The Express.
London, England, 1848-08-14 00:00:00

practised on the Biamp-offiee for advertisement and
newspaper duty. Let it be remembered that this
unconscionable journal is but one out of at least half a-
dozen already issuing from one manufactory alone,
Whose nuatleeds we have, heretofore, so repeatedly denounced.
We are glad to see that the collector has acted with such
energy in this affair, and we trust that if the present act be
insufficiert for the prevention of the fraud in question,
anew bill may be in.roduced defining the privileges of the
legitimate Manz press, and that in the mean time an order
in council may be i'eued, directing the seizure and condemna.
tion of all papers acting in contravention to the true intent
and meaning of the proposed enactment.

LITERATURE.
PALEY'S NATURAL TIIROLOOT A GLARING PLA-
OTARISII.- —A correspondent of the Athentruns has discovered
that this work is copied from a series of papers which ap.
peered about tho end of the 17th century, in the Leipric
Transactions, by a Dutch philosopher, named Nienwentyt.
It is extraordinary that this discovery was not made before,
seeing that the papers after having been published at
Amsterdam about the year 1700, were afterwards translated
into English by Mr. Chamberlayne, and published by
Longman and Co. in 1818, about 15 years after Paleys
Natural Theology appeared. As Paley qultes Dr. Nien-
wentyt, from the Leipsic Transactions, he, of course, must
have known of and perused them. Parallel passages are
printed side by side in the Atheneum, which seem to prove
the ease.

_Mask.
ROTA!. ITALIAN Gralta.—" Guglielmo Tell," a new
Italian version of Romeni's " Guillaume Tell," was brought
out at Covent-garden en Saturday evening. The producuoa
of this opera, on which great labour and expense must have bora
bestowed, at the very end of the season, when it cannot possibly
be repeated more than once or twice, can scarcely be regarded
as an act of good management; the more especially As it has
immediately followed the " Huguenots," the most successful
and remunerating piece that has as yet been brought forward
at the Royal Italian Opera. But though this last novelty
cannot be considered a stroke of good policy, it is at all
events a proof of aerially and spina. At the same time,
as both the " litguenota " and " Guillaume Tell "
(as well is other operatic novelties) have been announced
since the very outset of the establishment, the delay in their
production is much to be regretted, as their timely perform-
ance would have obviated the charge made with too much
foundation against the management of this theatre, that, in
place of striking into a new and independent course, it has
1 great measure followed the heekneyed routine of the
old house. It is easier, after all, to project new plans than
to follow them out ; and the directors of this theatre have
doubtless encountered many obstacles for which, in their
inexperience, they were unpreperid. Whatever may have,
been the causes of the delay in the cases both of the
" Huguenots " and "Guillaume Tell," both operas have
been brought out with a core, completeness, and splen-
dour most honourable to the theatre. Notwithstand.
ing. the European celebrity of Rossini's last great work,
it is less known in this countey than might hare been
expected. 'the French libretto, by M. Jouy, is founded on
Schiller's play, which, however, is not responsible for the
dramatic Inuits of the opera. It was first performed at the
Acadimie Royale de Musique in 1829 with a degree of suc-
cess which has only been since equalled by that of " Robert
le Diable" and the " Huguenots ;" these thrce paces hav-
ing, almost to this day, maintained the chief possession of
the " grand opera" stage. In the following season of 1830
it was produced at Drury-lace, but with a preposterous
change of 'abject and title; Hafer the unfortunate patriot
of the Tyrol, having been, in defiance of dramatic propriety.
substituted for the liberator er f Switzerland. It had conside-
rable success for a time ; but the opera has never attracted
much attention in its English dress. It was performed in
Italian at her Majesty's Theatre some eight or too yearn 11,0,
but was indifferently got me, and made no impression. The
Italian version now performed at the Royal Italian Opera,
by Signor Maggioni, is ably executed. The piece is consi-
derably abridged, tut still its length is more than commie n-
surate with its dramatic interest, which, indeed, is by no
means great. The incidents, meagre in the extreme, are
eked out by a string of tates, pageants, and dances, equal in
duration to et least a third of the whole ; and by the intro-
duction of some love-pausges of the most cold end insipid
kind. Arnold (who, notwithstanding the title of the piece,
stands in the position of the hero) has no character at al.—be
is feebleness personified; while Matilda, lugged in that ti e
said hero may have somebody to tall in love with, is as arrant
• " walking gentlewoman" as ever trod the bards, and is,
moreover, introduced in the most absurd and impasaible
situations. The principal (indeed almost the only) inciden t
Tell's shooting at the apple on his sou's head—has •
schoolboy familiarity which deprives it of everything Mi.
pressire, and it cannot be represented on the stage with-
out becoming childish and ridiculous. All the madness
and feeling of Tamburici's deportment, and all Mademoiselle
Corbari's pretty acting as the boy Jemmy, could net,
we confess, divest it in our eyes of this aspect. The subject
of the opera, however, notwithstanding its unskilful treat-
ment, is essentially noble, and has certainly given birth to
Rossini's noblest inspirations. During the etx ur seven years
which intervened beween the production of " Semiramiden
and "Guillaume Tell" (an interval Finset in apparent Mac-
tieity), Rossini's style and character as a c imposer under-
went so entire a change, that in the grave, pr. found, elabo-
rate, and masculine music of this last work, we cannot recog-
nise a single feature which distinguished him during his
whole previous career. There is still a rich vein of Italian
melody; but it is no longer (and this change is the most re-
markable of all) the melody of Rossini. It has none of that
peculiar tournure, that cast of phraseology, which clings to a
composer whites--r changes may be perceptible in his modes
of barmony and instrumentation. It has not only greater
strength and elleitt7, but the local colouring which pervades
it is a feeture to whieh Rossini previously paid no attention.
From the very overture these characteristics are apparent.
The delicious strain fa rn the violoncellos, stealing almost
imperceptibly. upon the car, is like the quiet dawn of a
lovely =Prang; the gradual rise of a mountain-
storm, the calm which follows, and the pastoral
melody of the shepherds, bring to mind (without
plagiarism) Beethoven's treatment of a similar subject; and
the rapid and spirit-stirring pat redoubli appropriately con-
cludes this introduction to a tale of rustic patriotism. The
choruses are a leading feature of this opera. They are nu-
merous, largely developed, and varied is character. 'they
equal the choruses of Meyerheer in power of combination
and dramatic a ffect, and greatly excel them in symmetry of
forth, melodious flow, and grateful sometime u. The open-
ing chorus, " E it cid ser.no," a pace of rich five part har-
mony, of a somewhat antique character, breathes ad the
freshness and serenity of the scene, and blends beautifully
with the fisherman's simple ballad with which it Mier-
mates. The finale to the first act, • scene of up-
roar, its which old Machtal is seized, and carried
awev by the tyrant's soldiers, is worked up with
gm it vigour. But the grand di-play of Roesini's power in
this branch is the finale to the second act, the meeting of the
inhabitants of the different cantons prepared to rise in arms
against their oppressor. The patriot hands descending
through tho mountain pares, we ecomed by their leader as
they successively enter, joining in the solemn oath of union
and fidelity, and separating with the battle-cry "To arms
form a scene not surpassed in animation by anything on the
stage—a scene which has roused the whole energies of the
musician. Its effect, as represented on Saturday, in the pie
turesque beauty of the spectachnthe noble bearing of the patriot
chief, and the astonishing fire of the chorea, produced a degree
of excitement in the theatre never exceeded within the walls of
the " grand opera." There arc very few molar airs, moat
of the solos being introduced in t e concerted pieces in which
the business of the drama is chiefly carried on. One of the
most celebrated pieces is the duet in the first act, in which
Arnold, distracted by his love for the tyrant's si,ter, is
roused by Tell eo the tense of his duty to his country. It is
quite a model fir the musical treatment s f an impassioned
oislogui combining !orce t ropidity resai.ge of
sentiment, with great variety aid beauty of melody. The
passage, " Ah, Matilde, io sung a parte by Arnold,
exquisitely tender and p ohmic. There is soother duet
between Arnold and Matilda, which is lees sue
metal. its coldness is wa.thy of the frigid loves
of the pair, the lady's part of it being a more
tissue of roulades and bravura passages. The trio
between Arnold, Tell, an 1 Walter Furst, in which
Arnold is told of his father's murder, is another great fea-
ture ; the music of Arnold's part is the very cry of anguish
and despair. The same originality of character pervades
every part of the opera. lien n the dances, long as they are,
derive a charm from the novelty of their music—beautiful
national strains sung by the chorus instead of being played
by the band. The flattest pert of the piece is ins conclusion.
It is, indeed, so flat that we believe it is generally left out
altogether, the curtain fa ling when Arnold rushes out at
the head of hie followers to attack the tyrant. The sequel
may be tak n for granted, and its omission is a de-
sirable curtailment of a very king piece. The character of Ar
nold was suaeineei by M. Koge.:, its • WISLILtr worthy, on the
wto le, of his high reputation. But it unfortunately hap-
pened that he was suffering under a sore throat, which im-
paired his vocal powers, and made Ilan sing, in the most
trying pase,ges, with a pain:ul effort, which was very per
ceptible. It was moat praiseworthy in him to exert himself''
as he did andsr such a disadvantage ; but, in justice to him,
his indisposition ought to have been notified to the audience.
With this drawback his performance was that of a great
actor and a great singer ; full of judgment, energy, expres-
sion, and fine vocal execution. Tanaburini's personation of
7'ell was everything that could be desired—noble, ample,
and manly ; and we never heard him sing more beautifully.
Madame Caste lan, as Matilda, Bang sweetly and bril-
liantly, which was all She had to do. Mademoiselle
Corhari, as the boy Jemmy, following her father
like kis shadow, and watching his every look and gesture,
made one of the most engaging pictures imaginable. Marini
stave great effect to the brief but energetic part of Walter.
This performer is certainly tiring in dramatic power; the
quality of his tam voice can scarcely be summated. Polonini
was a good r. presentative of the aged Melchtal, and Inglis.
fico was a gruff and peremptory tyrant. The mangiticent
choruses were sung with correspondicg magnificence; and
Costa's unrivalled orchestra was in all its glory. The theatre
Was crowded, and the performance was received with every
demonstration of applause.

• •
A NEW SYMPHONY BY DAVID.—The Debuts an-
nounces that in a few days will be produced, at the Opera, in
Paris, a new work by Felicien David, entitled " Eden." It
is a grand symphony in two Farts, with choruses nd
The libretto is written by M. Meq. Alizaro will sing the
part of Satan, Poultier that of Adam, and hidlle. Grimm that
of Eve.