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TOC
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M. de la Lande, however, allows
that the hands employed in the orchestra
are more numerous and various, but
complains that the fine voices in an Ita-
lian opera are not ony [sic] too few, but are
too much occupied by the music and its
embellishments to attend to declamation
and gesture.
With regard to this last charge, it is
by no means a just one; for whoever
remembers Pertici and Laschi, in the
burlettas of London, about twenty years
ago, or has seen the Buono Figliuola
there lately, when Signora Guadagni,
Signor Lovatini, and Signor Morigi were
in it; or in the serious operas of past
times remembers Monticelli, Elisi, Min-
gotti, Colomba Mattei, Manzoli, or,
above all, in the present operas has seen
Signor Guadagni, must allow that many
of the Italians, not only recite well, but
are excellent actors.
Give to a lover of music an opera in a
noble theatre, at least twice as large as
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