The Sun.
London, England, 1847-08-18 00:00:00

WORSHIP-STREET.-(THIS DAY.]

Mr. Hammill, the sitting magistrate, requests us to
acknowledge the receipt of a second donation, from an
unknown correspondent, of five shillings' worth of post-
age stamps, for the benefit of the woman Ludford, whose
stall was wantonly and maliciously destroyed about ten
days since by a man named Todd, as stated in The Sun
of last week.
Helen Bade was charged with being found in the area
of the dwelling-house of Mrs. Clare, No. 75, Nicholl-
square, Hackney-road, for an unlawful purpose, at half-
past one this morning.
Police-constable 425 N, stated that he was on duty,
and observed the prisoner loitering about the door of
Mrs. Clare. He watched her for a short time, but,
perceiving that she had been seen, she left the square.
Witness proceeded on his beat. On returning to the
same spot in Nicholl-square, he perceived the prisoner
down the area of Mrs. Clare's house. Witness asked her
what she did there. She replied that she had been in the
service of Mrs. Clare about two months since, and wanted
to see her about her character. Witness then took her
into custody, and subsequently learned that it was twelve
months since she had been in the employment of Mrs.
Clare, and had been discharged for repeated acts of dis-
honesty.
The prisoner, who is not more than twenty-two years
of age, said she went there to see her late mistress.
Mr. llAmmiLL—What, at that hour in the morning !
I shall commit you to the House of Correction for four-
teen days.—Committed accordingly.

HER MAJESTY S THEATRE.
Notwithstanding the close of the season, notwith,
standing the heat of the weather, there was as great
a crowd anxiously awaiting the hour for the opening of
the doors of her Majesty's Theatre last night, as there
has been on any other Jenny Lind night during the sea-
son, and it is not surprising that such should have
been the case—Jenny Lind was to appear for the
first time in the character of Susannah, in the par ex-
celence greatest of comic operas, Le Nozze di Figaro,
and she was to be supported by Staudigl as Figaro,
Lablache as Bartolo, Colletti as the Count, and
Madame Castellan as the Countess. Had Mozart
lived in these our days, and had he been desirous of
" fitting" Jenny Lind with a part, he would have
written his Susannah just as we find it in his chef
d'oeuvre. Beaumarchais, when he originally wrote
the character, must hare had a vision of Jenny Lind in
his imagination—La charmante fille toe fours riante,
verdixsante, pleine de gaite, d'esprit, d'amour et de
delices ! mais sage. Such is his description of the
Susannah, which he intended to draw, and such is the
description of the Susannah which Jenny bind pre-
sented to the audience of her Majesty's Theatre last
night. She was perfect, the very Susannah of the
composer and of the author—the only perfect Su-
sannah that has ever appeared, inasmuch as she is the
only representative
e
has,in
nly representative of the character in our time who
herrra ownperperson,
delineation combined
of allth thee
characteressential
Shere -
quisites
is young (and without youth you can never have a
i
Susannah, a Beatrice, or a Donna Violante—imagine
instant a fat old B • highest degree that Beatrice), and possesses in the
which is the t?ingled simplicity and archness
She is the essentialgreatest
characteristic of Susannah.
as well as the greatestactress at present living,
she may thank her G musician, and (for which
she understands and German musical education)
because she understands appreciates Mozart ; and
an
sings his score fairly andd appreciates him, she
omission and without inter cl •honestli without
freshness and originality aEonattioirli. r 'here is a
Susannah which is really delightfuler delineation of
the Susannah of her predecessors, alt is not like
duction of venerable stage traditions repro-
from nature, original, and, therefore, delighltsfual.stVy
never attempts to make hits, never o'ersteps the mhoe
desty of nature, never is vulgar or boisterous, and
has shown in her Susannah, as she had before shown
in her Maria, how much more effective comedy is
when feminine grace is preserved throughout than
when. boisterous vulgarity is permitted to usurp its
place. The curtseying duet with Marcellina was
charmingly given, as was the
.scene with the Count
and Cherubino in the first act. There is something
exceedingly natural in the manner in which the real
feeling of terror in this scene gets the better of the
put-on look of wonder at the discovery icf Che-
rubino behind the chair. The great taiumph, of
this, the earlier portion of the opera, was the finale of
the first act, which was superbly rendered by all
concerned ; and at the conclusion of which the whole
of the performers were called before the curtain.
The triumph par excellence of the night, however, was
the quartet in the second act, between Susannah,
Marcellina, Figaro, and Bartolo. Our readers may
imagine what a rich treat it must have been to have
thus heard Jenny bind and Staudigl and Lablache,
(each, in their particular department, the greatest
svrasg er in the world) singing together. This quartet
encored three times—a circumstance almost un-
precedented in the annals of the opera. After this
came the exquisite duet, " Sull' aria," delightfully,
tastefully, truthfully, honestly
sung—sung even as it
was written by Mozart, by Jenny Lind and Madame