The Sun.
London, England, 1849-01-30 00:00:00

ASTLEY'S AMPHITHEATRE.

A very beautiful scene of equestrianism, described
in the bills as a gorgeous arena cavalcade, was pro-
duced here last night, under the attractive title of
the Amazonian 11/aids and their War Steeds, and met
with an encouraging reception. The intention of this
scene de cirque is to give greater scenic effect to the
graces of female equitation, which have always been
a favourite object of contemplation with admirers of
the circle. In the present instance the intention has
been well carried out, and the effect to the eye is
exceedingly fine, the costume of the riders and their
armour, and the trappings of their horses, conspiring
to produce a splendid coup d'eeil, admirably suited to
the graceful evolutions in which they form so essen-
tial a particular. Mr. Blake's equestrian spectacle
called the Wars of the Jews ; or, The Fall of Jeru-
salem, continues attractive, and the pantomime of
Robin Hood was received last night with undiminished
applause.

MR. BALFE'S CONCERT.

MADEMOISELLE JENKYLIND AT EXETER

HALL.
Exeter-hall was last night crowded to overflowing
in every part. It was Balfe's benefit concert, at
which Jenny Lind was to sing, and had the hall,
therefore, been twice as spacious as it is it would have
been crowded. The first
piece sung by Jenny
Lind was the far-famed "Deb vieni," from Mozart's
Nozze di Figaro. It was given with exquisite sim-
plicity and a charming
purity of style. She next
sang the magnificent "Carta Diva" from Norma,
and never have we heard this magnificent hymn
so exquisitely rendered. The introduction was
given, not as a mere musical display, but as though
it were the " outpouring of the soul "—there was a
reality in Jenny Lind's rendering of this portion of
the hymn which we have never perceived in any
other singer. Her sotto trove tones—delicious, rich,
murmuring tones they were—were heard clearly
and distinctly at the very furthest ex-
tremity of the hall, and that marvellous
faculty of voice which she alone possesses, end which
we have on some occasions termed vocal ventrilo•
quism, was here exhibited in the highest degree of
perfection. The voice seemed gradually to die away
in the distance, and then return in a full gush of melody.
Her execution of the finale was a marvel of florid
brilliancy. She next took the voice part in
the trio for voice and tWO flutes from Meyer,
beer's F7elha, and here the nightingale like
tones of her voice were heard to great
perfection, vieing with and overcoming* the two
flutes. Then she sang the admirable comic duet of
Fioravanti, the music lesson, with Lablache. This,
of course, commanded an encore. Last of all. she
sang a new song, composed expressly for her
by Balfe. The following are the words of this song :
" A rose gaz'd from her bower green
Upon the summer light,
And never had creation seen
A flow'r so fair and bright.
Her modest form so soft, so meek,
With morning radiance dy'd,
Bee'domliekeyothueng village bride.lovely blushing cheek
Of
But soon a storm, dark o er the vale,
Its mountain fury shed,
And, shrouded in the twilight pale,
The lonely rose lay dead.
And so it is, a gentle mind
Sinks under sorrow's dai t;
The storm may pass, but leaves behind
Too oft a blighted heart."
(We may observe en passant that both singer and
composer are worthy of a better poet.) The melody of
this song is very graceful, and there is a cadenza at the
close of each verse which is exquisite. Jenny Lind
exerted herself to the utmost to zecure the success of
the new song, and was rewarded with an enthusiastic
and unanimous encore. She was received throughout
with more than enthusiastic applause--she was
received as though those present not only ad;
mired, but respected and loved her. The great
Lablache was in every sense of the word as great as
ever. He was in superb voice, and in addition to his
duet with Jenny he sang "Un Segretto," from the
Cencrentaa, with . his son, and Ityssini's Dan-