The Sun.
London, England, 1847-05-14 00:00:00

HER MAJESTY'S THEATRE.

Lest evening was a glorious night for Her Majesty's
Theatre. Jenny Lind appeared for the first time as Arnim/
in La Sonnambula. At an early hour in the afternoon
there were crowds assembled round the doors of the.
theatre, and when the doors were opened the crush was
terrific. Not only was every place which could
command a view of the stage occupied within
ten minutes after the doors were opened, but
every place from which it was possible to catch the
sound of a note was the subject of keen contest. The
steps leading up to the pit were crowded by ladies before
the curtain rose. The Amina of Jenny Lind is perfect ;
we have seen Malibran, Grisi, and Persiani in this part,
but Jenny Lind is infinitely superior to them all.
Far and away from any of her successors stands
Malibran, but there was an appearance of
effort about her version of the character which is
entirely absent in the Amino, of Jenny Lind. To ren-
der this character perfectly, is a most difficult task. It
requires at once the perfection of refinement and of
simplicity. In no character is the ars celare artem
more required than in that of Amine, and never has
that " grace beyond the reach of art" been snatched,
save by Jenny Lind. In the latter scenes, Malibran
was triumphant, but in the earlier scenes she was too
much of the artiste. We missed the simple country girl,
Jenny Lind gave us this to perfection. She was the
very Amina of the author, the simple-minded, honest,
virtuous country girl ; one in whom it was impossible
not to trust. With all former representatives of the
part, we have felt for Elvino as the victim
of circumstances ; with Jenny Lind as the
Amina, the spi ctator feels angry with Elvino
for his want of faith. He should have believed against
appearances, have loved against hope. It was impossible
that she could deceive. But when the girl finds her
plighted faith thrown away—that she is not trusted—
that circumstances are believed against her—then
was her despair heart-rending, yet beautiful—
beautiful from its agonising truth to nature--
Every one knows the grand scena of Elvino in the last
act, beginning with the "Tutto e sciolto," and increasing
in intensity until the climax is reached in the " Ah I
perch° non posso odiarti." This has always hitherto
been considered as appertaining to Elvino alone, been
treated almost as a concert scena ; to the great
detriment of the effect of the opera, as a whole,
The by-play of Jenny Lind restored this scene to its
proper place as a portion of the opera. Her acting was
superb. Never has the mute agony of despair been
more pathetically represented, and then the last scene was
a perfect triumph. She did not, as her predecessors have
done, slur over the sleep-walking scene to reserve her-
self for the "Ah ! non giauge." Her subdued manner
of giving "L' auello mio " was heart-rending as a piece
Of acting, and as a piece of vocalism was one of the
most astonishing efforts ever exhibited. The nightin-
gale-like notes dying away in the distance, which Jenny
Lind, and Jenny Lind alone, can give, here told with
marvellous effect. Her manner of giving
" Ma ravvivar ,'amore
II pianto mio non pub,"
was exquisitely pathetic, and then when she awakes and'
finds Elvino restored to her, " Oh ! gioia ! oh I gioia !"
The whole audience felt with her. They were relieved
from a burden of care and rorrow—justice was
done to the injured, and every heart responded
with her "Oh gioia." Then came the finale—the
cape d'opera, "Ah ! non giauge"—the trial scena of
every prima donna—and never has this scena been
given as it was given by Jenny Lind. She is
(he prima donna of the world. Surpassingly beautiful
was her fioriture, adorning but not overwhelm-
ing the melody. Original, in the highest sense
of the word, as bringing out the true meaning of the
composer, was her reading of this celebrated scene
—(would that Bellini could have livsd to have heard
her, he would have acknowledged that the world had at
length produced an artiste, worthy of interpret-
ing his highest inspirations) and exquisitely
true to nature, powerful from its very simplicity was
her acting (if acting that can be called which is nature
itself) in this most beautifully pathetic scena. That
the applause was rapturous is needless to record.
To say that she was encored and called for twice
and bouquets showered upon her is also matter of supere-
rogation; but we have also to record, that that which Ed-
mund Kean considered worthy of record as the highest
compliment that could be paid to him, was paid to Jenny
Lind. "The pit actually rose at me, Sir,"
said Edmund Kean, and the boxes, pit, and gallery,
rose at Jenny Lind, and amidst the waving
of hats and handkerchiefs, and the loud and oft reite-
rated cheers of an upstanding audience, she retired, after
having been twice called before the curtain. We have
now heard Jenny Liud in two operas of two perfectly dif-
ferent schools, and she who is equally great as an interpre-
ter of the German and the Italian schools of music ; she,
who can equally interpret Meyerbeer and Bellini ; she,
who is the greatest Alice and the greatest Amina, who
has ever appeared, may be truly denominated the Prima
Donna of the world. The house was crowded to suffo-
cation in every part.
The Queen, accompanied by his Royal Highness
Prince Albert, and his Serene Highness the Prince of
Leiningen, honoured the performances with their pre-
sence. The Royal suite comprised the Countess of
Charlemont, Ilon. Miss Stanley, Lord Waterparke,
Lieutenant-Colonel the Hon. C. B. Phipps, and
Captain Gordon. Amongst the general company
were, his Excellency the Russian Minister, his Excel-
lency the Turkish Ambassador and Princess Callimaki,
the Duke and Duchess of Cleveland, the Marquis and
Marchioness of Sligo, the Marquis and Marchioness of
Douglas, the Marquis of Clanricarde, the Earl of Loris-
dale, the Earl of Munster, the Earl and Countess of
Leicester, the Earl and Countess of Harrington and
Lady Jane Stanhope, the Countess of Blessingten and
the Misses Power, the Earl of Liverpool, Lord Mac-
donald, Viscount Canterbury, Viscount Clifden, Vis-
count Ranelagh, Lord Brougham, Lord Sandys, Lord
A. Fitzclarence, Lady Fitzroy Somerset and Miss So-
merset, Lady Georgiana Balfour and Miss Balfour,
Lady Frankland Lewis, Lady Catherine Cavendish and
Miss Cavendish, Count D'Orsay, M. De Berg, Lord W.
Lennox, Lord Gardner, Count do Berke, Sir H. and
Lady Dymoke and Miss Dymoke, Lady Phillips, Sir R.
and Sir H. Massey Stanley, Sir John and Lady Char-
lotte Guest, Sir H. Webb, Lady Howard, Sir J. Womb-
well, Sir J. Lubbock, Sir J. Fife, Sir John
Hippesley, Sir Alexander Woodford, Sir Charles Bur-
dett, Lady Mieux and Miss Miens, Miss Burdett Coutts,
Honourable J. Macdonald, Hon. Mr. Clive, Mr. Samuel
Rodgers. General Upton, Colonel Wildman, Colonel
Bowers, Major Baring, Mr. biasterman, M.P., Mr. and
Mrs. A. Montgomery, Mr. Dennistoun, Mr. Edwin
Landseer, Miss Begot, Mr. Hawkey, Colonel Johnson,
Captain Douce, Captain Brown, Colonel Derville.

ROYAL ITALIAN OPERA,
COVENT GARDEN.
A combination of manyattractions last night assem-
bled a fashionable and numerous audience at this theatre.
Donizetti's opera buffs d'Amore was first pro-
duced, with Madame Persiani as Adina. There is no
part better suited to the peculiar and extraordinary
powers of this lady that than of the capricious heroine.
It gives full scope to her brilliant and surprising ca-
denzas, so perfectly executed, while at the same time her
voice is in no part strained. It has, therefore, ever been
considered one of the greatest triumphs of her art, and on
no former occasion has it been more perfectly or exqui-
sitely rendered. Although suffering under the effects of
a slight attack of influenza, no trace of it was discernible
in her finished performance. It is hard to particu-
larise any single excellence where all was admirable. In
the second act the change of feeling towards the scorned
and slighted Nemorino, when she feels that she now
loves him she had formerly despised, but who had
in turn become cold towards her, and also
learns that he had sold his liberty to become
a soldier, in order to obtain the magic draught,
was beautifully expressed, and rapturous applause was
bestowed on her graceful delivery of " Una tenera
occhiateria," when, refusing the offered philtre, she
trusted to the more simple and natural means of re-
calling her truant lover, which she knew to be within
her power. Salvi was the Nemorino, and imparted the
greatest interest to the character, as well in the music as
the acting; his joy at receiving the highly-prized elixir,
which he supposes will make the coquettish Adina re-
ciprocate his love, the lightness of heart with which he
determines no longer to fatigue her with his sighs, as on
the morrow she would adore him, and also his despair
when he supposes that she is about to sign the nuptial
contract before the charm has taken effect, were beauti-
fully expressed. His greatest triumph, however, was in
the aria, " Una furtiva lagrima," which was given with
the greatest feeling and taste, and which obtained an
unanimous and enthusiastic encore. Tamburini, as
Sergeant Belcour, was himself again. He has perfectly
recovered from the indisposition by which, on his
first arrival in this country, he was affected, and was in-
deed the Tamburini of former days. He looked the gay,
lively, and conceited soldier to perfection, and, whether
presenting the bouquet, making love, enlisting hi, rival
as a recruit, or bullying him when imploring Adina to
postpone her nuptials, he identified himself perfectly
with his character, andi received the plaudits which his
artistic performance in every respect so justly deserved.
We confess that we were agreeably surprised with
the Dulcamara of Rovere. It was no slight undertaking
to attempt a part which :the prince of buffo (La
blache) had made completely his own. He must have
been well aware of the difficulties with which he had to
contend, but he nerved himself to the task, and acquitted
himself admirably. The part was better suited to him
than any in which he has as yet appeared. In the
scenes with the credulous Nemorino, the self-satisfied
Belcore, and the love. sick Adina, his by-play was ad-
mirable. Thu well-known duets "Io son ricco" and
" Come sur va contento," with Madame Persiani, were
deservedly applauded. On the whole, his Success was
complete. After the falling of the curtain Madame
Persiani, Salvi, and Tamburini were called forward. to
receive the plaudits of the audience. The third act of
I Puritani was announced, but owin the of
Mario it was withdrawn and a selection
GrisifrQom the second
act of Semiramide was substituted. was in admi-
rable voice and gave the grand recitative followed by
the duo with Tamburini most beautifully. Mademoiselle
Alboni, as Arsace, maintained the high position she
has attained. It is ire osidble to conceive anything
more pen fect than theduo with Grisi, which
deservedly obtained the entire approbation of the
audience. A playful the
was exhibited between these
accomplished artistes each pressing on the other a
bouquet which was thrown on the stage at the conclusion
of tli duet. This was, however, pleasingly closed by
second cast from the other side of the house, so that
each retired with their respective tributes.
A similar
testimonial had also been given to Madame Persiani..
The new divertissement -La
Bouquetiere de Venise,
in which Fanny Elssler appeared and danced La Caci tucct,
as well as the rapid dance which she has peculiarly made
her own, and the last act of La Reine des Fees, with
Dumilatre as the Fairy Queen, concluded the entertain-
ments of the evening.