The Sun.
London, England, 1836-10-10 00:00:00

DRURY-LANE.

On Saturday night this theatre opened for the season.
The house was well filled, without being crowded. The
first piece was the opera of The Siege of Rochelle, in which
Mr. M. W. Balfe made his appearance for the first time
on the English stage. He appeared in the arduous character
of Michel, and was received on his introduction to the
audience, with an enthusiastic kindness which his subse-
quent performance warranted. His position, as the singer
of his own music, was a novel one. The audience seemed
to feel it, and they acknowledged his deserts accordingly.
We shall be anxious for an opportunity of seeing him in
some character affording more scope for the operatic talent
and powers of acting which he evidently has. The new
grand opera in preparation at this theatre, in which Mr.
Balfe sustains a principal character, will no doubt give him
scope enough. Miss Sherriff acquitted herself to the great
delight of the audience, though we should, we confess,
rather see more nature and less of artificial feeling. A
new farce called Everybody's Widow, by Beasley, followed
The Siege Rochelle. The principal character in the piece
were sustained by Mr. Bartley, Mr. Meadows, Mr. Brin-
dal, Mrs. C. Jones, Mrs. Vining, and Miss Lee. It was
unfavourably received, a circumstance which renders it
scarcely necessary for us to give an outline of the plot. It
began very heavily, and also contained some indelicate ex-
pressions, under the guise of what the author must have in-
tended for wit, though the audience thought very differently.
We see by the announcement for next week that it has
been withdrawn. The evening's performances terminated
with what was described in the bills as a " Grand Com-
memoration of the departed Genius of Music." After an
introductory tribute to the memory of the fair genius, the
scene changed, and offered a panoramic view of " The
Mill," in Bellini's opera of La Sonnanibula. One stanza,
descriptive of the powerr of the late artiste, exhibited in
the arduous but captivating character of Amina, having
been spoken by Mr. Cooper ; another scene followed,
which represented " the prison" in Beethoven's magnificent
opera of Fidelio. Here a further just elegical encomium
was passed upon the deceased, and the audience were next
presented with a view of " The Deserts," in Balfe's Maid
of Artois. That the reader may judge himself of its merits
or deficiencies we subjoin the—

MONODY.
Changed is the scene since—one brief summer past—
Our theme of thanks by you was welcomed last ;
Changed, too, each thought which used to plume the flight
Of hope and joy, on this our opening night—.
The smiles which beamed around us, the response
That glowed within us, clouded all at once !
Enchantress of the nations ! she who breathed
The sweetest notes that ever music wreathed ;
Whose magic tones were wont to pour along
Those compassed sounds, unknown before to song ;
Hath passed for ever from us—cold and still
The lip which once could every bosom thrill ;
Glazed, too, the eye, whose intellectual fire
Could light the dull, and e'en the bright inspire:
And now she sleeps, if that may grief atone,
Within the land which loved her as its own.
Here, then, where late the magic of her art
Subdued the stoutest, melted every heart,
It may be pardoned if we bring to view
Some humble tribute to such greatness due !
(Here the Scene changes, and discovers
THE MILL, in " LA SONNAMBULA.")
Behold the scene familiar to each eye,
As were its tears she could command or dry ;
The mill—the stream—the cottage and the dale
The youth who loved her, and believed her tale.
(Here the Scene changes to
THE PRISON in " FIDELIO.")

Then pass we on to where, in hopes to save
Her captive lord, Fidelio dug his grave ;
The daring heroine—the devoted wife—
Who risked her own to save a husband's life.
( Here the Scene changes to
The DESERTS in " THE MAID OF ARTOIS.")
Then farther on, along you barren sand,
The hapless maiden bathed her lover's hand,
Prepared the latest gasp of life to give,
And die with him her heart could not outlive !
Where is the breast so uninspired and cold
Could scenes of such pervading force behold,
Nor, while he bowed to woman's power before,
Gaze on and wonder at its worth the more ?
These are the scenes whose form we would recal,
Which want, alas ! the soul that made them all—
And now but serve to show, in sad array,
The mighty and the beauteous passed away.
Now turn we to that fane, whose cloisters rung
With the rich strain her dying accents sung ;
Beneath whose sacred dome in peace now lie
All of that gifted spirit which COULD die
And thus, when other ties may be forgot,
Lov'd be the sanctuary, blessed be the spot,
Whence the last notes she warbled into air,
Ascended unto heaven, and rested there

Here the scene changes to the interior of the Collegiate
Church at Manchrster, in which a chorus is sung by the
principal vocalists of the establishment, a sort of preparation
to the Apotheosis that followed. We cannot say much for
either words or music.