{"character_count": 4792, "word_count": 856, "ccnet_language_score": [0.9753000140190125], "ccnet_perplexity": [985.2999877929688], "fasttext_language": ["en"]}
italian Opera.


In spite of the bad weather, there was good
and brilliant house at the Italian Opera last evening.
Every thing was right. We have heretofore pur-
posely deferred any detailed remarks on the new
p1nsa DONNA, in order have the opportunity Of a
second hearing before giving our opinion, and when
the fair dsbutante would be more herself.


Slgnora Pco is what would be called in Europe
a fine w0man-she has a sweet CONFERENCE.-The
is above the middle height-has charming EN- bon
point-an excellent fgure-and bust that we
could almost say Is unrivaled on the stage. In her
tout ensemble she reminds one of what Grsi was
some eight years ago; and, indeed in her features,
she SO much resembles the present "Queen Of
Song" that the two would easily pass for sisters.


On Wednesday she appeared for the second time,
and last evening the third time, as Chiara, in the
"Chiara di Rosembergh'' of Ricci. Our readers
are already acquainted with the plot, it being the
same as that of the Siege of Rochelle, which was
played some few years ago at the National.


The music is very pleasing; there is much melo-
dy throughout and it is likely to be popular for the
sailor, there being so much of what is called "sing-
ing musc"in it.


Signora Pico's voice is arch mezxo soprano of
exquisite sweetness, moderate power, and what isa
great charm, it is always true." She throws great
feeling into whatever she touches most essential
requisite for dramatic effect-indeed, without tive
get tred nf the best of singing. Music has been
gwen US by the all wise Creator to mOve to arouse,
to purify, to elevate our soulO-it has never been
intended to be the mere machine without soul,
which il has degraded to in our days. An artist,
though she may possess every other great quality
as singer, voice, purity OF tone and style-yet IT
she has not expression, or what IS called SOUL tor
music, she is deficient in the great, the essential
attribute OF great singer.


Music must have the same influence as the dra-
ma; we must sympathise with the afflicted, be
aroused at injustice, laugh with the joyous, and IN
fact be carried to and ro according 10 the veal
woe of humanity. When it does not do this, 1t
ceases be the moral agent intended by the Crea-
tor.


that she appreciates and understands this lofty at
tribute of music, that hail her great acqul-
sition to the Italian troupe. She IS OF good
school, indeed, the correct school, She sings with
she does not astonish nor electrify the house, as
Persiani and Cinti do; no, but she moves us-she
makes us sympathize with her suHerings and par
take Of her jcy-this s the triumph Of music, as it
ia her triumph. How exquisitely and touchingly
she sang her last solo. We look forward to great
treat in the Semiramide," which, we understand,
is in rehearsal


Sanquirico. where is his equal in the country ?





perfection What rich voice what pure intona-
Iion ! what perfect musician We heard lady,
(by the way, one of the best and most impartial
Judges in the country,) compare him TO good
chronometer-a happy illustration OF his perfect
time. Throughout the whole performance he was
excellent The dagger duo, with Valtelna, was
very effective. bringing out, as it did, those tine
notes OF Valtellina. If we might suggest to Valtel-
lima, without his taking offence, we would remind
him that the character OF Montalbano, though a
villain at heart, is not known so to the world, and
Rosenbergh trusts him with his child, thinking him
to be his best friend therefore, for Valtellina to
look " the villain," is not the intention OF the dra-
ma for Rosembereh must be a fool if he does not
see, what any child could see, that Montabano, as
played by Valtellina, is q villain 1t Is so with the
Iago of Shakespeare, by all the actors that we ever
saw play the character, that even child could de-
tect his vllany, whereas Shakespeare has never in
tended that the inward vlany of lago should be
portrayed In his features, tor that would mar the
whole plot. !,


We were happy to find Antognini :" himself
again" Heq quite astOnished his friends In his hrst
solo, and he sang well throughout It is delightful
to listen to his exquisite styie-It is redolent win
beauties, and the fire Of the Italian genius still
burns within him.


Altogether the opera was most successful-the
orchestra was excellent. The choruses were, how
ever very bad-but little more practice may teach
them to sing more in time and 10 bawl less. II
now remains to be seen if our best society can
support Italian oPcIo. AS II Is tlc oniv ornueo-
ment we have for the winter, II will be indeed a
shame if they do not give il their strenuous support;
yet we are not sangune, for we do not believe that
the taste OF our best society is yet refined enough
for this divine recreation.