The Sun.
London, England, 1850-03-13 00:00:00

SERIOUSLY INJURED.

William Clifford, burnt severely over the body.
John Compton, similar injury.
It is but right to say that every precaution, both
in the construction of the premises and in carrying on
the work, has been adopted to prevent explosion?, but
unfortunately on the present occasion without avail.

HER MAJESTY'S THEATRE.
We may date the commencement of the London
season from yesterday. Her Majesty's Theatre
was opened last evening for the campaign of 1850,
and a more brilliant opening we never recollect to any
opera season. The opera was the Medea of Mayer,
with Mademoiselle Parodi as the Sorceress Queen ;
and after the opera there was a new ballet, one of the
most magnificent ever produced, in which Carlotta
G-risi assumes six different characters. With such
attractions it cannot be matter of surprise that the
aspect exhibited by the house was rather that of the
season at its zenith, than at its commencement.
Never during the whole course of our ope-
ratic experience did we witness so brilliant
and so fashionably attended an opening night.
Every part of the house was crowded,
not a stall, not a box, was unoccupied, and the pit
and gallery were overflowing. We never remember
to have before seen at the commencement of an opera
season such an assemblage of fashionable notabilities
es occupied the " grand tier" at her Alejesty's Theatre
last evening. At eight o'clock precisely Balfe
entered the orchestra, and was welcomed most cor-
dially by the audience, a compliment which was well
deserved and gracefully acknowledged. The overture
then commenced, and before it was nearly completed
It was evident that a great and marked improvement
had taken place in the band since last season. The
number cf stringed instruments has b:, en greatly in-
creased, so that the balance between the stringed and
wind instruments is now perfect ; there is also more
firmness, more decision, altogether closer playing in the
band this season than there was during the last ;

year by year the band of her Maj:,sty's Theatre has
been improving under the superintendence of Mr.
Balfe, and it is now as nearly perfect as can be
imagined ; and be it remembered that the music of
Mayer, who is a worthy disciple of the Mozart school,
is well calculated to test the science and prac-
tice of an orchestr', for, unlike the music of Rossini
and his followers, it is not noisy—there is no possi-
bility of drowning bad play in a flourish of trumpets ;
none but a most efficient orchestrr, most efficiently
conducted, can do justice to the music of Mayer,
and never have we before heard the music

of 1 the Medea . performed so perfectly by any
orchestra, either in England or on the continent,
as it was performed last evening by the orchestra
of her Majesty's Theatre. The opera of Medea was
originally produced at La Fenice, in Venice, in 1812,
but it owes its great celebrity to the wonderful imper-
sonation of the character of Medea by Madame Pasta.
During the seasons 1826, 1827, and 1828, it
was constantly performed at this theatre, with
Madame Pasta as Medea. Since the retirement
of Madame Pasta no prima donna has ventured to
appear as Medea until last evening, when Ma-
demoiselle Parodi, the friend and pupil of
Madame Pasta, again revived the part, having
received special instructions from Madame Pasta
for the purpose of reviving it in a
manner worthy of herself and of her instructress.
The f Alowing is "the argument" of the opera, the
plot of which scarcely differs from the plot of the
Jledea of Euripedes :—Act I.—Jason, the celebrated
Argonautic hero, is about to marry Creusa, daughter
f Ureon, King of Corinth. His first wif', the en-
chantress Medea' whom he has brought with him
from Colchis to Corinth, is to be banished to make
way for the bride. Thunder-struck when she
hears of this project, Medea reproaches Jason with
all the benefits she has conferred on him while

engaged in his perilous expedition ; and he in vain
endeavours to appease her wrath. Another person
rendered unhappy by the marriage of Jason with
Creusa is 2Egeus, King of Athens, who hoped to
espouse the princess himself. The nuptial ceremony
is proceeding, when, at the moment that Jason and
Creusa approach the altar, Medea rushes into the
midst of the assembly, and overthrowing the altar
threatens them with a torch. The palace is also in-
vaded by 2Ezeus and his Athenian warriors. Some
of these overpower Creon and Jason, while Medea and
Xgeus seize upon Creusa. With the struggle the act
close. ACT IL—Creusa has been rescued from Medea
by Jason, who has likewise made tEgeus prisoner, and
her father and attendants are rejoiced at her recovery.

Medea, thus foiled, has recourse to supernatura
means, and in a subterranean cave calls upon the
infernal powers to aid her in making a poisoned
rube. Feigning penitence she obtains from Creusa
permission to see her children, and contrives to
release .21.: Jens from prison, on condition that he
will afford her shelter at Athens. The nuptial cere-
mony has now taken place, but Creusa is burned to
death by the robe which has been sent her by Medea.
In the height of her jealous rage Medea next stabs
her children, though not till after a severe struggle
with maternal feeling. She is assailed by Creon,
Jason, and the Corinthians, but defended by 2Egeus
and his Athenians. After shocking her faithless
•husband with the sight of the knife which has killed
her children, and terrifying all assailants by raising a
tempest, she flies from Corinth in a chariot drawn by
dragons. The character of Medea is one admirably suited
to the genius of Mademoiselle Parodi. her majestic
figure, her dignified deportment, her classical poses,
the mobility and expression of her,exquisite features,
her commanding tone and manner, all point her out
as intended by nature to be the representative par
excellence of the heroines a the highest order of tra-
gedy ; and when all these physical advantages are
informed and inspired by genius (and in the
case of Mademoiselle Parodi we use the word
emphatically), then has lyric and poetic art
been, by histrionic interpretation, carried to
the highest pitch of perfection, and such was
the case last evening. There was no attempt at
point making ; she had conceived the character as a
whole, and as such she represented it; and with the
perfect remembrance of Madame Pasta in the aprt,
we have no hesitation in saying that, as a whole,
the Medea of Mademoiselle Parodi was equal to
that of her great predecessor. Her opening
scene, " Sen riede e ii passo," was magnificent ;
there was something superb in the burst of scorn-
ful fury with which she spurned from her pre-
sence the Corinthian mob who urge her departure,
and in the scene which immediately follows, in
which she reproaches Jason for his perfidy, and
when she finds he offers her pity instead of love, bursts
forth in imprecations of vengeance against him; her
look, her attitude, her tones, were perfectly terror-
striking. Grand, sublimely grand, too, was she in
the last scene of the first act, in which she seizes the
torch and throws down the altar. It was as though
one of the Emenides had suddenly appeared to curse
and torture those engaged in these unhallowed rites.
Her rendering of the incantation scene was an exhibi-
tion of demoniac joy such has seldom been wit-
nessed. Her manner of clutching the poisoned robe
was the very sublimity of wickedness. Sorceress
though she is, devoured as she is by an intense desire
of vengeance, yet bath Medea some touches of
feminine tenderness about her, and these were
finely brought out by Mademoiselle Parodi in
the scene in which Medea works herself
up to murder her children ; never have we
seen the intense agony of the war of the passions
more finely depicted, every feature told of the anguish
of the conflict which was going on in her heart be-
tween the affection of the mother and the vengeance
of the injured wife, driven to madness by the
" Spretoe injuria formice."
Heart-rending and pathetic was she as sheathing
her dagger, she bends over her children and clasps
them to her heart—awe-inspiring was her look
and attitude as vengeance again takes possession
of her and she thrusts them from her, and sublime—
t rribly sublime was she as she seizes them, and xnadly
rushes off to the sacrifice. Her vocalsation was per-
fect; there was none of that uncertainty of in'ona-
tion, which some persons thought they ditcovered last
ear; and her duets with CYzelari. who acted lEgeas,
were dt 1 ciously given, and on more tfta,ri cue occaldtln
elicited an encore. She was called on at the conclusion
of each act, and also frequently during the course of the
evening. Ia describing the Medea of Madlle. Parodi r.e
have described the opera, for Medea is, in fact, the opera.
lEgeus, which is considered the irst tenor part, was
admirably supported by Calzolari, who returns to us in

full health, and excellent voice. He introduced an air
by Donezitti, " Alma soave o caste," to strengthen his
pat, in which he was much applauded, and at its con-
clusion, was honoured with a call. Madame
who looks as pretty as ever, nod who was in good
voice, made an interesting Crease, and Beletti made the
most cf the tittle part cf Creon. The Fart of Jason
was sustained by a new tenor, a Signor Michelli, who
was evidently labouring under a cold, and was
also exceedingly nervous. Under these circumstances, it
is impossible to form an opinion as to his merits.
The opera was splendidly put upon the stage. After
the opera the national anthem was sung by the whole of
the company. One of the prettiest ballets ever produced
followed. It is entitled Les Metamorphoses, and is the
composition of Paul Taglioni. " The plot of
this ballet," says the official programme, "is
founded upon one of those old Teutonic le-
gends that set m a natural groa th of the pictu-
resque " Fatherland," and of the peculiar mystic and
dreamy spirit of its inhabitants. Karl, a student and
an enthusiast, has made himself an abode amongst the
ruins of the Castl© of Heidelberg. He divides his time
betwixt love and study—his betrothed, Ida. and learn-
ing—each with him is equally a passion. Not satisfied
with literature, sacred and profane, he bas passed the
bounds of hallowed knowledge, and has endeavoured to
dive into the mysteries cf the shadowless beings of per-
dition. One of those good-humoured elves or sprites who
mix invisible in the haunts of men, and laugh at their
follies, discovers the peculiar tendency of Karl's mind, and
determines to disgust him of the dangerous pursuit, by
a practical exemplification of the evils cf magic power.
Assuming every shape in turn, he makes the student
fall in love with him, in the form of a lady; he renders
him furious from jealousy, by making love to his be-
trothed, in the shape of a handsome and gallant officer,
etc., &c. And thus, thanks to a little wholesome mischief,
Karl is corrected, and becomes wise and happy at last.
The character of the Sprite is sustained by Mdlle.
Carlotta Grisi, who appears under six different dis-
guises, viz., as a page, a rustic coquette, a Will o' the
Wisp, a Folio, a domino, and a cavalier. Never
has a more airy tricksome sprite appeared
than the fair Carlotta, who seemed in excellent
health and spirits, and who danced as she only can
dance. Want of space compels us to defer our further
remarks on this most picturesque and brilliant
ballet to another opportunity. We cannot,
however, close this notice without giving honour
duo to the management for the magnificent and gorgeous
ball-room scene. It surpasses any thing that has
hitherto been dune in this way at any theatre.
The ball-room scene in Alma, magnificent as
it was, is thrown into the shade by the
splendour of the ball-room scene in Les Metamorphoses.
There were present 3 esterday evening his Grace the
Duke of Wellington, the Baroness Brunow and Made-
moiselle Olga de Learner, the Baron Isola. Her
Majesty's box was occupied by Lieutenant-Colonel the
Honourable Charles Grey and the Honourable Mrs.
Grey, Lieutenant-Colonel the Honourable C. B. Phipps,
Mrs. Clive, Miss Boileau, and party. There were
also present his Excellency the Turkish Ambas-
sador and suite, his Excellency the Swedish
Minister and the Baroness Rehausen, the Marquis cf
Clanricarde, the Marquis and Marchioness of Kildare,
the Marquis of l)ouega!, M. de Berg, the Marquis of
Titcbfield, the Earl of Lons.dele, the Earl Granville, the
Earl of Lichfield, the Earl of Falmouth, the Earl of
Malmesbury, the Earl of Shelburne, Lord William
Lennox, Lord G. Paget, Mr. Repton, M.P., and Lady
Jane Repton, Lady W. Bent;nek, the Viscount
Centilupe, the Viscount Clift n, the First Lord
of the Admiralty and Lady Arabella Baring,
Comte do Courberiel, Lord Saudys, Lord Adolphus
Fitzelarence, Lieutenant-General Sre Alexander Wood-
ford, Bart., Lady and the Misses Woodford, Sir
Thomas Gage, But., Sir Henry Webb, Bart., Sir
Ralph Howard, Bart., M.P., and Lady Howard,
Major General Sir li. Barnard, Bait., the Baroness
Delamar, and Miss Rundbald, the lion. Augustus
Vernon, the Hon. F. Chichester, Major Buckley,
Lady Anne Becket, Color el Stanhope, Mr. Marshall,
NIX., Mrs. and Miss Marshall, Mrs. and Miss De
Burgh, Mr. C. Barry Baldwin, M.P., Mr. C. W. Parke,
M.P., and Mrs. Packe Reading; Mr., Mrs., and Miss
Brereton Trelawney ; Mr. C. J. Palmer, Madame RJR,
Mr. and Mrs. Sandford, Mr. W. Rose, Mr. Norman
Macdonald, Mr. 11. Baring, M.P., Mr. and Mrs. Grote,
Mr. and Mrs. Roberts and Miss Roberts, the Hon. Mrs.
Boyle, Mr. Cattle.