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To the Editor of the Examiner
It can only be considered as a continuation and a summing up of the letter I had /the hon/ before the honor to address to you, /If/ if I now add to what I then said on the subject of Velluti, the conclusions shown from another [?Dance] of his benefit Thursday night.
Madame de Stael has observed, that there are many things, and those among the most lovely and delightful in the world, which unless we admire with enthusiasm, we do not admire at all: we must be, as it were, instinctively attracted and charmed, or the spell is wholly without avail, and there is no medium between fervent admiration and cold distaste. From the extreme constranity of sentiments so expressed concerning the subject of this letter, it would seem that he is thus circumstanced; so that it is merely justice that when his /sensurers/ censurers are so eager to come forward to express their disapprobation, that his admirers should be permitted to word their approval with that zeal which this accomplished singer has found means to inspire. Having however already expressed my opinion concerning him, an opinion, which founded on sentiments imbibed of the eye and ear, is not to be overthrown by a mere battery of words, it is needless to reiterate assertions, to be opposed by counter assertions. Leaving therefore the general discussion to the arbitration of each individual who has heard him, I will confine my remarks to the representation of the night of the 22.nd
The opera then selected, Aureliano in Palmira, was, it seems, composed by Rossini expressly for Velluti, and brought out twelve years ago at the Theatre of La Scala at Milan, and has never since been sung by him. It bears marks of its design and would be better understood in Italy, where the /pa/ audience pay no attention except to particular arias, carrying on during the rest of the piece all the small talk of a private conversasione in their respective boxes, and do not labour like the audience of Thursday to attend to the heavy intermediate scenes with which the composition abounds. The house