The Sun.
London, England, 1850-07-09 00:00:00

[PRICE SD.

CRICKET.
KENT v. ENGLAND.

This annual grand match was commenced at Lord's yes-
terday. During the day 5,000 persons were present. The
following is the score:—

_
SENT-FIRST INNINGS.
T. Adams, c Chatterton, b Day
W. Pilch, c Chatterton, b Lay
E. Martin, b Wisden
.
F. Pilch, b Wisden
W. Martingell, b Wisden 4
A. Mynn, Esq., b Bathurst ... .. 7
N. Felix, Esq., c Vox, b Day ...
W. C. Baker, Esq., b Wisden....
E. Clifford, b Clarke ... .. 2
W. Hillyer, b Clarke
E. Hinkley, not out ...
Byes I, leg balls 4, wide I, no ball 1

Total 129

ENGLAND -FIRST INNINGS.
G. ChAttetion, 8t Clifford, b Hillyer
J. M. Lee, Esq., c Martingell, b Hinkley . 2
W. Nicholson, Esq., c Adams, b Hillyer
T. Box. b Hinkley
G. Parr, not out

J. Guy;-b
Mailings!'
J. Wisden, b Martingell
John Lillywbite, not oat.
' Leg balls

Total

HER MAJESTY'S THEATRE.
The concert given last night in the music-room of
this establishment, under the name of Madame Pasta's
" farewell concert," may be regarded almost as a
private. Affair. The announcements had been so
sparing, and so chary of particulars, that the public
knew very little about the event in advance, and the
result was a select audience, composed of some who
recollected Madame• Pasta -when she- was the greatest
ornament of the lyric drama, and others of our own
time, eager to catch'the lest echoes of a voice which
bad once filled all Europe with its praises. The first
were sure 'to be pleased, since memory brought back
to them the pleasures of days gone by, while the
last, in deterence to the opinions of their imme-
diate predecessors, listened with respect, applauded
the remains of past greatness, and imagined the rest.
Such was literally the effect of last night's perform-
ance. An audience more enthusiastic and more de-
termined to be amused was never congregated within
the walls of a concert-room. The applause • that
greeted Madame Pasta's appearance on the platform
was deafening; it continued at intervals during the
whole of the famous recitative and air from Tancredi,

" Oh Patric," which those who frequented the Italian
Opera more than twenty years ago will remember as
one of her grandest efforts, and was redoubled with
energy at the conclusion. Similar demonstrations
attended Madame Pasta's subsequent performances,—
the duet, " Mille sospiri e lagrime" (Rossini), with
her gifted and favourite pupil, Mademoiselle Parodi ;
the aria of Gluck, "Che faro senza Euridice ;" and
the brilliant air of Pacini,_ " I tuoi frequenti palpiti"
—the only difference to be noted being their con-
tinually increasing vehemence. After every effort
Madame Pasta was recalled upon the platform,
amidst cheers and acclamations, and a repetition of
the caballetta of Pacini's aria was insisted upon,
and, after some little hesitation, accorded. Having
stated the manner in which Madame Pasta was feted
by the audience, we have, perhaps, done as much as
should be expected of us under the circumstances.
Lest, however, a criticism may be looked for by those
who are anxious for minnte details, we shall, in as
few words as possible, describe those points in the
vocalization of the renowned artist which recalled
the glory of her prime. Her most perfect effort
was the aria of Gluck, " Che faro senza Euridice,"
which was also the most classical and beautiful
morgeau in the programme. In this fine specimen of
one of the greatest of dramatic composers, half of the
audience were enabled to welcome with a new delight
what the other half were made acquainted with for
the first time—a manner of phrasing and a gran-
deur of expression which belongs to a style
of singing now, unhappily, almost extinct. A
method of respiration which allowed of the
longest sentences being uttered without any
perceptible break was also remarked with admiration,
while a classical severity of taste in the choice and
use of ornaments offered a not less striking example
for the consideration of the present school of singers.
These high qualities, which being purely mental, defy
the encroachments of time, are still observable in
Madame Pasta's singing. Madame Pasta was assisted
by Mademoiselle Parodi, Signori Gardoni, Calzolari,
Beaucarde, Culletti, Lablache, F. Lablache, and Bel-
letti, by the chorus of her Majesty's Theatre, and by
Mr. Balfe and Signor Schirza, who presided as,accom-
panist at the pianoforte.

FRENCH PLAYS -ST. JAMES'S

THEATRE.

Mademoiselle Rachel appeared last evening in the
character of Adrienne Lecouvreur in the drama of
that name, written expressly for her by M. Scribe,
and by her personation of which she attracted crowds
to the Theatre Francais during the whole of last
winter. To the English play-goer this drama is
well known by the admirable version of it from the
pen of Mr. John Oxentord, which was produced some
months since at the Strand, under the title of the
Reigning Favourite, and in which Mrs. Stirling per-
sonated the heroine. Adrienne Lecouvreur was one
of the most celebrated actresses of her day ; her
beauty and her goodness of heart were equal to her
talents, and at the commencement of the reign of
Louis XV., she was " the observed of all observers."
The foyer of the Theatre Francais was nightly
crowded with her adorers, and Abbes, Dukes, and
Princes, were throwing themselves at her feet;
among her many adorers, however, there were two
who deserve pre-eminent mention ; one of them is
Michonnet, the old prompter, who watches over as
a guardian angel ; the other is a gay and gal-
lant young officer, whom Adrienne loves
to distraction ; this officer she discovers to
be no less a personage than Maurice, Comte de Saxe,
and at the same time that she makes this discovery
she also discovers that she has a rival in his affections,
a grande dame who is at that moment concealed in an
inner apartment, and whose reputation depends on
her escaping unseen. The generous Adrienne un-
dertakes to aid the escape of her rival, and
succeeds. That rival, however, is mad with
jealousy, and determines to ruin Maurice, for
his infidelity to her ; she causes him to be arrested for
an enormous debt, which is paid off by Adrienne, and
he is released without knowing who is his benefac-
tress. Adrienne is engaged to give recitations at a
grand party at the Prince de Bouillon's. In the
voice of the Princess, his wife, she recognises the voice
of the grande dame, in whose escape from the
house of Maurice she had aided ; in
the voice of Adrienne Lecouvreur the Prin-
cess recognises that of her rival. A msgni-
ficent scene ensues, in which the ladies talk at each
other in the most withering style of sarcasm, which
ends by Adrienne producing a bracelet dropped by
the grande dame, which the Prince de Bouillon at
once recognises as the bracelet of his wife, without in
the least suspecting how it came into Adrienne's
possession. The party arrange themselves for the re-
citations, and Maurice is seated; by the aide of
the Princess ; goaded by her jealousy and her hatred,
Adrienne commences the recitation of certain pas-
sages from Phedre, which are applicable to the Prin-
cess, and which she addresses to her in the most
pointed manner. The acting of Rachel throughout
this scene—the great scene or the play—was the very
perfection of biting irony and polished sarcasm ;
never once did she forget her position as
the actress, but never did woman utter
tones so bitter in manner so polite. The Princess,
irritated beyond& the powers of endurance, presents
her rival with a poisoned bouquet, and the last act is
one long death agony, in which the different phases
of death by poison were delineated by Mademoiselle
Rachel with a power and a minuteness so fear-
fully true to nature, that at the conclusion
of her agony, when she falls back dead, a lady in
one of the boxes, overcome by her feelings, uttered a
piercing shriek, the highest compliment that could
be paid to the truthfulness of the artiste. Made-
moiselle Rachel was called on at the conclusion of
the fourth and fifth acts, and the applause throughout
was enthusiastic. The house was crowded to
suffocation.