  Paris, January 7, 1802. Knowing you to be an amateur of Italian music, I am persuaded that you will wish to be made acquainted with the theatre where you may enjoy it in full perfection. It is distinguished by the appellation of OPÉRA BUFFA. This establishment is not new in the French metropolis. In 1788, Paris was in possession of an excellent company of Italian comedians, who then performed in the ThÉÂtre de Monsieur, in the palace of the Tuileries, which is now converted into a hall for the sittings of the Council of State. The success of this company had a rapid influence on the taste of the discerning part of the French public. This was the less extraordinary as, perhaps, no Italian sovereign had ever assembled one composed of so many capital performers. In Italy, there are seldom more than two of that degree of merit in a company; the rest are not attended to, because they are not worth the trouble: but here every department was complete, and filled by persons deservedly enjoying a high reputation in their own country; such as MANDINI, RAFFANELLI, SIMONI, MENGOZZI, VIGANONI, ROVEDINO, and Signoras MORICHELLI and BALETTI. The events of 1792 banished from Paris this admired assemblage. A new company of Italian comedians has been formed here within these few months: they at first occupied a charming little theatre constructed for the use of a society, called La Loge Olympique; but are lately removed to the ThÉÂtre Favart, on the Boulevard. Before the revolution, this was called le ThÉÂtre Italien. The faÇade is decorated with eight very large Ionic pillars. The house is of an oval form, and the interior distribution deserving of praise, in as much as it is far more commodious than that of any other theatre in Paris. The audience here too is generally of a more select description. Among the female amateurs, Madame Tallien is one of its most constant visiters, and, in point of grace and beauty, one of its greatest ornaments. At the head of this new company, may be placed RAFFANELLI, the same whom I have just mentioned. He is a consummate comedian, and more to be commended in that point of view than as a singer. RAFFANELLI has a countenance to which he gives any cast he pleases: his features, from their wonderful pliability, receive every impression: his eye is quick; his delivery, natural and correct; and his action, easy. Sometimes he carries his buffooneries too far, merely to excite laughter; but as he never fails in his object, this defect may be overlooked. His best characters are Taddeo in Il RÈ Theodora, il Governatore in La Molinara, the Father in Furberia e Puntiglio, and the Deaf Man in Il Matrimonio Secreto. It is necessary to see him in these different operas to form a just idea of the truth and humour with which he represents them. Although he is but an indifferent singer, his method is good, and he seizes the spirit of the composer with perfect discrimination. In morceaux d'ensemble, he is quite at home, and when he dialogues with the orchestra, he shews much energy and feeling. Independently of these gifts, Nature has granted to RAFFANELLI another most valuable privilege. She seems to have exempted him from the impression of time. In 1788 and 89, I saw him frequently, both on and off the stage; after a lapse of upwards of twelve years, he appears again to my eyes exactly the same man. I cannot perceive in him the smallest change. The tenor of the new company is LAZZARINI. His method too is very good; he sings with taste, expression, and feeling; but his voice is extremely weak: his powers appear exhausted; and it is only by dint of painful efforts that he succeeds in giving to his singing those embellishments which his taste suggests, but which lose their grace and charm when they are laboured. In short, LAZZARINI communicates to the audience an unpleasant sensation in proving that he has real talents. Neither the same reproaches nor the same praises can be bestowed on PARLAMAGNI. He is a good counter-tenor, but has a harshness in the high tones, which he does not always reach with perfect justness. He is also deficient in ease and grace. PARLAMAGNI, however, having an advantageous person, and the air of a Frenchman, is a great favourite with the Parisian dilettanti. He is a tolerably good comedian, and in some scenes of buffoonery, his acting is natural, and his manner free and unaffected. The prima donna of the Italian company is Signora STRINA-SACCHI. She possesses a fine voice, and no small share of taste, joined to great confidence and a perfect acquaintance with the stage. Sometimes she is rather apt to fatigue the ear by sounds too shrill, and thus breaks the charm produced by her singing. As for her acting, it is as extraordinary as can well be imagined; for her vivacity knows no bounds; and her passion, no restraint. She appears to conceive justly, to feel very warmly, and she plays in the same manner. In her, Nature commands every thing; Art, nothing. The parts in which she shines most, are La Molinara and Gianina; in these, she literally follows the impulse given her by her situation, without concerning herself in the least, whether it is secundum artem; but certain that it is natural and conformable to the character and habits of the personage she represents. Anima in voce is the characteristic of her singing: the same epithet may be applied to her recitative and her acting: in these she displays no less spirit and animation. After Signora SACCHI, comes Signora PARLAMAGNI. She is a young, and rather pretty woman, not unlike a French actress in her manner. Her voice is free and clear, and her method by no means to be disdained. She wants habit and confidence. This is evident in her performance of a part new to her; for it is only after a few representations that she feels herself at her ease. Then the public appreciate her powers, which she exhibits to advantage; and her exertions are rewarded by reiterated marks of their satisfaction. Unfortunately it is the nature of an Italian opera-house to have its shelf poorly furnished. It cannot, however, be denied that the managers of the Opera Buffa take every pains to vary and increase their stock. The following are the pieces which I have seen at this theatre. Furberia e Puntiglio, which is a second-hand imitation of GOLDONI. The music, by Signor MARCELLO DI CAPUA, is agreeable, particularly a quartetto and a cavatina. RAFFANELLI shines in this piece as a first-rate actor. Il Matrimonio Secreto, the chef-d'oeuvre of CIMAROSA, and of its kind, perhaps, the most charming opera extant. Throughout it, the composer has lavished beauties; there is not to be found in it an air of inferior merit, or which, of itself alone, would not sustain the reputation of a piece. What then can be said of a work in which they are all united? Nothing can surpass the variety, spirit, grace, and originality of the duos, terzettos, quartettos, &c. with which this opera abounds. CIMAROSA has here combined the strength of German harmony with the grace which constitutes the charm of Italian melody. He is particularly famous for the brilliancy of his ideas, the fecundity of his genius, the richness of his style, and, above all, for the finish of his pictures. The certain effect of such a production is to eclipse every thing put in competition with it. This effect is particularly conspicuous at the representation of other pieces, the music of which is by the same composer. Gianina e Bernadone, another of CIMAROSA'S productions, makes less impression, though it is in the graceful style, what Il Matrimonio Secreto is in the serio-comic. La Molinara, however, upholds the reputation of that celebrated composer, PAËSIELLO. This opera requires no eulogium. Selections from it are daily repeated in the public and private concerts in Paris. Il Matrimonio Secreto is a masterpiece of spirit and originality, while La Molinara is a model of grace, melody, and simplicity. To the great regret of the lovers of Italian music, CIMAROSA died not long since, just as he was preparing to visit Paris. But his fame will long survive, as his works bear the stamp of true genius, combined with taste and judgment. His Italiana in Londra is just announced for representation. Il Matrimonio Inaspettato, a composition of PAËSIELLO, is likewise in rehearsal, as well as Le Nozze di Dorina, by SARTI, and La Vilanella Rapita, by BIANCHI. MOZART too will soon enter the lists; his Dom Giovanni is to be speedily brought forward. The orchestra of the OpÉra Buffa, though far from numerous, is extremely well-composed. It accompanies the singers with an ensemble, a grace, and precision deserving of the highest encomium. BRUNI, a distinguished Italian composer, is the leader of the band, and PARENTI, a professor, known also by several admired productions, presides at the piano-forte. |
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