The Sun.
London, England, 1848-08-25 00:00:00

HER MAJESTY'S THEATRE.

One of the most crowded and most brilliant audiences
ever seen within the walls of her Majesty's Theatre
were congregated last night, to witness the farewell for
this season of Jenny Lind. Scarcely were the doors
opened ere every seat was occupied, and before the cur-
tain was raised the corridors were thronged with anxions
and excited listeners. The reception of Lind was tre-
mendous, for Amina, in the Sonniambula, is one of the
chief characters in which she has won and retained her
unparalleled popularity in this country. We have
never heard her in more perfect voice, and the graceful
and difficult ornaments with which she enhances the
various charming themes of this opera were rendered
with that certainty of intonation, justness of execution,
and richness of voice, that justly places her above all ri-
valry. The applause throughout was enthusiastic, and the
frequent recalls before the curtain proved the public ap-
preciation of her marvellous genius. The "Non giunge" was
re-demanded amidst the cheers of the audience. A t th•
end of the opera the National Anthem was sung by the
entire company, Jenny Lind, for the first time, deliver-
ing the second verse. Her pronunciation of the English
is free from the slightest foreign accent, and the eleva-
tion of feeling which she infused elicited a rapturous
encore.

On the last night of the season, the sterling demon-
stration of such an overflowing assemblage of genuine
paying spectators is a high, as well as substantial, re-
ward to the direction. It may be considered as ex-
pressing, not only satisfaction of the exertions of the
present, but gratitude for the past. It will not
be denied that this recompense has been justly
earned, when it is remembered what has been
achieved during the season, under difficulties of every
kind, such as in so short a period have never before
been encountered successively or simultaneously, or, at
all events, to such an extent, by any similar establish-
ment. The difficulties to which we allude have been
political, commercial, and theatrical, and have arisen
from events unprecedented in magnitude or the power of
producing disastrous effects. As regards the gratifiaa-
tion afforded to the visitors of her Majesty's Theatre,
unquestionably JennyiLind, an unparalleled artiste, in
both aspects of lyrical art, must claim an immense pro-
portion; but if she cast into the shade even a Lablache,
artistes have appeared who, with any other colleague
but the great Swedish songstress, would have com-
manded the greatest admiration. We have had not
only the famosi of former years, but new talent,
such as Beletti, whom to have discovered in their
comparative obscurity, and brought forward on
this, the first stage in the world, reflects the highest
credit on the management. It is but sheer justice to
record another distinguished feature, for whilst the ap-
pearance of Jenny Liud was of itself sufficient to till the
theatre each night to an overflow, the moat attractive
works have been produced simultaneously. As one
among many similar instances, we may cite the Quatre
Saisons, the moat perfect composition that has ever been
elicited in choregraphy, and embracing the performance,
at the same time, of four dancers such as were never
previously united excepting on this stage. Such in-
stances of liberality are be) and all vague expressions of
eulogy, and we can but repeat that the enthusiasm of last
night was not only a just tribute to the ruling spirit, but,
to the general talent of the establishment.