KING’s THEATRE.

THE Pirata of BELLINI, which is not only his best opera, but the only one of that composer which has a chance of surviving above another year or two, has been performed since our last report, Madame PASTA in the character of Imogene, who enabled us to enter fairly into the merits of the work, which, at its first representation in this country four seasons ago, were not so discernible, the then prima donna having made a very sad affair of it, though she was amazingly bepraised at the time, and we were exceedingly vituperated for pointing out her incapability.

Fragments of operas have also been performed; the best works have suffered all kinds of mutilations and martyrdom, and the audiences have been content, which is a sufficient justification of the manager. The fact is that in the months of May and June the opera fills, however conducted. A really good manager directs his efforts to the first few months of the season, well knowing that after Easter a single great name is sufficient to draw crowds.

On Thursday the 20th of June, a new opera was actually produced—the first attempt of the kind this season! The occasion was Madame PASTA’s benefit; the name of the piece, Norma, a tragic opera in two acts, composed by Signor BELLINI, and got up under his personal direction.

The following are the characters:—

‘The scene lies in Cambria, in the sacred forest, and in the Temple of Irminsul.’

The story is as wide a departure from anything in the shape of historical vraisemblance as can be imagined. The Gauls subjugate the Romans in Wales, then commit the government of that country to Pollio, a pro-consul of Rome! He becomes enamoured of Norma, daughter of the Arch-Druid, and is secretly married to her, though she, something like the Vestal virgins, had devoted herself to celibacy. After she has become the mother of two children, Pollio’s affections are transferred to Adalgisa, who consents at first to fly with him to Rome; but, struck by remorse, she reveals all to Norma, whose ‘love to hatred turns,’ and the latter determines to avenge herself by destroying her children; but she changes her purpose; impeaches herself in the assembly of Druids, and is condemned to be burnt alive; to which fate her faithless husband is also sentenced; but his love for her suddenly returns, and he unreluctantly ascends with Norma the fatal pile.

That this is an imitation of Medea is evident, and, as in that opera, Madame PASTA is the life and soul of this. Her acting alone saves it here, as it did in Milan, where it was first produced last year.

Considered as a whole, the music, though not censurable in regard to the rules of composition, possesses the most fatal of all faults—it is deplorably uninteresting: except the motivo of the duet, Deh! con te li prendi, an aria, Norma! che fu? and the finale, not a piece has the slightest pretence to originality, or produces the least effect. The overture and introduzione stun one with all kinds of noisy instruments, and half, or more, of the first act is accompanied by the same intolerable din. The music of the last scene, and the acting of PASTA, but especially the latter, will keep the opera on the stage while she remains to fill the part; without her, or her equal, if such should ever be found, it has no chance of being listened to in London; and even with her, it is with a half reluctance permitted[70].

DRURY LANE THEATRE.

ON the 4th of June a nondescript piece, called The Students of Jena, or The Family Concert, was produced here, the principal character by Madame MALIBRAN but it was a decided failure, and the theatre was shut very shortly after.

COVENT-GARDEN THEATRE.

THIS theatre closed very early last month, the lessee declaring that, as the performers declined acceding to the terms he proposed, he could no longer carry on the concern, without incurring the most ruinous loss. The company then obtained the Lord Chamberlain’s permission to open the Olympic, and transferred themselves to that theatre, where they have since continued to perform. Shortly after, this theatre was re-opened with the German company, brought hither from Drury-lane, in consequence of an agreement between M. LAPORTE and Mr. BUNN! Their first performance was MOZART’s ZauberflÖte, M. HAITZINGER as Tamino, who sung the airs with great feeling, but was occasionally too loud and turbulent,—M. DOBLER, a fine deep, musical base, and a very superior singer, as Sarastro,—Madame SCHROEDER DEVRIENT as Pamina, who did the most ample justice to the part,—Madame STOLL BÖHM, a soprano with an indifferent voice, whose deficiencies as a singer are not compensated for by her acting, as Astrifiammante,—and M. UETZ, a very excellent actor, and a singer of great merit, as Papageno. Though much of this opera was performed remarkably well, parts of it disappointed our expectations: the two lovely trios, best known here by the Italian words, ‘Te guida a palma nobile;’ and ‘GiÀ fan ritorno,’ were executed in but a slovenly manner, and the fine religious march lost some of its effect by being played to an empty stage. This, however, we believe, was afterwards corrected. The ZauberflÖte has not drawn, in spite of its many beauties, and the German Opera is not in a much better condition in London than the national, the legitimate drama!