MILAN.

THE Scala opened for the season on the 26th Dec. with a musical drama by Donizetti, entitled Fausta, new to this city, but which had been already brought out at Naples with but doubtful success. Its fate here has not been much better; the story of the opera did not please the habituÉs of the Scala; and the music was considered inferior to the later compositions of Donizetti, more particularly to his Anna Bolena, of which many traces and reminiscences are continually occurring in the Fausta. Nevertheless, Madame Tosi gave all the support of her talents, both as a singer and an actress, to the piece. The tenor Pedrazzi is also much praised; but the dÉbut of Zucchelli was much less favourable; his voice was considered feeble, and his manner wanting in energy and warmth. When he left Paris his voice was already growing weak, and consequently not calculated for the Scala, the size of which theatre demands power.

The Teatro Carcano opened with Bellini’s Capuletti e Montecchi, the part of Juliet by Madame Roser Balfe, Romeo by Mdlle. Michell, and Tebaldo (the tenor) by Bonfigli. Though this opera is far from being a novelty in Milan, it still retains a great share of popularity.

Mercadante has been very unfortunate this season; his Gabriella di Vergi met with but middling success, in spite of the talents of Madame Ungher, and although the music is said not to be without merit, particularly Madame Ungher’s cavatina, a trio between that lady, Cartagenova, and Winger, and a duet in the second act. It appears, therefore, that the subject of the libretto must have injured the exertions of the composer. He met with another check at Genoa, where his Ipermnestra (an opera written by him at Lisbon, when he was manager of the theatre there) was very coolly received, though well performed by Madame Schutz, Mdlle. Cesari, and the tenor Binaghi.

ROME.

A new opera has been performed at the Teatro Valle, called Il Furioso all’ isola di S. Domingo, the libretto by Ferretti, and the music by Donizetti. The music secured the success of the piece. It is said to be full of effect and novelty. From the introduction to the final rondeau, every piece was listened to with enthusiasm and applauded con furore. The execution was worthy of the composition. Mdlle. Elisa Orlandi, and the tenor Ronconi, who performed il Furioso, were particularly applauded. This is by far the most successful performance that has been produced at any Italian theatre for a long time.

BERGAMO.

Ricci’s Clara Rosemberg has been produced here with the most brilliant success. Mdlle. Edwige, the prima donna, does infinite credit to the instructions of Garcia; her voice is fine, her execution rapid, and she has good expression. She was applauded in all her pieces, and several times called forward by the audience. Belloli is a good first musico; the tenor Domenico Furlani is rather weak, but the first bass, Baroilhet, is excellent. The second opera will be Mercadante’s Normanni a Parigi. Ricci’s Clara Rosemberg has been selected as the opening piece of the season in several other towns besides this; amongst them, Brescia and Vicenza. At Verona the theatre opened with the Pirata, in which the principal characters were supported by Gennero and Madame Fischer.

CARLSRUHE.

A young composer, named Charles Augustus Weber, professor of music in the Lyceum at Radstadt, near Baden, has elicited much attention by the merit of his writings. At the third concert of the Museum an overture of his, full of happy thoughts, was performed, displaying in the instrumentation very many new and well-imagined effects. Four choruses of his composition, for soprano, mezzo soprano, tenor, and bass, produced considerable effect. M. Weber is a distinguished performer on the violin; and already known as the author of several songs, piano-forte pieces, and violist quartetts.

VENICE.

Notwithstanding all the efforts of Bellini’s friends, who are very numerous in this city, his Norma has not had better success at the Fenice than attended its production at the Scala. In fact, had not the principal character been performed by Pasta, its failure would have been inevitable and complete. This great actress has not sunk in Venice below the exalted station to which her talents have elevated her in every other part of Europe. The second opera of the season is to be Eufemio di Messina, by Maestro Persiani; then will be brought out the Otello for Madame Pasta; and, lastly, a new opera of Bellini’s, of which the title is to be Beatrice Tenda.

At the Theatre S. Giovanni Crisostomo, Pavesi’s opera, Marcantonio, was very coolly received. The company of singers contains no individuals of known talent; and, whatever the journals may say, neither obtained nor deserved much success. Donizetti’s Zingara is to be the next piece, and to be followed by two new operas, one composed by Domenico Barocci principal tenor of the company, and the other by a Signor Bonaccini, who may be a very clever composer, but who has never yet been even heard of.

In the course of the season there is to be a series of performances at the Theatre S. Samuel; the principal singers, who are coming from Padua, are to be the Persioni prima donna, who has some talent; Zilioti, tenor, Ladetti, basso cantante, and Zambelli, first buffo. It is to be feared this company will not be worth much; but, at all events, it cannot be denied there will be variety enough.

At Padua Maestro Pietro Bresciana has brought out a new opera, called I Promessi Sposi; both the music and performance are very well spoken of.

PARIS.

ThÉÂtre Italien.—After being postponed for some time, on account of the illness of Rubini, Bellini’s Capuletti e Montecchi was at length brought out; the hero and heroine represented by the sisters Grisi, and Tebaldo by Rubini. Few of Bellini’s operas have enjoyed so great a share of popularity in Italy as this; which, however, was written without premeditation, and begun and finished in fifteen days, at the urgent request of the Venetian managers, to fill up a gap in their performances occasioned by the complete condemnation of some other pieces. Bellini, himself, appears to be partial to it, for he has dedicated the printed copy to his fellow-citizens in Catania; but even considered as a work of Bellini’s, it bears evident marks of the haste in which it was got up. It was tolerably successful, however. The last movement of the finale to the first act, in which Romeo and Julietta sing an impassioned melody in unison, accompanied by the other voices and chorus in arpeggioed staccato notes, was particularly applauded, and in fact decided the fate of the opera.

Bellini’s opera was followed by the revival of Mozart’s Don Juan, which was very nearly a failure. Nothing can render Mozart’s operas old; their triumph over both time and fashion was sufficiently proved by the crowds which the announcement of his chef d’oeuvre drew to the theatre: but the best music, to produce its effect, most be well and spiritedly performed, and it is but too true that the great majority of the Italian singers neither like, nor understand, nor can sing Mozart’s music. It is too foreign to their habits, they find no hooks left in it for them to hang their fiorituri on,—and persuade themselves, therefore, that it precludes them from all opportunity of showing off their talents.

Tamburini looked Don Juan well, and was encored in the rondeau Fin ch’han dal vino; but he spoiled the air by introducing into it a long pause and holding note on the Eflat towards the close, when the whole spirit and effect of the composition consists in the rapid and uninterrupted movement the author has given it. The women were all out of their places, and felt so; Mlle. Grisi has too tall and commanding a figure and too loud a voice for Zerlina. Mad. Tadolini is totally unfit for Elvira, and Mlle. Karl, who performed Donna Anna, is unfortunately no favourite with the public, which is too frequently as capricious in its dislikes as in its favoritisms. Rubini alone seemed in his element; his Il mio tesoro was, as usual, a finished morceau.

A very successful dÉbut has lately been made at the OpÉra Comique, by a M. Hebert, a young man with a very fine bass voice. He appeared in Jean de Paris. It is said that he wished to select the Maitre de Chapelle, but the composer objected; if so, and the same composer heard M. Hebert, he must have felt some regret at his refusal. The dÉbutant possesses superior taste; and a certain elegance and facility in his delivery; to which he adds a good figure, self-possession, and intelligence, qualities which practice, and the habit of appearing before the public, will no doubt develope and improve.