The Sun.
London, England, 1844-09-12 00:00:00

CROSBY HALL.

MISS CLARA SEYTON'S LECTURE ON
ENGLISH COMIC OPERA.
Miss Clara Seyton delivered, for the first time, her
new entertainment on English comic opera, on Tues-
day evening, at Crosby Hall. This new lecture, like
her former one on corned:, is distinguished by its
accuracy, its research, and die delicacy, and discrimi-
nation of its criticism. It embodies an immense mass
of useful information in a small compass, and is
copiously illustrated by anecdote and song. As a
literary composition it reflects the highest credit on
this very talented young lady, and as an effort of
memory it is perfectly marvellous. The lecture
occupies about two hours in its delivery, and she
recited the whole of it without having recourse to a
single note. After giving a rapid sketch of the
history of music, and of English opera in particular,
up to the time of Handel, she dwelt somewhat at
length on the compositions of that divine master, and
gave as a specimen, " Heart, thou seat of soft delight,"
from the Acis and Galatea. Her next illustration
was " Can love be controlled by advice," from the
Beggar's Opera, and after relating several most
amusing anecdotes connected with the production of
that opera, she sang " Cease your funning" in ex-
cellent style, and was encored. After paying an ele-
gant and well merited tribute of eulogy to Bishop
Percy, who was the first to revive a taste for genuine
English poetry in an age corrupted and spoiled by
the imitators Of Pope, and who may be considered as
the literary parent of Walter Scott, she
gave us the exquisite old ballad, " Oh, Nanny,"
as a specimen of Percy's poetical powers. This ballad
was certainly the gem of the evening—nothing could
exceed the feeling and expression which she infused
into this exquisite old air—there was no attempt at
the introduction of misplaced ornament for the mere
sake of display—all.was simple, all was beautiful.
Since the days of Miss Stephens we have never heard
any of our delightful old English ballads so exqui-
sitely given. This part concluded with the song of
the " Country Wedding," composed expressly for the
fair lecturer by Mr. Masters, and which was given
with a degree of espieglerie, which told admirably.
The second part commenced with a rapid review of
the history of the ancient minstrels, among
whom Blondel was not forgotten, and his song,
" Your beauty, Ladye fair," the song by which he
discovered the lion-hearted King in his captivity, was
the illustration. The words have been preserved by
Dr. Burney ; the air has unfortunately been lost. Miss
Seyton sang the words to a very expressive and beau-
tiful air, composed for the occasion by Tom Cooke,
in which she accompanied herself on the harp. She
then gave a history of the Court Masques, the original
of the English Opera, which was brought to perfec-
tion by Arne, as a specimen of whose style she gave
us " Pray Goody," in which she was rapturously en-
cored. "Lullaby," which was also encored, was given
as a specimen of the compositions of one who, had he
lived, would have founded a school of English opera
worthy of the character of England— Stephen
Storace. "Love among the Roses," by Doyle, and
"I once was a maiden," by of Exeter, were
given as illustrations of The Lord of the fanor,
one of our best comic operas, on the author of which,
General Burgoyne, Miss Seyton passed a high and
merited eulogium for his literary talents, which have
scarcely had that justice rendered to them which they
deserve. His military failures have been chronicled,
whilst his literary triumphs—more worthy of being
held in remembrance—have been forgotten. He was one
of the most accomplished men of his day, and his works
are those of a gentleman and a scholar. His Lord of
the Manor is one of the pleasantest of our ballad
operas ; and his Heiress is the best of our sentimen-
tal comedies. How comes it that this delightful co-
medy has never been revived ? After some interesting
anecdotes of Sheridan and the Linleys, the lecturer
concluded with a sketch of the career of Charles Dib-
den, the beautiful old song, " Wapping Old Stairs,"
being given as the finale. This is a most difficult
song for a lady to sing—it is literally steering be-
tween Sylla and Charybdis—for if the singer seeks on
the one hand to avoid maudlin sentimentality, there
is danger on the other of degenerating into
vulgarity. If, however, the happy medium
is hit, " Napping Old Stairs" is one of the most
beautiful, one of the most truly poetical, of nautical
ballads, and such was the case last evening. Miss
Seyton exhibited exquisite taste and great judgment
and discrimination in her manner of giving this beau-
tiful ballad, and was rapturously applauded. At the
conclusion bouquets were showered upon her from all
parts of the room, which was crowded to excess, not .a
single seat being unoccupied.

NUMBER OF IRISH IN MANCHESTER.—The.Leeds
Mercury of Saturday last, in a communication from its
Manchester correspondent, on the reversal of O'Connell's
sentence, says, " What course the Irish part of our
town [Manchester] population, supposed to be fully
one-fourth, purpose taking, to express their joy at the
news," &c. Now, it is one of the important uses of the
recently published census returns to expose and put
down those loose and exaggerated statements of num-
bers which are too often put forth by the press. So far
from the statement of the Leeds Mercury's Manchester
correspondent being true, that the Irish are " supposed
to be fully one fourth" f the population of Manchester,
they are known to be not quite one eighth ! The total
population of the borough of Manchester, in 1841, was
242,983, of which 30,304 were Irish ; 14,353 males, and
15,951 females. The Irish population of Liverpool is
49,639 ; and the Irish population of the entire county,
105,916. About four-fifths of the Irish peopla in Lan-
cashire aro therefore to be found in Liverpool and Man-
chester. In Salford there were 3,996 Irish in 1841.
itiandoo cuardian.