The Sun.
London, England, 1848-05-05 00:00:00

EVENING, MAY 5, 1848.

renewal of the excitement of 1847. The traffic of the
booksellers in the boxes had been as lively as possible,
and insane prices were asked, if not in all cases obtained.
The sympathy of the public in behalf of the Swedish
nightingale had thus experienced but small diminution,
and the house was crowded to the neck, and by visitors,
too, of the most brilliant distinction. The Queen
her-
self was present, and the audience could not resist
her
til
temptation of drawing her for a few moments from
privacy, between the first and second acts of the opera,
and loading her with demonstrations of loyalty. The
National Anthem was called for, and sung by the entire
Company, the singers and auditors vying with each other
in zeal and energy—the former in their marked emphasis
of utterance—the latter in the spirit, frequency,
and im-
patience of their acclamations. Her Majesty bowed re-
peatedly to the house, and the scene altogether
was one of great brilliancy and excitement. It
was well to choose the Sonnambula for the first coming
of the popular Jenny Lind, fur the part of Amina is
perhaps, her best, It involves the necessity fir personal
grace, amiability, and the modest divinities of deport-
ment—qualities which seem to be the natural charac-
teristics of the vocalist. The charm which belongs to
her is solely resident in those " excellent things of
women," and to this may be attributed the success which
has followed her—the worship which has made her an
idol—the dominion which she exercises. It is, however,
difficult to account for the impressions which she has
established: there is neither personal beauty nor the
her
artistic perfection, but the magic that surrounds
is irresistible, and she at once prepossesses and enslaves.T
.et her, therefore, keep to those representations in which
" the soft, the mild, and the pitiful," are the innate
essentials, Lnd her supremacy over the heart will Con'
tinue us long as she chooses to challenge it. This is the
ground off which she should never go, and the Aminas the Alices, and the :Italics remain hers by prescriptive'
consent. It is not in her nature to deal with the grand
and the terrible. She is no Grisi in the immensities of
physical execution—no Grisi in the loftiness of tragic
passion. She is the " beautiful," without the "sublime.,,
Her domesticity is her strength; and the gentleness of
her womanhood is the

wliisitchra
That masters e'en the
The reception of Jenny was
worthyest us us all.''
of those
were in a state of sufficient vassalageto
who
and 20 guineas for a box. • The moment pay their 15
the spectators
caught a glimpse of the enchantress salves
congra-
tulation flew from side to side, and it
was
of
before a calmer state of things prevailed. The
eome time
moment
seemed to be a painful one to Jenny, who, although
stranger to this species of adulation, could scarcely • nob
3
unmoved at such tributes of welcome from the most ':
aris-
tocratic audience in the world. However, she soon re-
covered herself, and was presently singing the exquisite
"Come per me sereno" in her own ineffable manner.
A contemporary, who stole into the rehearsal of Wed-
nesday, prepared us to look for an increased volume of
tone; but we hardly detected it, though there was an
occasional huskiness that betokened cold. Weobserved
no difference in the form and degree of execution. We
bad the air alluded to as we had it last year—an effusion
of guileless and confiding delight—touched with genial
playfulness and truth. This brought forth the old
marks of admiration, and thus Jenny won her first
triumph. The two duets with her lover which follow, in
whicli there is such a charming display of innocent fond-
ness, were also the prettiest passages imaginable of frank
and caressing tenderness. The second of these duets is
Jenny's own restoration to the opera, and in itselfis,
perhaps, not worth the reviving, but she gives it so
much dramatic interest as to establish it now as a ne-
cessity. Ifer singing in the bed-room scene, when she
descends from the window and warbles her little ditties
in the ear of the Count, was an admirable piece of act-
ing, the state of unconsciousness being preserved with
singular vraisemblance ; and the subsequent awakening,
with the terror and distress incident to the moment of
suspicion—the pathos, the irritation, the confusion, the
alarm, were all delineated with a natural earnestness
that deeply interested the spectators, while the interven-
ing quintett, " D'un pensiero," drew from them a hurri-
cane of applause, all the efficiencies of execution and
expression being centered by Jenny in this affecting gush
of supplication and misery. The last act was a superb dis-
play of the same delicate sensibility. The music which fell
from Jenny's lips as she stood in the midst of the gazing and
excited villagers, seemed to have no origin but in the
shadowy phantasies of the brain. Outwardly placid
and undisturbed, phrase succeeded phrase without ap-
parent consciousness. The passages wore an air of
dreaminess singularly accordant with the spirit of the
scene, and this absorption as it were of the actress into
another sphere—this vague tranquillity of utterance—
this calm and unimpassioned grief—exacted a silence on
the part of the audience almost preternatural. In the
final bravura Jenny launched into the more showy re
gions of the art, and revelled in fioriture of surprising
variety :and boldness. These she accomplished with
adroit certainty, and what could be more bewitching—
more illustrative of the renovated gaiety of a suffering
heart—more deserving of the rapturous encore which it
received? At the conclusion of the opera she was called
for two or three times—we forget which—to be deluged
with applause far exceeding common limits, and sug-
gested by equally uncommon enthusiasm. Gardoni was
the Limo, but was not in such good voice as usual. F.
Lablache the Count.

(From the Advertiser).
On the 4th of May, 1847, Jenny Lind made her Milt
before an English audience, with an éclat which it is
needless now to record. Last night, the anniversary of
that day, the same enchanting vocalist commenced her
second season in London, with a brilliancy and amid an
enthusiasm which taxes language somewhat severely to
describe in an adequate manner. A densely-crowded
house received the universal favourite with earnest and
protracted plaudits, proving that the hold which the
Swedish Nightingale took upon the fancy and admira-
tion of the public in this country, remains at least as
powerful as ever. The exquisite silver tones, and fiute•
like purity of the sweet, clear voice of Croelius's former
pupil, excited once again the delight, the ccstacy of
every listener. The ardour of the admiration thus
aroused cannot well be pictured in narration. It re-
quires to be actually present at the scene to form a
just notion of the marvellous qualities of the gifted
prima donna, and of the character of the furore and rap-
ture which prevail among the auditors. Extreme, perhaps,
as these testimonies of approbation and pleasure
might be termed, the causes which last night elicited
them were such as to render them not only natural, but
also perfectly justifiable. She whom poor Mendels-
sohn styled the " best of artistes—the most genuine and
noble," was then beheld with all the advantages of ex-
cellent health and spirits, and was then heard in truly
exquisite voice. In appearance, this " beautiful polar
star of the lyrical drama" hasdecidedly gained since
last season. She is stouter, and seems to be in stronger
health, than when previously before London audiences.
In voice, which is, after all, far more important, she is
also obviously improved—difficult as many may imagine
that statement to be of belief. Such, however, is un-
doubtedly the fact. Her charming voice has become
still more charming. It is more powerful, richer, and
has also acquired extended compass. A few of her higher
notes, which used to be somewhat harsh on the ear, have
become softened in quality—the result of careful, per-
severing study and discipline. She has likewise gained
clearness, fullness, and force in the upper notes.
Who would now imagine that this is the organ
of which Emanel Garcia, the well known Professor of
the Conservatoire, said, a few years since, that it was
" worn and rugged ;" or, that this was the cantarice
whom that usually excellent judge believed could never
rise above mediocrity. Jenny Lind and mediocrity !
That far-famed name could not well be associated with
a less appropriate or less suitable term. Neverthe-
less, it should ever be remembered (remembered as an
encouragement in persevering and arduous labour) that
the triumphs which the great vocalist is enabled to
achieve are owing, in a very great measure, to the most
anwearied study, the most untiring exertions. It is cer-
tainly wonderful to think, while hearing her now " pearly
fi
eriture," that at one period the simplest cadence was
a task of difficulty to her. Then, again, it is re-
corded that her notes, though pure and full, were with-
out elasticity, and failed altogether in the power of the
crecendo. Truly enough she must have exercised her
voice " with the patience of the sculptor shaping his
marble." And what an exquisite creation of genius and
most highly cultivated art has sprung from those noble
and courageous efforts! Last night's performance was a
distinguished and brilliant example of their results. It
is unnecessary to enter into any minute notice of Jenny
Lind's Amine. The character is one which peculiarly
and most pleasingly suits her. The sweet music allotted
to the part is heard to the greatest advantage and in ful-
lest beauty when interpreted with all her talents, taste,
and charming finish. Last season, this was ever one of
her most effective, most enchanting, most popular cha-
racters. Last night she seemed, however, even to sur-
pass all her former representations, as the fair heroine
of Bellini's beautiful opera of La Sonnambula. The
elegant and exquisite embellishments she introduced
with such true and accomplished taste as well as art,
were at once brilliant, elaborate, and distinct. The sur-
prising facility of her execution, the sweet, easy,
fluent, and penetrating qualities of her organ ;
its unerring correctness, its purity of tone ;
and the delicate and singularly efficient shad-
ing imparted to the changing inflexions of
the voice, obeying each heartfelt impulse —all
tended (with the natvell and nature of her acting) to
give to the performance the most delicious charms, and
to excite a perfect enthusiasm in the breasts of her
audience. At the end of the first act she was called
forward twice and greeted with showers of bouquets.
After the second, similar compliments were paid her;
and at the conclusion of the opera, and after the curtain
had fallen, there was an unanimous demand for the re-
petition of " 1! h, non guinge." It certainly was one of
the most sparkling and brilliant gushes of enchanting
and joyous melody which could be imagined. Gardoni
had, subsequently, twice to re-appear with the heroine
of the evening, who again received the heartiest
plaudits and the most generous supplies of floral offer-
ings. Gardoni's Elvino is always an elegant and effec•
tive performance; and he last night sang with even
more than his wonted ability and taste. We were dis-
appointed, however, that he made so little of " Ah,
perche." It was not rendered with sufficientcsre
and finish. Mademoiselle Vera was very good
singing with much sweetness and effect. I
alto-
gether a very promising representation.
efficiency
and
Ft was.
is
Lisa,
biae
was the Count, and displayed his usual
occasion was a
spirit. The audience assembled
peculiarly distinguished, as well a:
arrived soon after the
Majesty. Prince Albert, and partytathe close of the first
ann.cthroewded one. Her
commencement of the opera.
d repeated by the
Queen." Those
act calls were raised for " God save the
calls were at once responded
entire audience, and p ct.lise;:d by the orchestra
and company. The cusrtets
cheer-
ing, and her Majestycame firliZardmitdostthime cmeenntrsee o f her
box, and graciously owledged the loyal and hearty
e,ieei, which an so acknowledged
all parts of the house. The
National Anthem was executed with earnestness and
effect. Madlle. Vera and Gardoni singing two of the

stanzas, and the bassi the other. The appearance of the
theatre at this time was truly imposing; and the Queen
seemed greatly pleased with the hearty and enthusiastic
reception accorded to her.