte was enabled on Saturday evening to open this favourite lounge of the fashionable world. The attendance was far more numerous than we had anticipated. The boxes exhibited a very elegant company, and the pit was nearly filled. There is no alteration in the ornaments of the house, and its internal arrangements are the same as heretofore, except that three rows of benches are partitioned off in the front of the gallery, where places may be secured, as for the stalls. These seats are fitted up very neatly and the accommodation thus afforded must be extremely agreeable to the respectable visitors of this part of the house. The sudden and serious illness of Madame Fincklor rendered it next to impossible to open with an entire opera. The performances, in inconsequence, consisted of a musical melange, the first act of Tancredi, and the ballet of Nina. In the opera Mademoiselle Brambilla, who was attacked to his establishment some seasons since, appeared as Tancredi. She is considerably improved since we last heard her, and although labouring under some degree of hoarseness, acquitted herself very fairly; but neither her natural nor her acquired powers are sufficient to sustain, effectively, the commanding dignity of prima donna. Her voice is a pleasing contralto, of no great compass, and her execution is feeble. The “Di tanti palpiti,” which, as we have heard it sung, has thrilled every heart in the house, passed off almost without observation. It was coldly correct; the soul of passionate affection which Rossini has infused into this exquisite air was absent. Madame Galvani made her first appearance in the part of Amenaide. She is a very fine woman. Her form is tall and commanding; her motion easy and graceful; her features are pleasing—distinguished by good humour and intelligence rather than by positive beauty. It would be unfair, as she undertook the part of Amenaide at a short notice, to dwell minutely on the manner in which she executed her task. She seemed to be well acquainted with the business of the stage, and went through the part with propriety, if not with striking effect. Her voice is a soprano, not remarkable for either strength or sweetness. Curioni and Giubilei sustained the characters of Argirio and Orbazzano; the later sang with energetic feeling. In the musical melange which preceded the opera, Madame Stockhausen delighted the audience with the execution of two airs, which she gave with that artless simplicity and grace that so peculiarly belong to her; and M. Moscheles exhibited his command of the pianoforte by the performance of a fantasia, in the course of which he introduced the well-known airs of “Garry Owen” and “Patricks- day.” Of the débutans in the ballet of Nina the most prominent was Perrot, whose knowledge of his art, combining with elegance, rapidity with grace, is perhaps unequalled vigour with elegance, rapidity with grace, is perhaps unequalled on the choregraphic [sic] boards of the Académie Royale.
The Evening Chronicle (March 24, 1835): 1.
[Same as issued in The Morning Chronicle on March 23]
Supplement to the Musical Library (April 1835): 36.
KING’S THEATRE.
ON Saturday the 21st of last month, the doors of this theatre opened, the house was lighted, and the band assembled in the orchestra, but as to the opera, there was none. A Madame (we forget the name) had been advertised, but the measles forbade her appearance. Signora Brambilla, however, who unsuccessfully performed on this stage some four or five years ago, made her rentrée in part of an act of Tancredi, and now again produced no effect, though her improvement had been so loudly proclaimed in those papers which are given to puffing. She was supported by the Signori Curioni and Giubilei, the primo tenore and primo basso of the company! As the powers of this valorous troupe were exhausted in giving a portion of an act, the evening was eked out by a concert on the stage, in which Mad. Stockhausen sang, and Mr. Moscheles played. Besides which, a septet of M. Neukomm was performed; four out of the seven engaged in it never before having seen it. Then came a ballet, which was about equal to the concert, but certainly better than the scraps called an opera. We have occasionally known this theatre in a very low state, but never in so humiliated a condition as at present. Some of the papers tell us that it was not only full, but well filled. The writers must have seen what was denied to our vision. One critic was so fortunate as to find all good, both on the stage and in the house. How enviable the state of mind, when every thing appears couleur de rose!—What extacies he will be in, should, peradventure, matters mend!—Where will he find words to express his delight?
But even M. Laporte,—though he pretty well knows the gullibility of opera-goers—finds that a company composed of Madame Galvina, Signora Brambilla, with Signori Curioni and Giubilei, will not do, it ‘is too bad;’ so money has been raised, and actually deposited in the hands of a great city banker, to tempt Madame Pasta to come hither immediately, from Paris, she having refused to listen to any proposal, till the payment of her salary was absolutely secured. It is probable, therefore, that this lady may shortly arrive. But how is she to be supported? And is any new opera, or any revival, prepared, or likely to be prepared, for her? Or are we to have Medea, Anna Bolena, &c. over again? There is, in spite of all this gloom, one comfort left; things must mend, if the house is to remain open, for it is impossible that they should be worse. But, let it be noted, we put the case hypothetically,—if the house remain open.
Ignaz Moscheles' Concert Life 