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THEATRE ROYAL, DUBLIN. 221
tinues periodically to visit Dublin, more welcome each
time, it is unnecessary to enlarge more on his merits.
Signer Bettini, though last, not least, must not be for-
gotten. This tenor only required a little more power of
voice to have placed him amongst those who have arrived
at the top of the ladder. The wonderfully artistic manner
in which he managed the rather limited organ which
nature placed at his disposal, was most remarkable. Al-
though wanting force, the voice was exquisitely sweet,
and in music requiring flexibility, such as Rossini's Count
Almaviva, &c., he was perfection, varying his passages
on the repetition of a phrase with great judgment a
proceeding very often admissible in florid composers, but
sometimes abused. It is related that Rossini, after hear-
ing a song of his own performed by a great Parisian
soprano, was asked : "Well, Maestro, what do you think
of that ? " " Magnificent," replied Rossini "
; but who is
the composer ? "
Bettini did not go so far, but " used
all gently." His singing in " Oberon " was something
charming.
The first performance of the now familiar "Faust"
was a success, but a succes d'estime. It must be ad-
mitted that the audience were a little puzzled, and varied
were the critical remarks. The journals were for the
most part favourable, but the pit-goers, in particular, were
doubtful. All admitted the " grandeur " of the work, the
fulness of the orchestra, c. \ but it was asked, " Where
is the melody ? Why, the only tune is ' The Soldiers'
Chorus,'" &c., &c. (Valentine's first song, " Dio pos-
sente," was not then introduced.) The cavillers were an-