The Express.
London, England, 1849-04-13 00:00:00

HER MAJESTY'S THEATRE.

The first of the series of "grand classical concerts," '1
which have been arranged for the appearance of J. nny
Lind, in con-equence (it is understood) of her d ter-
mination to abandon her career as an actress, took
place last evening. It consisted of the music of
Mozart's "Flag° Magico," omitting only the reci-
tatives and such portions as ere sot practicable in the
form of a conceit. The performers wet. placed on
the stage ; the principals in the front, and a numerous
chorus behind them. The instrumental orchestra
occupied its usual place. The theatre was quite full.
Tue performance of dramatic roue, diverted of its
accessories of action and scenery, must always be in-
jurious to its effect; but, on the other hand, a series
of such concerts as those now set on foot will pro-
bably afford the lovers cf musio an entertainment of
a much higher order than they had any prospect of
obtaining had Jenny Lind continued on the star.
Instead of a rei eration of two or three trite
operas—the " Sorinambula " and "Lucia," and the
" F.glia del Reggimento," we shall have the music of a
number of the greatest masterpieces of the lyrical
drama, executed so as to gratify the most fastidious
taste. A listenet., who knows the opera, can supply
in some measure the dramatic accessories by the re?
of his imagination ; and those to whom the piece
new, can prepare themselves for enjoying it by a little
previous study of the libretto and the music—an expe-
dient which we In gto recommend. In the part'oular
instance of the "Flout* Magico," it happens that the
music does not lose much by its separation from the
drama. A great deal of the music has long ha i the
highest popularity in E gl.nd, while the opera itself
is to this day almost unknown. And ro it will al-
ways remain, for every attempt to perform
the piece in this country, either on the Italian or the
English stage, has utterly failed in consequence of
the nature of the subject. In Germany it is regarded
u an allegory, full of deep and myatical meaning, but
everywhere else it seems mere absurdity and child-
ishnees. In France, the attempts to bring it on the
stage have been as unsuccessful as among ourselves.
Mozart saw something in the subject that a German
only could see, for be has drawn from it his brightest
and most beautiful inspirations ; and, happily, their
brightness and beauty can be enjoyed without the
aid of the worthless drama with which they are ema-
ciated.

The overture, a solitary instance of the furled
style, applied with felicity to the magic of the stage,
is universally admitted to be quite unrivalled. A
critic has espressively called it "the despair of com-
posers." We have never heard it more finely executed
than on this occasion; and not only it, but the whole
of the instrumental performanoe, did the utmost
honour to Mr. Balfe and his orchestra. Of the
numerous vocal pieces we an notice only a few of the
most remarkable. The bird-osteber's song, "Dente, d
eel roccellatue " was sung by Belletti with great
liehtneei and spirit. The scene, of the ' Queen of
Night," " Non paventar," was sung by Mdlle. Lind in
a eaanner that surprised even those who were acquainted
with her powers. It is probably the most &Monk
vocal exereiee in existence, ending with a chain of rapid
divisions rising to the height of F in altiseinw. These
she attacked and conquered without the smallest ap-
parent effort, and with a voice clear and ringing as a
bell. The air was encored with soclamatione. The
beautiful and comic quintet, "Hm ! hm ! probe
mend; was delightfully sung by Mdlle. Lind, the
Muses Williams, Bordas, and Lablache. The two
tersettes foe female voices were nicely given by Ma-
dame Grimaldi, Mille, Pokeio, and Mdlle. Cusloni,
three ladies hitherto strangers to us. The celebrated
" Qui edegno" was given by Coletti with great sim-
plicity, and loudly encored. The most ex-
quisite thing of the tannin was Jenny Lind's
performance of the air, "M, lo so;" it was
the very soul of melancholy, breathing in liquid mur-
murs so soft that they seemed to be felt, rather than
heard, amid the dead silence of the audience—a g-
len*, that was followed by a burst of rapturous ap-
p/sose. The pretty litie duet, " Pa, pa, pea," was
gives by Mdlle. Lind and Lablache with quaint and
graceful humour. Belletti's air, " 0 oolong*, 0 tor-
torelle," was deservedly enomed. The grand finale
of the opera, most splendidly sung by all the prin-
cited performers and the chorus, concluded the concert.