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.
NEUVILLE, the manager of this theatre, is gone to Italy for the
purpose of completing the company by the addition of some eminent
performers.[1] In its present state, the _Opéra Buffa_ maintains its
ground. It is thought that the French government will assist it in
case of necessity, and even make it a national establishment; a
commissary or agent having been appointed to superintend its
proceedings.
[Footnote 1: The _Opéra Buffa_, the constant object of the jealousy
of the other lyric theatres, because it constitutes the delight of
real amateurs of music, has, during the year 1802, acquired several
new performers. Two of these only, Madame BOLLA and MARTINELLI,
deserve particular mention. Madame BOLLA is a good figure on the
stage, and though her features are not regular, yet they are
susceptible of the most varied expression. Her voice, which is a
species of feminine _tenore_, astonishes by the purity and firmness
of its grave tones; while her brilliant and sure method easily
conceals its small extent in the higher notes. MARTINELLI is a
species of counter-tenor. His voice has already lost much of its
strength, and has not that clearness which serves as an excuse for
every thing; but connoisseurs find that he takes care to calculate
its effects so as to make amends, by the art of transitions, for that
firmness in which it is deficient. He is much applauded in the
_cantabile_, which he sings with uncommon precision, and he
particularly shines in the counter-parts which charm in the Italian
_finales_. As an actor, MARTINELLI, though inferior to RAFFANELLI, is
also remarkable. His manner is easy and natural, and his countenance
capable of assuming the most comic expression.]