*p1753 12 17 cg L'Amanti Gelosi.*d1753 12 17 cg [Unspecified.].*c1753 12 17 cg An <i>Italian Comic Opera</i> by some performers just arriv'd from <i>Paris</i>. Went off pretty well, -a Girl greatly admir'd ($Cross=). [The girl seems to have been $Sga Spiletta=.] She plays off with inexhaustible spirits all muscular evolutions of the face and brows; while in her eye wantons a studied archness, and pleasing malignity. Her voice has strength and scope sufficient; has neither too much of the feminine, nor an inclining to the male. Her gestures are ever varying; her transitions quick and easy. Some over-nice critics, forgetting, or not knowing the meaning of the word Burletta, cry that her manner is outre. Wou'd she not be faulty were it otherwise? The thing chargeable to her is (perhaps) too great a luxurience of comic tricks; which (an austere censor would say) border on unlaced lasciviousness, and extravagant petulance of action ($Paul Hiffernan=, <i>The Tuner</i>, No 1). [<i>Spiletta</i>r was the name of the character to whom $Sga Nicolina Giordani= gave such life that the name stuck to her. See $Saxe Wyndham=, <i>Annals of Covent Garden Theatre</i>.] [A Comic Opera by G. Giordani, Music by $G. Cocchi=-<i>Nicoll, English Drama</i>, III, p. 349.] Nothing less than the full price will be taken during the Performance. Printed books of the opera sold at the theatre. Tomorrow, <i>Venice Preserved</i>. [$Murphy= commented in <i>Gray's Inn Journal</i> (22 Dec.): "A great deal of whatever humour this production may contain, is certainly lost to an <i>English audience</i>; and the manner of acting, being a burlesque upon what people here are not very well acquainted with, is not universally felt. But notwithstanding these disadvantages, there is one among them, Sga Nicolina Giordani, who displayed such lively traces of Humour in her countenance, and such pleasing variety of action, and such variety of graceful deportment, that she is generally acknowledged to be, in that Cast of playing, an excellent comic actress."]