The Sun.
London, England, 1851-03-24 00:00:00

THE S UN,

Ea MAJESTY'S THEATRE,.
Saturday night was the opening night for the season
of this, our great national, Lyrical Establishment, and
if we may regard the opening night as an omen, then
will the season of 1851 be the most brilliant ever re-
corded in the annals of our lyrical drama, for never do we
recollect such a brilliant opening. night as that of Satur-
day. Mr. Lumley inaugurated his management by
setting at nought the careless practice which had
been indulged in by many cot' his predecessors,
so long as to become almost a tradition of
the opera, of cautiously abstaining from pro-
ducing any work or any artist of merit before
Easter. He has, on the contrary, always acted
loyally with his subscribers and with the public,
and the nominal has always been, with Mr. Lumley,
the real commencement of the season. Ho has
been so fortunate as to inaugurate the commencement
of the season of 1851 by the (Wit of a young
and accomplished artiste, the inheritor of a name
which the world will " not willingly let die," and
of a world-wide renown, which she herself will
worthily sustain. The evening of Saturday, March 22,
1851, will be hereafter celebrated in the annals of the
lyrical drama in England as that of the dada of Mdllc.
Caroline Dupre z, the daughter and pupil ot the great
tenor, and who is destined, if life and health are pre-
served to her, to be one of the great illustrations of
modern lyrical art. This young lady made her debUt
in Paris at the Salle Ventadour, under the management
of Mr. Lumley, in Paris, on the 10th of January
last, and created a furore such as has seldom
before been created by one so young. Yet,
brilliant as was her success on that occasion, it cannot
but be considered that her triumph of Saturday was even
more complete, more satisfactory. In considering the
enthusiasm which she excited in Paris, some allowance
had necessarily to be made for national feeling and for
personal friendship; but when we find that in Londen,
where she is a stranger, this young lady has achieved a
access to the full as triumphant as that which she
achieved in Paris, then are we justified in considering
that she depends upon no adventitious support, that
hers is the legitimate success which genius, and genius
alone, cultivated to the highest pitch, can achieve, and
that she will excite the same enthusiasm in every other
land as she has on her native soil; for hers is that
genius, " one touoh" cf which
" Makes the whole world kin."
The character chosen for her debiit was that of Lucia in
Lucia de Lammermoor. The moment she appeared on
the stage it was evident that the character was admi-
rably chosen. Mademoiselle Caroline Duprez is young,
certainly not exceeding eighteen years ot age, her ex-
quisitely chiselled features are most mobile, and her
lustrous eyes are capable of the most intense expression
of feeling; her figure, although somewhat petite, is per-
fect in its symmetry, and there was in her appearance
and gesture an expression of girlish sim-
plicity, relieved, however, from any appearance of
awkwardness by the gentleness' of manner which is the
inherent characteristic of high breeding, which pointed
her out at once as the representative, par excellence, of
that Lucy Ashton who was imagined by Sir Walter
Scott. A burst of enthusiasm greeted her on her ap-
pearance, and then all was hushed into silence for the
far-famed cavatina, " Ancor non giunse. Never have
we heard this delicious cavatina wore perfectly ren-
dered. The voice of Mademoiselle Caroline Duprez is
exactly suited to the music of the part ; it is a high
soprano of the very purest quality, of the great-
est flexibility, cultivated to the highest pitch
of perfection, and possessing that delicious freshness
of youth for the absence of which nothing can
compensate; her intonation, too, is perfect, and in this
respect she possesses a great advantage over her cele-
brated predecessor, Madame Persiuni. Before she bad
concluded the cavatina it was evident that she was not
only the Lucy Ashton of Sir Walter Scott but also the
Lucia of Donizetti. The whole conclusion of the first
act was a series of triumphs; the duet with Edgardo was
exquisitely given, and at the conclusion she was called
on and greeted with the most enthusiastic applause. In
the second act, the scene with Enrico was beautifully
rendered, and Mdlle. C. Duprez showed herself through-
out this act as great as an actress as she is as a singer.
In the malediction scene she was especially true to
nature; she sinks to the earth as though blighted by
that terrible malediction, as though she had indeed no
longer any hopes in this world. The mad scene was beau-
tifully rendered, and at the conclusion she was again
called on and enthusiastically applauded. Sincerely do
we congratulate Mr. Lumley and the public on the
deblit of Mdlle. Caroline Dupre z, who is, if we mistake
not, destined at no distant day, to take her place in the
front rank of the prime donne of Europe. She was
again called on at the conclusion of the opera, and when
she appeared to sing in the National Anthem was again
enthusiastically applauded. Calzolari was the Edgardo.
He sang the music with great feeling and expres-
sion, end reminded us more strongly of the
Edgardo of Rubini than has any other artist
who has recently appeared in the part. Los
renzo's Enrico was full of power; his rendering of the
"Se tradirmi to potrai " was very fine. Signor Balan-
chi was the Bide the Bent, and made more
of the character than any of his predecessors
have done ; and Signor Romagnilli did full jus-
tice to the little character of Arturo. These
gentlemen are new to Her Majesty's Theatre; their
engagement adds to the efficiency of the:company. The
orchestra, under Mr. Balfo (who was warmly greeted on
taking his seat), has been greatly improved, and the
choruses are admirable. At the conclusion of the opera
all the artistes were called on. The National Anthem was
then sung, the solo parts being taken by Madame Fio-
rentini and Madlle. Dupree. The overture to Masa-
nielo wan then performed by the orchestra in the most
admirably perfect manner. Then came the ballet
L'lsle des Amours, a sketch of the plot of which ap-
peared in our number of Saturday. High as our
expectations had been raised by what we had heard of
this ballet, we must oorifess that they were more than
realized. Nothing can excedo the quaint beauty of the
scenery, the dresses, and the dances. Watteau has
been reproduced oven to the minutest particular of his
style; the scenes are just the " trim gardens " in which
the lords and ladies, and shepherds and shepherdesses
oft Watteau, "take their pleasure," and the characters are
just the shepherds and shepherdesses and lords and la-
dies which our grandfathers wore wont to purchase at
high prices in Dresden china as chimney and drawing
room ornaments. There is, however, an exquisite
creations, whose prototype is not to be found in Watteau,
it, is F:,eurette, the creation of Amelia Ferrari',
who has proved that she is to the full as great as a
mime, us she has long been acknowledged to
be as a diesse de la danse. Her acting was
full of espieglierie, as her dancing was of grace, elegance,
and art. The pas de bouquets, with M. Charles in the
first tableau, was the very perfection of coquettry,
and nothing could bo more piquant than her
polka and waltz; her grand pas in the third tableau
was a superb display of choorographic art; but the.
great triumph of the night was her pas de deux
with M. Charles in the fourth tableau. She
was called on to repeat this, and at the con-
clusion some superb bouquets were thrown to her.
This is the greatest triumph she has yet achieved. At
the conclusion of the ballet she was called for, and was'
led on by M. Charles and M. Paul Taglioni. Madame
petit Stephan danced a rococo dance, us a grande dame,
with great quaintness; and Metallic. Tedeschi made a most
successful debtit as
art. the God of Love. The house was
crowded in every p
(From the Times.)
Seldom has the Operaseansoignhtc.omEmveenrcved withbit
us; cheerful
must
be
an
perfectlyasilectwSaturdaytheopening of the lyrical
often but a dull business, and unageds. will recur. tot his mind
n tbat
yearis
a box aaundienecveen cuta over-dis-
tinct,-lookinaelsl aware°
of a pit scantily peopled,
groups by unseemly gaps,
sorton Saturday.g3 Theg
housestage.
aTheres filled w, a
inswere in demand, and
everythi gpaorft part, he
hoses _ r
not a trace of listlessness was to be found. Moreover, the
v
good groundwork of cheerfulness was given to the whole
vocalist,with
interior of the edifice had been entirely cleaned, and thus a
the knowledge that she
picture. The promised appearance of a new
the
world-honoured name of Duprez, and
was quite
had been introduced by her well-remembered father to the Pa-
risian public, who had received her with all honour,enough to raise a general feeling of expectation. Mademoi-
selle Caroline Dupree was warmly greeted on her first en-
trance, and at once struck her audience by her light and
youthful appearance. Her dress was simple but picturesque,
her gestures graceful and unaffected. She was not the Lucia
elevated into a tragic heroine but the artless, sensitive girl,
gently winning the sympathies not taking them by storm.
Her age is said not to exceed 'eighteen, and as an almost
necessary consequence her voice, though beautifully fresh, has
not yet attained its full volume. She is not as yet a powerful
singer, but nevertheless the organ is equal throughout, and
there is not a note without its value. Her training musthave
been most admirable. Through the whole character her
execution was a remarkable specimen of steadiness and truth ;
every passage was perfectly rendered ; not a single fault of
intonation was committed ; and it should be observed that she
gained in favour as the opera progressed. Those who had
been most susceptible of the juvenile want of power at the
beginning were surprised by the effect which she gave to the
concluding aria in the mad scene. The grace, delicacy, and
precision with which she executed the difficult ornaments
were most gratifying to the ear, and seldom do we find the
quality of neatness raised to so high a position. The acting
of the mad scene is in keeping with all the rest—not a ter-
rific display of violence, but a quiet exhibition of grief. It
is a great virtue in Mdlle. Caroline Duprez that she does not
attempt too much in the histrionic way, but that all she does
attempt she carries out thoroughly. The poignant anguish
of the marriage scene, for instance, could not have been more
vocalist employed. She was called at the end of
impressively represented than by the simple means which
the
ech act,
young
her great triumph was the aria above alluded
to, where she was summoned back by universal acclamations
before Edgardo had commenced his finale.
(From the Herald.)
This great establishment opened on Saturday
later by some two or three weeks than usual. This circum-
stance, however, brought together an audience of unusual
brilliancy, in consequence of the universal presence in town
of the leaders and satellites of fashion. Since the occupation
of the house by the givers of the National Conceits the
restorer has been at work, and we are glad once more to see
the golden cur, ains, and the long lines of boxes, the divisions
of which had been removed by the projectors of the unfor-
tunate speculation alluded to. After the cold and tasteless
decorations which had been substituted upon this occasion,
the rriental lustre of the beaten d'or hangings was doubly,
trebly welcome. Mr. Lumley still exhibits the enterprise
which has all along distinguished his management, and the
subscribers are not called upon to wait till Easter for the
production of matters of interest. The old system has
been utterly extirpa- ed by him, and instead of the
obscure personages who were formerly called upon
to parade theft' feebleness and indifference before the
habitue's, entertainments are now provided of similar mark
and character to those which, in the ancient days of the
house, were only thought of after some weeks bad elapsed.
The reform in this particular has been one of the most
noticeable features of Mr. Lumley's career ; and recurrence
either by himself or his successors to the old shabbinesses of
provision at this period of the season is now impossible.
The event of Saturday night was the first appearance of
Mdlle. Caroline Uuprez, the daughter of the celebrated
tenor, who recently made her debut at the Salle Ventadour
under the auspices of Mr. Lumley. The nationality with
which this young lady would instinctively be regarded in the
French capital tended in some degree, no doubt, to heighten

LONDON,

Its sensation which she evoked ; and the criticisms that
reached this country were warm and enthusiastic. Ihe
success which awaited her in Paris has been realized to a
like extent in London, and Mr. Lumley may be congratu-
lated upon his good fortune in having found a vocalist of such
great present utility and such unequivocal promise. The per-
sonal appeara.:ce of the debutante at once preposses,ed the
spectator in her favour. Small in stature, and evidently nog
yet far emerged flom girlhood, piquantly Jewish in the cast
of countenance, in demeanour sweetly modest and unassum-
ing, the new Lucia kindled universal sympathy the moment
she set foot upon the stsge. Although the ordeal through
which the was about to pass was a severe one, her self-pos-
session, notwithstanding the vehemence of the salution, did
not desert her, and she delivered the " Perche non ho," a
test of no ordinary kind, with as much excellence probably
as she would have exhibited had the circumstances been less
exciting and the stake at issue less important. The charac-
teristics of Madlle. Uuprez's voice are sweetness and flexi-
bility, frequently reminding the listener of the instrumental
delicacy of the organ of Persiani. Power it certainly has not,
and hence we do not imagine that for a year or two, at least,
she will be enabled to grapple with parts of the higher tragic
class. The cultivation to which her voice has been subjected
is betrayed in the smoothness-and docility of her execution,
which is exquisitely neat and finished, nothing occurring
from the first note to the last that iis crude or irritating. This
easy and unforced delicacy, combined with an intonation
uniformly just, ensures most agreeable results; and though
as a vocal demonstration no effect is produced that is large
or astonishing, we have seldom had so pleasing a Lucia—one
so personally accordant with the spirit of the story. She
rendered the well-known cavatina to which we have referred
with simple and graceful freedom ; and we were soon put out
of fear for the floriture, all the feats which declare the ripe-
ness of exercise, and the command of voice which it is its
function to establish, being, plainly within close and im-
mediate reach. The child and pupil of one of the finest
dramatic singers in Europe, the musical education of Mille.
Duprez has been conducted under peculiar advantages ; and
the fruits are before us in purity of style, correctness of
articulation, nicely-balanced phrazing, and elocutionary ex-
actness. These qualities were vividly manifested in the
two duets which follow the cavatina, and again in tbs.uaad
scene. We could scarcely expect to#(1, in sli t,' u3ote
adroit and better-disciplined order of Miphan*a#7..",
(From the Post.) . • • ' -
BIDLLE. CAROLINE DUPRit'S DEBUT.

---
A great name is a dangerous inheritance. Associated with
ideas of lofty excellence and encyclical public triumphs, it
suggests comparisons and creates expectations difficult indeed
to sustain and realize. Its advantages are as nothing com-
pared with its responsibilities and, instead of being con-
sidered beneficial to a debittant, it should be regarded rather
as an alarming and oppressive burthen. It is true that the
child of an old and favourite artist possesses hereditary
claims to our consideration ' • that a grateful recollection of
past enjoyment may add heartiness to the reception, and
vigour to the applause, which courtesy bestows and dis-
cernment awards; but rigid justice admits no further claim,
and its power must rather be directed towards preventing
us from expecting too much, than being satisfied with too
little. People will compare, although "comparisons are
odious," and lif a 'great name be a legitimate passport
to public interest, it is at the same time one which
subjects the bearer to an unusually severe scrutiny.
Such was the case with Mademoiselle Caroline Duprez,
who on Saturday evening made her London debut, in the
character of Lucia; and when we state that she came
most honourably through the trying ordeal, we shall (the
nature of the circumstances considered) make a very large
and important admission in her favour. Madlle. Duprez
possesses a pure, sylvery, soprano voice, not very:full in
quality, but remarkably fresh and youthful. It is firm
throughout, and clear as crystal in the upper register, espe-
cially from E in the fourth space to C above. Assiduous
exercise has rendered it very flexible, without, however,
impairing the brilliancy of its tone. ller method is perfect.
Nothing can be more artistic than the vocal management,
or more systematic than her execution. She has not sung
many bars before you feel that whatever difficulty she may
attempt will certainly be accomplished; so scrupulously
correct is her style, so composed and steady her manner.
The young lady's intonation too, if we except a slight ten-
dency to rise (which might, on this occasion, have been the
result of nervousness), is irreproachable. As an actress she
is judicious and pleasing; her demeanour is ladylike, her
countenance expressive and interesting, and her figure
though petit, symmetrically formed.

(From the Chronicle.)
The raising of the curtain of her Majesty's Theatre, an
event of which took place on Saturday night, in the presence
of a brilliant and distinguished audience, may be regarded
as the formal announcement that the most extraordinary
season ever likely to be recorded in London annals has fairly
commenced. Lucia di Lammermoor was the opening work.
The opera has rarely been performed under more interesting
circumstances. It introduced to the London public a young
debutante—the daughter and pupil of one of the greatest
musical authors France ever produced. Mdlle. Caroline
Duprez (who made her first appearance upon the stage early
in the present year in Paris), sought, in the arduous character
of the Bride of Lammermoor, an English ratification of the
French verdict, which declared' her, both as an actress and as
a vocalist, more than worthy of the name she bears. The con-
firmation of that verdict was not merely unhesitatingly, but
enthusiastically, accorded on Saturday. Sir Walter
Scott's exquisite conception has never been more com-
pletely realized upon the stage than by Mademoiselle
Duprez. Young, for she is scarcely eighteen, ex-
ceedingly pretty and exceedingly graceful, with a
most fortunate manner, in which modesty, though ap-
proaching timidity, never approaches it so nearly as to pre-
vent the artist from doing herself justice, Mdlle. Duprez ad-
mirably reproduces the idea of poor Lucy Ashton With a
freshness to which the opera-goer is little accustomed, there
is a charming air of refinement about her, which seemed in-
stantly to fascinate the aristocratic audience, and caused her
to be at once taken into their favour. The moment she
came on, at the terminatima of the harp prelude, her face
and manner created that species of impression which rarely
proves a false prophet. There was an unmistakeable indi-
cation of intellect in high cultivation. The first acclama-
tion she received could, under any circumstances, have
been showered upon-the daughter of her father, but, although
not a note of her voice had been heard, they appeared to be
bestowed upon one whom the house, having just seen, had
already learned to like. But if there could be any doubt
upon this point, her execution of the opening cavatina de-
cided her claims. Mdlle. Duprez's voice is a high soprano
of exceeding flexibility, perfectly under command, and with
a compass of great extent. Her method is that of the superb
artist who has sedulously instructed her, and she phrases
largely and nobly, as might be expected from his pupil.
This, and the sympathetic quality of her voice, may be re-
corded as the two great elements of her present success, and
as the assurances of manifold future triumphs. Her preci-
sion of execution is marvellous, and in the passages where
the composer has designed that executive power should for
the moment be the object of display, she dealt out her ca-
dences with ;masterly ease, and amid irrepressible plaudits.
But, speaking of the cavatina, the tenderness of the character
and of the sentiment was developed throughout with an
earnestness and a completeness which spoke of strong dra-
matic intention. It was clear that the artist before us had
never been taught to regard an opera as a mere construc-
tion designed to introduce a singer, but that, in a true and
fitting spirit of art, she regarded a singer as one whose duty
it was to devote all her vocal and histrionic power to till
illustration of a lyrical drama. This distinction, which can
never be too strongly urged upon those who aspire to follow
a Vasta or a Malibran, but which those who are content
with being mere vocalists may neglect at their will, was un-
ceasingly brought to our minds by Mdlle. Duprez's perform-
ance. She never forgot that she was an actress as well as a
singer, and she brought a remarkable dramatic power in aid
of her voice. We do not mean that she merely paid the
closest attention to the business of the scene, taking her own
share in the " by- play," as well as in the more prominent
detail, for these are duties which the admirable stage edu-
cation of all French artists never allow them to
forget ; but Mdlle. Duprez did far more. She
threw herself, heart and mind, into the dramatic cha-
racter she was representing, and whether that heart was
speaking in the accents of affection, or whether that mind was
wandering through the haunted mazes of madness, she never
lost sight of the dramatic retirement of the scene. her acting
during tke celebrated finale of the second act, when Edgar
tears from her the ring, end curses the moment when he gave
her his love, was exquisitely touching ; and in the concluding
passage, where the agonised girl, true to her woman's nature,
pours out her prayer for him by whom she has just been
outraged and crushed, her " Dio ! lo salve.," was a beautiful
instance of tragic and lyric power. The sad melodies of the
mad scene, the listening to the songs of the angels, the
vision of the bridegroom and of the marriage ceremony,
the vow of eternal fidelity, and the subsequent awaken-
ing of the mind to the agonies of the situation,
were rendered with united perfection of musical delivery and
of dramatic appreciation. When a few seasons shall have
further developed the physical powers of Mdlle. Duprez,
there will be no character in the prima donna's range
which she will not be able to undertake. The gentle
sorrows of Lucy Ashton are already perfectly within her
grasp, and, with increasing strength, she need not fear,
with her style, intelligence, and executive skill, to venture
in the darker walks of the lyrical drama. For the moment
we predict her chief successes in parts which call forth
either the smiles or the sympathies of an audience. Her
triumph on Saturday night was complete ; she was summoned
before the curtain at the close of each act, the plaudits were
unanimous and enthusiastic, and the house seemed to find a
pleasure in having an opportunity of reviving them when
Mdlle. Duprez appeared to take her share in the anthem.

The advices from New York by the Cambria state
the failure of Austens and Spicer, a large firm, with liabilities
for upwards of 200,0001., Which are magnified to double that
amount in the papers. They were the oldest auctioneers in
the city (their business being analogous to that of our pro-
duce brokers), and until last September enjoyed the highest
credit. Embarrassments in Connexion with some cotton and
woollen mills in the interior of the state, coupled with losses
on shipments to California, are mentioned as the causes of
their stoppage. As usual in such cases, on both sides of the
Atlantic, it is represented that the house will pay in full, but
it is not really believed that the assets will yield more than
50 per cent. This event, together with the suspension of
four of the smaller banking establishments, had created some
little distrust, and money was rather• more in demand. The
rate of exchange also was slightly more in favour of Eng-
land, the last transactions having been at 10. From this
side the news was to the 22d of February, and the accounts
of the Liverpool cotton market had produced a favourable
gThe statement that an additional grant of 200,000
fdeoelllisn.p.er annum had been made to the Collins' line of
steamers appears to have been telegraphed to New York in
error previous to the sailing of the last packet. It was sub.
sequently contradicted.
It is reported that the Government, convinced at
last of the necessity of moving the National Gallery from the
building in Trafalgar-square, have adopted the suggestions
thrown out in various quarters, sad propose to place the pic-
tures in Kensington Palace.
The Hon. Frederick George Ellis, son of Lord
Howard de Walden, is appointed an unpaid attaché to her
Majesty's Mission at Brussels.
vt
sixty
flonUNwoeaditnreAsdrfayßaEltreurnGoEonEs IN Li-
, we learn
hat
New York =Tuesday. Sixty-three altogether had signed the
LI-
VERPOOL.—On
POLIES—o °f thei inrcleAu:iirgi)Ye'es embarked in the Charles Croker for
sixty,
thirty-two
threetwo
(and
agreement for their transmission, but when the muster-roll
was t
thens
ix 3,.
Besides toe refugees, there were also on board thirty Hol-
steiners, whose p,ssage-money
were Pthoeleses,P and twenty-eight wereHmissing. Hungarians.
had been paid by Messrs.
Shunk, Souchay, and Co., merchants, of Manchester, and
about twenty-nine German emigrants, who paid their own
fare. Three of the refugees, who have expressed their wil-
lingness to proceed to America, are sick at licme, and one is
in the hospital. The rest are at the soapery, in Oriel-street,
in the most wretched plight. Their allowance of money does
not exceed 6d. per day, and above twenty of them have been
attacked by bronchial affections.--Liverpoo/ Tittles.
THE STREET ORGAN NUISANCE.—In consequence
of the recent accident which occurred to the brougham of a
medical gentleman in North Audley -street, and of repeated
complaints which have been made with respect to frightening
' horses, and endangering the lives of the public by the street-
organ nuisance, the Commissioners of Police have issued a
general order for the suppression of street-organ playing in
the public thoroughfares of the metropolis.