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THEATRE ROYAL, DUBLIN. 1 23
Theatre, was despatched in all haste to Richmond with
the view to set matters right. It was explained to the
" Liberator " that no dramatic performance whatever
would take place on the same evening ; also that the
Theatre had been used for the performance of " The
Messiah," "The Triumph of Faith," and other sacred
works, on the occasion of the Dublin Musical Festival.
These statements prevailed to some extent; but when
Mr. O'Connell was told that Mr. Calcraft (for whom he
had a great respect) would be a severe loser by any
change, he yielded, kindly remarking that he was sure
Mr. Calcraft would not sanction any performance in his
establishment contrary to public morality. Accordingly,
on Friday, September 1310, 1844, Rossini's " Stabat
Mater" was given, in which Grisi, Favanti, Mario,
Corelli, Paltoni, and Fred Lablache took parts. The
overture to Mendelssohn's " Hymn of Praise " was per-
formed by the band in the course of the evening.
On Saturday, September i4th, 1844, was performed
Rossini's Grand Opera of " Otello." Otello, Signer
Mario (his first appearance in this part) ; Elmiro, Signer
Paltoni; Rodrigo, Signor Corelli; lago, Signer F. La-
blache. This was Mario's first and only appearance in
Otello, a performance which might well be termed
wonderful in every particular. Nothing could exceed
the powerful tragic force displayed in the impassioned
scenes with lago. As before stated, they were compared
by some old play-goers to Edmund Kean's extraordinary
efforts in the same scenes. A more Shaksperian reading
(as far as an Opera would allow) of the part was perhaps