The Sun.
London, England, 1850-08-19 00:00:00

JENNY LIND IN LIVERPOOL.

By the period that our notice of the Philharmonic
performance of Friday night meets the eye of the
American public the Swedish nightingale will have
winged her flight midway across the Atlantic. The
splendid hall of the Philharmonic Society was on
Friday night crowded to excess. There were up-
wards of 3,000 persons present. Amongst the audi-
ence, some of whom came from distant parts of
the kingdom, were a large party from Knowsley,
who occupied two boxes, as well as Lord Ward, Lady
Bentinck, Baroness Ffrench, Sir John Bayley, Sir
George Gibbons, the judges, and some of the officers
of the 52d.RE•giment.

The following remarks on the performance are
abridged from the notice in the Liverpool Chronicle :
"The appearance of the 'Nightingale' was the
signal for a demonstration that beggars description.
The audience stood up to welcome her, and such•
volley of cheers as rent the air was, perhaps,
never before heard within the walls of a theatre or
concert-room. The salvo was thrice reiterated,
and at length the songstress, who seemed almost
overcome by the warmth of her reception,
was enabled to obtain silence and began to
sing. A very few bars of the prefatory reci-
tative to Bellini's popular bravura, -Qui la
voce,' from I Puritani, sufficed to show that
Jenny Line's voice had lost none of its incon-
ceivable charm. The adagio was executed with con-
summate tenderness, the phrasing large and finished,
the intonation exquisitely pure and truthful. The
cadenza at the conclusion was one of the most original
and beautiful we ever heard. In the cabaletta,
Lind varied the second couplet, with some delicious
ornaments and changes, which added to its brilliancy
without taking from its character. The audience

listened throughout with rapt attention, and at the
end broke out into uncontrollable applause, which did
not abate until the vocalist had re-appeared upon the
platform, gnd acknowledged the compliment. This
first song was quite enough to convince the audience
that Mr. Benedict had exaggerated nothing in his ac-
count of the concert which Jenny Lind gave for Vivier
at Baden-Baden on the 6th instant. The voice of the
' Nightingale' is as fresh and penetrating, as sweet and
flexible, as powerful and mellow as hitherto. After
a barcarole by Ricci, sung with great spirit by Bel-
letti, and Benedict's lovely ballad, Scenes of my
youth' (Gipsy's Warning), which was nicely ren-
dered by Miss Andrews, a young mezzo soprano, des-
tined to accompany Mdlle. Lind to America, the
Queen of the evening again appeared, and in the
comic duet 'Per piacere,' from 17 Turco it Italia,
with S;g. Belletti, displayed all the treasures of her
florid art, and all the genuine humour of her comedy.

We cannot enter into minute details about the who-le
of Mdlle. Lind's performances, which were more than
usually numerous, and were further increased by the
encores. Every one knows with what perfection she
sings the pathetic cavetina in A flat (with the violon-
cello) from Der Freischutz, and equally celebrated is
her version of Mozart's fine air from Zauherflote,
Non Puventar,' which, having been expressly com-
sroeparcahn oo
fe ntdhoenm• e de
jworiitthy uonf u
ms uoadl
ecronms pi
nags se,r
si s.
was unanimously recalled. The last, an astonishing
IPbnoe3's'ebodontdhf"tohfae these Mdlle. Lind created a furore, and
display of vocal capacity, was encored in an uproar of
applause.
" We must not pass over another encore, and one
not so arduous to comply with, which Mdlle. Lind
obtained. We mean a very beautiful ballad by Mr.
Benedict, ' Take this lute,' composed purposely for the
'Accomplished songstress. Mdlle. Lind's pronunciation
of the English tongue is exceedingly pure and articu-
late, with just so much of accent as gives it a spe-
cial and fascinating quaintness. In the ballad
style—which can be said of very few dramatic
singers—she excels quite as remarkably as in the
florid and bravura school. There is a combination of
simplicity and earnestness in her manner that has a
peculiar charm, while the few cadences and ornaments
she introduces only serve to give increased sentiment
And character to the melody. The last effort of
Millie. Jenny Lind, and, because the last, perhaps the
most captivating, was one of those delicious Swedish
melodies which, from the lips of the Nightingale,'
may vie in characteristic beauty with the national
melodies of Scotland and Ireland. The Song of the
shepherds, in which, by
a singular melodic interval,
frequently repeated, the peculiar call by means of
which the flocks are brought together is felicitously
imitated, gives Mdlle. Lind scope for indulging in
certain caprices of execution that, amidst an apparent
simplicity, present more than usual vocal difficulty.
the exquisite intonation with which the quaint inter-
val alluded to was taken, and the rich expression of
humour and archness, thoroughly enchanted the au-
dience. Mdlle. Lind accompanied herself; and, on
quitting the pianoforte, the uproar was absolutely
yg iafeter
udss she h songstress
once
plmoretrfeo-arm p,cpaermi
aer
deafening.bbauctkt,ae n
ad,
p tripping
auTwicesestill dl
continuing,dg th ht el
seated herselt at the instrument.
" This time Mdlle. Lind sang a pastoral love song,
full of wild tenderness. When, flushed with
triumph, she rose to take her leave, every tongue
was loosened in cheers, in honour of the gifted and ad-
mirable artist who had afforded such intense gratifica-
tion to all present.

" Let us do justice in the short space that remains to
the other excellent artists who assisted at this concert.
First and foremest, the extraordinaryspecial attention.
in for
His opening piece, an andante performance of
Mons. Vivier on the horn call
to
is be
ladmired fur
audience,'Lll and created a
minor, accom-
panied by the orchestra, is chiefly
its musical pretensions. Its style
addressed to the exclusive intelligenceconnoiseurs.
ofe elevated, and
aidndrhei
sss
esecond
himself piece,to a Chasse,' M. Vivier
e largernti ted
furore. How a single instrument could be made to
do the complex and original things that b a ound in
this highly characteristic morceau, Would puzzle, we
think, M. Vivier himself to explain. So
great
a variety of tone we never before heard
upon
a wind instrument of any kind, much less
upon so ungrateful a machine as the horn.
But, independent of these mechanical marvels and
inventions that peculiarly belong to M. Vivier; the
morceau is extremely pleasing and full of character.
A happier or more animated description of a chase
was never written fur a solo instrument. The
applause that followed this remarkable per-
formance was nothing more than deserved, and an
encore was demanded with much unanimity. He
was accompanied on the pianoforte by Mr. Benedict,
in masterly style. The chorus acquitted itself ad-
mirably in a part-song of Mr. Benedict,' ' Sweet,
lovely, chaste, ye lilies haste,' in which, amidst a soft
and flowing melody, the composer has happily caught
the quaint manner of the old madrigalian writers.
This was encored unanimously, and much applause
was also bestowed upon Morley's fine malrigal,
' Now is the month of Allying,' equally well exe-
cuted. The other encores, which we can but name,
were obtained by Signor Belletti; who delivered the
irresistible tarantella of Rossini, !La Danza,' with
infinite spirit ; and by Mist Williams in a very
agreeable ballad, ' I've sat in gilded palaces,' com-
posed by her brother, Mr. T. Williams, which the
i favourite English contralto sang with taste and
expression. Two compositions by Mendelssohn must
not be overlooked—his exquisite two-part song, ' I
would that my love could silently, flow,' and the ex-
hilarating ' Wedding March,' from Midsummer
Right's Dream. The former was well sung by Misses
Antirews and Williams. The latter was rendered
with great energy by the band. SpAr's picturesque
overture Jessonda was less successful,
the wind in-
struments being sadly out of tune in the first move-
ment in E flat minor, where the canto fermo of the
priests is so ingeniously mingled with the war march
and deuce of the bayederes. A Zar. Underaer,
an