The Express.
London, England, 1847-06-16 00:00:00

ta are rhos proportiamd-53 marviod amides. 42
39 *alters, 57 boys sad 56 gals, of mitosis 10 are
ender a twelvemonth old.

Jana.
Has MAJESTY'S THEATEL—The Queen went in
state to the theatre last evening, whoa Jenny Lind appeared
in "Norma." It is hardly neeesemy to say that the hones
was orowded to overflowing in every pert. Her Majesty
=shot hex precisely at eight o'clock, attended by a
suite. Oa her amresmos the whole audience
steed sp. end reesived her with load and prolonged Myers.
me out& thee roes, and " God save the Queen" was sung
by several of the principal singers sad the chorus; the house
during the performance presenting the most magnificent
spectacle that can be imagined. In witnessing Made-
moiselle Lind's representation of Norma, we found
it impossible (and probably a large portion of the
audience were in the same situation) to divest our
mind of the impressions made by Grisi in the part, and to
avoid making constant comparisons between them. It was
certainly upon the shoulders of Grin that the mantle of
Pasta, the original Norma, fell, and still remains, Mdlle.
Lind, of all her competitors, being the only one entitled to
share it a ith her. These two great actresses give widely
different pictures of the character, each having her own
peculiar exoelleneiss. Grin is the more grand, Lind the
more twentifel Grief depicts with the greater powert
the deems of proton that rage in the
" a IMMO scorn'd ;" Lind expresses with most
truth !hang the love, strong as death, which
neither alsedri moss cruelty tan destroy, and the throes of
the mother's Modern...a for her helpless children. Grisi's
=7:draws with a broad pencil, and strong colours;
11 Ilisidied with the Spelt and most delicate touches,
fall din& and nature, and blended in the nicest harmony.
Grist's tad= is certainly, at first, the more striking
and esetlw ; bat Lind's, we believe, will gradually dove-
leAp=etition, a greater number of fine strokes of art.
as we were to the grandeur of Grisi's entrance
ea the siege, when, as the chief priestess of the Druids, and
the inapired interpreter of the will of their god, she
retake' the people for daring to speak of war, Lind's first
appearance was Mr from imposing; aid her declamation did
not, like Grin's, give the idea of almost superhuman power.
But the beautiful prayer, " Casts Diva," was delivered in a
dealt al the meet-exquisite melody and expression. It was
a stream of sounds, " in linked sweetness long drawn out,"
of ravishing purity and beauty. The cabelletto, however,
" Ab, hello • ma ritorna," had not the force and
brilliancy of Grisi's execution. In the scene in which,
after Neeosa has discovered the fatal secret of Paffie's
tr , he suddenly appears before her, Grist's
bue:theg benne fury has n been equalled by any
one ; but the air of cold and haughty dignity with which,
this tempest over, she dismisses her betrayer, was incompa-
rably fine. It was not till the second act, however, that the
greatest beauties of Lind's performance were apparent. The
scene in which Norma enters the chamber of her sleeping
children, resolved to sacrifice them to her vengeance, was
heartbreaking in its panics. The very agony of • mother's
love—except, perhaps, by Pasta in the same part, and in the
similar scene in Medea--was never so truly painted. And
in the scene with Adalgisa, in which Norma implores her
rival to protect her children, Jenny Lind was entirely in her
element. The soft and tender feelings expressed in the
beautiful duet, " Deh, eon te," seem St congenial to her
mind as its music to her voice. The moot beautiful portions,
in like manner, of the final scene, lay in Nornta's affecting
supplications to her aged father for pardon, and in her relent-
ing tenderness to the man to whom she was te be united in
death ; and the tears of the andience, as meek as their ap-
plause, paid a just tribute to the powers of the actress. Jenny
Lind's singing, throughout the opera, wee distinguished by
the features observable in her previous parts ; exquisite
sweetnesa and purity of voice, finish of execution, and true and
natural feeling. She showed her judgment in abstaining
from the florid embellishments which she introduced so up-
propriately in "Robert le Diable," and the " Sonnambula;"
singing with the noble simplicity which becomes the else
victor of the Druid priestess. When the curtain fell, the
whole audience stood up, peals of applause resounded from
every part of the house, and showers of bouquets rained
upon the stage. When the fair object of this enthralls= had
made her acknowledgements and retired, the plaudits
were renewed till she re-appeared, which she had to do three
or four times. The part of Patio was performed by Fran
chini with much effect. Adalgisa was represented by
Mdlle. Herrera, a dibutonle in this country. Her voice
was weak, but sweet and tunable, and ale sustained her
part in the great duet, " Deh, con te," very respectably. As
an actress she is wholly inexperienced. Lablache, as.Ororwio,
performed with his unrivalled grandeur and beauty.