The Sun.
London, England, 1847-04-06 00:00:00

PRINCESS'S.

While Mr. Maddox continues, as at present, to
unite under his management a corps of artistes, dra-
matic and operatic, second to none other in the me-
tropolis, he may rest assured that the public— a most
discriminating judge in such matters—will, as on the
evening of Easter Monday, testify, by end over-
flowing house, its appreciation of his earnest
and unwearied efforts. Wherever talent, lite-
rary or artistic could be procured, whether that
talent were continental or " native born," we have
seen the enterprising lessee of the Princess's spare no
cost in bringing it before a London audience, and if
his exertions have not been fully recognised, neither
have they been altogether unrewarded. Certain
coteries have arisen and shed a fictitious brightness
over the theatrical world for a while, but depending
on no settled laws, they have week by week waned
in lustre, until finally they have been altogether
extinguished. Mr. Maddox had determined from the
first to command the public patronage, and having
been successful in obtaining it, he has since that
period continued zealously to deserve it. Long may he
and his patrons maintain their present amicable rela-
tions. The entertainments yesterday evening were of the
diversified character, which has in so great a measure
earned for the Princess's Theatre its high repu-
tation. The first piece was The Barcaivle,
the joint production of Scribe and Auber, for
the first time presented to the lovers of art in this
country in its original and uninutilateci form. Al-
though this celebrated comic opera has -attained a
wide spread continental celebrity, we are not aware
that its story is so universally known in our own
country, and for the benefit of those who were not
present list. night to witness it, we shall give the
veriest outline of the plot, and afterwards refer some-
what more in detail to its musical excellence. The
Barcarole then is a comic opera in three acts. 'I he
Marquis de Felino (Mr. Walton), Prime Minister to
the Duke of Parma, is thwarted by the Grand
Duchess and the Count de Fiesque (Mr. Bodda),
her favourite—he is anxious to draw her into a
musical correspondence, and for that purpose
applies to Caffarini, the organist, (Mr. Leffler.)
to assist him with a somewhat amatory effu-
sion, which he intends getting placed in the
Grantd Duchess's work-box, in the expectation that
she wall reply to it, and thus give him a power over
her by exciting her fears of the Duke's jealousy.
Caffarini, driven to extremity, Steals the air and words

r

Quarters ended April b.

3,961,918
1,(41,800
1,685,€68
146,142
1,953,88
215,000
45,000
91,522
52,909
456,473

11,260,514

1847 ' i

X.
4,417,673
1,665,478
1,817,282 !,

130,892
2,033,072

219,000 ~
37,000
02.593
53,859 ,
164,568

.1.0,661,417

960,000

19,269,514

11,631,417

which had been left with Fabio (Mr. Allen), his
pupil, by his brother, Count de Fiesque, who had
intended them for Clelia (Miss E. Honner), daughter
of the Marquis. The Duke discovers the verses in
the apartments of his wife, and threatens death to the
writer. The Marquis and his instrument, Caffarini,
are alarmed, and seek to inculpate the Count and
Fabio ; but matters are, in the end, cleared up, to the
satisfaction of all parties, and two marriages furnish a
very pleasing termination to the serio-comic intrigues
which, throughout, forms the staple of the Opera.
The barcarole, which we give, is in the first act—
" Oh tl'ou, whose lustrous beauty
Doth all mankind enchain ;
Without or crown or sceptre,
Thou o'er each heart dost reign.
In silence I adore thee ;
But if thou heaest a sigh
When lovers round thee gather—
'Tis I I—'tis I !—'tis I !
"Each gallant high-born courtier
Doth seek thy heart to move,
They try all means to win thee,
I, nought can do but love.
Yes, in «ilenee I adore thee,
But if thou hear'bt a cry,
That of love some one is dying,
'Tis I !—'tis I !—'tis I ! "

This piece was thrice encored ; the scene in the
same act between Catfarini and Fabio, where the
former rushes in to the latter's attic to _remonstrate
against his eternal " practisings," was ludicrous in the
extreme, as was that wherein Caffarini seated at
the piano-forte in hopeless helplessness, waiting
for some bright thought to carry out his
patron's idea, pounces upon the air which Fabio is
humming in the adjoining closet, and transfers it
and its accompanying words to his own collect;on.
But we cannot, without quoting columns, give any-
thing like a correct idea of the opera, which, to
be understood, must be heard and seen. The artistes
were in excellent voice ; were throughout highly
applauded ; and at the conclusion of the piece were
called before the curtain. Mr. Allen appeared lead-
ing on Miss Anne Romer, Mr. Bodda, Miss Horner,
and Mr. Leffler followed. The opera was announced
by Mr. Walton for repetition. That most
beautiful of Shakspsre's fairy creations,
A Midsummer Night's Dream, followed,
and was deservedly applauded. Mr. Henry
Hughes personated Theseus, and Miss Winstanley
(whose first appearance it was in London) enacted
tlypollita. The burthen of the drama rested, of
course, on the two twin friends, Hermia and Helena
(Mrs. Stirling and Mrs. Hughes). The acting of
these ladies is so well known, and so justly admired,
that comment would be an impertinence. Mr. Comp-
ton, as the worthy Bottom, kept the audience in a
roar, while Miss Marshall and her fair friends ex-
hibited the fairy world in its most attractive aspect
The admirable airs which are interspersed throughout
were admirably sung by Miss Georgiana Smithson,
Miss Sara Flower, and Miss Anne Romer. The
evening's entertainments appeared to give the utmost
satisfaction to a crowded and most respectable house.

xclusire of 91

13,195,733
1,0001. 'Teel.

14,350,444 12,820,671 11,603,804 1 51,978,652
rad on Loan of 8,000,0001., as stated below.

CHARGE.

The Surplus ................

Miss Addison is a favourite with the public, and her
powers—such are their promises—deserve the pa-
tronage; at the same time, if she would mouth less
her declamations, if she would recede further from
that extreme of inane boarding-school recitation, if she
would approach nearer the expression of the very
passion as it would spring in actual life, from the
circumstances around her, always making allowance
for the exaggeration required by the stage, we feel
certain of her immediate triumph in her profession.
Considering the doleful, dismal character of the
piece, for an Easter Monday, it passed off
well, nay, we are certain it passed off very much to
the satisfaction of the gods, et superi et inferni, who
were but too glad to welcome the happy humour of
the Rival Sergeants, the rollicking frolicking Irish
fun of Leary O'Lynn (Mr. H. Mellon), the rival of
his brother sergeant (Mr. Scharf), in their suit to
Margaretta (Miss Julia Wallack). The incidents of
this tiny interlude chiefly arise out of the wit of the
Irish sergeant, which, however, proves too sharp for
its owner in the end; the green unsophisticated
honesty of Sergeant Charles wins upon the heart of
the happy, merry object of his affections, and they
were, in the terms of Miss Wallack's spirited
epilogue, " dismissed with flying colours, that
they may stand guard to-morrow night." The
well-known amusing farce of The Bengal Tiger,
followed with an excellent cast of characters. Mr.
A. Younge played Sir Paul Pagoda with effect ; Mr.
Morton meritoriously supported the character of the
Young Merchant (Edward Henderson), but espe•
cially Scharf, in the character of the Servant David,
earned for himself the universal applause of the audi •
tory. On the whole, the high character of this
house, by bating the indiscretion which governed the
selection of the pieces, was worthily sustained.

ST. JAMES'S—FRENCH PLAYS.
Mademoiselle Rose Cheri made her debut for the
season here last evening, in Un Changement de Mains.
Who does not recollect the artiste-like personation
last season of the character of Elizabeth, the Em-
press of Russia, by Mademoiselle Rose Cheri, in this
admirable comedie-vaudeville--the mingled dignity,
pathos, and humour which she infused into the cha-
racter ? It at once secured to her the suffrages of the
English public as the first of French actresses. In
fact, it made her in this country. Last night she, if
possible, surpassed herself; never have we seen
her to greater advantage. Un Changement de
Mains was followed by Scribe's new one-act
comedy La Protegee sans le Savoir, in which
Rose Cheri acts the part of a young French
girl, an artist, who is most virtuously protected by a
young English nobleman, Lord Albert Clavering
(Rhozevil), who employs Crosby, a picture dealer, to
purchase her pictures of her at unheard-of prices, and
thus, while she imagines she is acquiring a fortune
by her talents as an artist, she is in fact indebted to
her unknown protector for all i;he possesses. She
is of course, as all pretty artists are, beset by dan-
dies, men about town, &c., but rejects all their
advances, and is at last rewarded, as all paragons
of virtue are rewarded on the stage. The naivete of
Rose Cheri's acting in this character was exquisite.
There was a simplicity and a self-dependence about
her that was most fascinating. She was called for at the
conclusion of both pieces, as was Rhozevil, who also
made his first appearance for the season. It would be
injustice to close this hasty notice without mention
mg the admirable acting of Cartigny, in the last piece.,
as an old French artist, qui ze. aime pas les Anglais. It
was rich—exceedingly. The house was crowded.

OLYMPIC.
This popular little theatre opened for the Easter
holidays last evening, with
a very attractive bill of
fare, consisting of three pieces. The performance
commenced with Coleman's play of The Mountaineers,
very respectably cast, and which was received with
considerable applause. This was followed by the
farce of the Spare Bed, in which Mr. W. Artand,
Mr. Butler, and Mr. Romer, played the principal
characters. This also went off with considerable
eclat. The feature of the evening then succeeded, in
the shape of a grand historical pastoral battle-piece,
called, the Life and almost Death of Joan of Arc, the
Maid of All-he-uns. The piece, as indicated by the
title, is founded on the well known martial proceed-
ings of Joan of Arc, and the feminine character and
valorous exploits of the great French amazon, are
most extravagantly caricatured; the delineation of
the heroic maiden being intrusted for representation
to Mr. George Wild. The burlesque opens with
a very well executed moonlight scene, entitled The
Fairies Haunt, in which we are introduced to a group
of the elfin tribe, beaded by Fleur-de-Lis, their female
chief (Miss Fanny Williams ). The politics of France
come under fairy discussion, and the result is a deter-
mination to assist Charles the Dauphin in the war
then raging with Beauvais. For this purpose the aid
of Joan of Arc is to be invoked, and a hatchet is
procured, with which it is arranged the Amazon is to
free France. We have next a ludicrous representa-
tion of the Dauphin's army, and are introduced to
the Chief himself (Mr. Romer), as absurd a
specimen of the regal genus as can be well
imagined. A change of scene brings the heroine
before us, engaged in the unheroic vocation
of carrying out " heavy wet" for her father,
a publican. She professes to have been mesmerised,
and had a call to leave the retailing of " stout," and
take to the field for the liberation of her country.
The Fairy Chief, in the guise of Florine, comes to
her aid and counsel, and having armed Joan with
her " cleaver," they set out for the army, accom-
panied by a donkey well loaded with pro-
visions, the forces being represented as exces-
sively hard up. After some diplomatic sparring
Joan is admitted into the service, the result of which
is, that in the very first engagement with the army of
sheet,
le
is about ;"
cadeund under-
going
Beauvais she mows it down with her hatchet in capi-
tal style, clearing all before her.
beß übturtnheed"ablie‘s.et
alasida
ssa'iptctuhr ; ed
and,.
She
clotheds in a
white
schemiseslaoid for th
of
miceaend
men
heroine oft
going the fiery ordeal, when j
oa the hatchet, and she is
the
cat. Fairy comes to the
piece
rescue, and the ends in the olifi ion of all the
condemnedei
characters, and a grand fairy scene as a finale. The
piece is creditably, placed on the stage ; several of the
scenes are well painted, and the several parts were
fairly sustained. That of the Amaz,„, especially, had
a capital representative in Wild, who completely de-
feminized the heroine, and in conjunction with the
mock heroics of Romer, kept the audience in a roar of
laughter throughout. The scene in which the female
battalion of warriors is made to go through its evolu-
tions, was much applauded, on account of the spirited
and clever manner in which the movements were
effected. The piece was entirely successful, and gave
evident satisfaction to a highly respectable and nume-
rous assembly of holiday folks.

THE REVENUE FOR THE YEAR AND QUARTER ENDING APRIL 5, 1847.

No. I.—An Abstract of the Na Produce of the Revenue of
Inc Grerease at Britain in the Years
each and
hea Quarters ended sth of April, 1846, and sth of April, 1847, showing the
or Decrea on thereof.

r- QUARTERS ENDED
YEAR I
1 ended r- QUARTZES ENDED
Y
_______A EAR '
Y
ended I Year ended April 5. Quarter ended April 5.
,_____A________-i r_ .A. -1
I July 5, Oct. 10, Jan. 5, April 5 April 5, July 5, Oct. 10, 1 Jan. 5, April 5, April 5, 1
1845 1845 1846 184t1 1846 1846 1846 1847 1847 1847 Increase, Decrease. Increase. Decrease.
-.----
I £
£
£ £ A £ £ £ £ £ A A A A
. 4,499,848 4,848,363 4,354,789 3,961,918 17,664,618 4,523,391 5,310,835 4,514,721 4,447,673 18,796,620 Customs . 1,132,002 .. • • 485,755 -
E telse. ...... ......... 2,965,684 3,953,106 3,336,837 1,626,458 11,886,085 3,104,711 4,181,926 3,608,155 1,652,865 12,547,657 1 Excise ............ 661,572 .... 26,407 --
...... 1,837,076 1,780,175 1,792,402 1,685,868 7,095,521 1,730,495 1,174,364 1,740,687 1,917,282 7,062,828 Stamps . ..... .... •• • • 32,693 131,414 -
Taxes
.... 2,000,567 201,279 1,876,051 146,142 4,224,039 2,006,427 209,940 1,909,899 130,392 4,257,158 Taxes ............. 33,119 .... .... 15,250
909,991 1,823,883 386,985 1,963,882 5,084,741 1,009,162 1,972,123 450,219 2,033,072 5,464,581 Property Tax...... 379,840 .... 69,193 -
... I 155,000 209,000 189,000 215,000 768,000 181,000 217,000 203,000 219,000 820,000 1 Post-office 52,000 •• • • 4,000
Post-office • • .• • • • • • •
• f
-
Crowni 30,000 30,000 25,000 45,000 130,000 - 45,000 30,000 37,000 112,000 I Crown Lands ......
Lands • • •
13,652 • • • • 18,000 . • • • 8,000
pBo.ir.
y..
~.. .
...
... . . .
~:
•••
...
...
... . . . . . .
15,102 68,612 91,522 188,898 18,001 177,910 29,657 92,593 318,161 ! Miscellaneous .... . • 129,273 .... , 1,071 -
Total • 2,387.8.6 50,693 717,837 23,250
TMoits:lolarndein°ftury6 Re. • .v.e.n.u.e. '12,411,518 12,862,908 12,031,576 9,735,790 47,041,892 12,573,187 13,889,103
China Money• •• • „ 450,000 300,859 .. 750,859 440,000 227,644 I . . 667,64411 China Money .- - .... 83,215 .... -
Imprest Moneys, &c. I 29,262 24,591 64,084 52,909 170,846 73,939 33,815 31,884 53,859 193,497 i 1 Imprcst Moneys, &e. 22,651 .. .. 950
'12,486,338 10,430,377 49,379,005 '
-
RepaymenteofAdvances 182,354 473,881 404,179 456,473 1,516,887 111,607 199,882 302,449 164,568 778,506 I RepamntsofAdYnes
Total ..
5:
---,-
Total Income* ..12,623,134 13,811,380 12,800,798 10,215,T712 49,430,481 113,198,733 14,350,414 12,820,671 110,643,804 51,018,652
-
Amount applied to Con-
-1
~lidated Fund -.• •• • 8,255,362 8,869,973 7,859,997 5,468,355 30,453,887 8,476,134 7,617,435 8,615,898 3,207,608 27,917,073 , I Deduct 872,289 [
Decrease 315'155 [ Deduct
Decrease.
Ditto, as Advances .•• • • 101,501 550,000 615,077 140,000 1,406,78 i 91,501 472,500 I 837,500 2,910,000 4,311,501 1
Ditto, as Ways & Means
1 Increase Increase
of thc Year - ...... - 4,266,071 4,391,407 4,323,724 4,636,817 17,620,019 ; 4,631,098 6,260,509 3,367,273 1 5,461,196 19,720,076 1,538,168 on 403,632/ on the
- -- II , the Year. Quarter.
Total. -• • 12,623,134 13,811,380 12,800,798 10,215,172 , 49,480,414 1,13,198,733 (14,330,444 12,820,671 11,608,804 1 51,978,652 .'
- ___ •

No. ll.—lneoree and Charge of the Consolidated Fund, in the Quarters ended the sth April, 1846, and the sth April, 1847.

Permanent Debt .......... .. ..... ..
Terminable Annuities.... .. .. .. .. . .....
........... . .. .
Interest on Exchequer-bills issued to meet the charge on the Consolidated Fund . .
Sinking Fund ........................
... .. . ....
... ..
Other Charges on the Consolidated Fund •••••••• • • " • • • ' • ' . .....
••• • ' • • '
For Advances, including 2,800,0001. in the present Quarter to Ireland, per Act 9 and 10 Vic. cap. 107

Total Charge .. ..

The Surplus of Revenue on the sth January, 1847, after providing for the Charpcs of that Quarter, was .
To which is to be added the Surplus of the Consolidated Fund, as above stated on the present Quarter .

The Amount issued in the Quarter ended April 5, 1847, of the sums granted by Parliament out of the Con-
solidated Fund, for Supply Services •• • • • • •• • • • • •• • • ' ' ••'' • • • • • • • • ********** •• • • • ''

Quarters ended April 5,

The probable Amount of Exchequer-bills required to meet the charge on the Consolidated Fund, Quarter ended

5,631,691
1,314,233

5,591,667
1,310,291

954,410
98,035
338,785
140,000

8,477,206
1,783,308

711,577
98,255

337,846
2,940,000

10,992,636
628,781

10,260,514

11,621,417

1,365,455
628,781

1,994,236
5,461,196