The Sun.
London, England, 1842-04-11 00:00:00

better and higher to justify his measures than the
opinions of the men he has turned out of office, be-
cause they were incompetent, he will not satisfy the
Public.

At a meeting held at Birmingham on Tuesday
last, of Delegates from various parts of the kingdom,
to promote Complete Suffrage, Mr. STURGE in the
chair, a resolution moved by the Rev. THOMAS
SPENCER in favour of Universal Suffrage, was carried
unanimously. Moreover we are told that a Com-
mittee, appointed to prepare resolutions for discussion,
had recommended the " six points" of the " National
Charter." Wishing well to every movement which
has for its object 'to secure for every man in the
empire that influence over the Legislature which
nature gives him in society, and of which no laws,
however poor he be, can
,deprive him, we trust the
Suffrage Society will carefully separate the right to
the suffrage from the technical mode in which that
right may be exercised.
The suffrage is clearly a natural right, which be-
longs to every member of society, according to his
ability in every condition of society, before laws
existed, after they existed, and very often in spite of
their existence. It is a right, too, of which no laws
can wholly deprive a man, for even the proudest
lord and slave-owner feels himself in some degree
dependent on the opinion of his meanest slave. lie
very generally dreads the man he ill uses. Of that
natural right legislatures, chosen by a portion only
of society—privileges conferred on a few electors or a
few Peers, are plainly and palpably abridgements and
violations. They grow up out of a pre-condition of
direct slavery, of which they are a slight improvement.
But the mode in which that right shall be exercised—for
example, in choosing a certain number of represen-
tatives, each one by a certain number of electors, with
certain powers, paying those representatives or not,
voting or not by ballot, causing those representatives
to be elected and to assemble annually, or for three or
more years—is plainly a matter of political expedi-
ency, not like the suffrage, a great, natural, inalien-
able, a priori right. How that right can best be:ex-
ercised in forming a Government, and in controlling
a Government, must be learnt from experience, and
must depend, to a very great degree, on the manners
and customs of every society. If this view be correct,
and this distinction well founded, it follows that it
will be extremely injudicious to mix together and in-
sist on obtaining, with the same pertinacity, the com-
plete exercise of the right of suffrage, and the six
points of the Charter, or any other technical mode of
exercising that right.
We will only take one case for an illustration. One
point of the Charter, we believe is, that Members of
Parliament should be paid. That has many advan-
tages, but it also has many disadvantages. It would
protract discussion, even more than at present. It
would stimulate, even more than at present, the desire
'• become a law-maker and to make laws. Whatever
sharpens that desire, and lengthens discussion, beget-
ting at once more talk and more restrictions, must be
a great evil.
_While there is no room, therefore, in
our judgment, for two opinions as to the natural
of every man to have a full and equal voice in pu7olic
affairs, proportionate to his abilities and his know-
ledge, there is great room for a difference of opinion
as to the mode in which that voice may be uttered.
We would respectfully submit, therefore, to tie
friends of universal suffrage, that they always ',ceep
ta
this distinction in view ; and while they are unc,jrnpro-
mising in maintaining the right, let them.d tolerant
of the
of those who entertain diverging opini r
technical means by which the suffrage shall be ex-
ercised.

COU

LAR

rhe. Queen held a Court on Saturday afternoon at
Br ;ckingham Palace, for the reception of Addresses, on
th a throne.
The Lord Mayor and a Deputation of the Corporation
of the City of Dublin arrived at the Palace, his Lordship
be ing attended by his Chaplain, and also by the Sword-
b& rer, Mace-bearer, and other officers, all wearing their
rc tpective robes and badges of office. The deputation
w tire immediately ushered to the Green Dr:using-room,
a) id were shortly afterwards conducted by the Lord
C hamberlain to the presence of the Queen, in the Throne-
-10.P.3, in the following order

High Constable.
Marshal.
Sword-bearer. Mace-bearer.
Lord Mayor,
Mr. O'Connell.

Auditor,
M r. rChristopiler Eiffe.

THE SUN, LONDON, MONDAY EVENING, APRIL 11, 1842.

HER MAJESTY'S THEATRE.••
Since the debut of Tarnburini, there has been no first
appearance on these boards so calculated to produce a
permanent effect on the musical taste of the country, as
the debut, on Saturday, of Signor Giorgio Ronconi, the
primp basso cantihile par excellence of Italy. Since his
first appearance in 1831, at Pavia, Ronconi's career has
been one continued series of triumphs, and in every city
of his native land, the palm of superiority has been
awarded him. Torguato Tasso, Francesco Donato, 11
Furioso, and a host of other operas, have been written for
the purpose of affording him an opportunity for the dis-
play of his talents, and from Naples to Milan, from
Florence to Venice, throughout the length and breadth
of Italy, has the supremacy of Giorgio Ronconi been
acknowledged. Nature has done much for him • his voice
is of' amazing compass, it is said, that it extends as low
as B, and as high as C in alt, and what is unusual in voices
of such great compass, there is no break in it ; it ascends
note by note from the highest to the lowest, as fully, as
fairly, and as clearly as the most perfect musical instru-
ment. There is no confusion, no weakness about the
middle notes—no sudden transition—no hiatus between
the voce di petto and the voce di testa ; indeed, in this
respect the voice of Ronconi stands alone. Over this
most perfect instrument Ronconi possesses the most
perfect command. Educated by -his father, who had
studied in the school of Pachecrotti, Giorgio Ronconi
was early taught, by assiduous practice and severe study,
to attain that intimate knowledge of the principles of his
art by which alone he has been enabled to developc so com-
pletely those powers with which nature has endowed hini.
His style; although formed upon the most classical models of
the most classical times,_ is yet completely original. Grace,
pathos, and execution he possesses, to a greater extent
than any other singer of the day, yet he never indulges
in needless flourishes. There is nothing meretricious in
his singing ; be is classically correct, but yet not cold—
there is an ideality, a spirituality of expression in his
singing, that nothing but the most felicitous eombini,-
tion of taste, of science, and of power can give.lis
histrionic powers, also, are of a high order, so that be
is, in everything; one of the most accomplished artists
of the day. The part chosen for his debia was the role of
Enrico, in Lucia di Lammermoor. His distinct enun-
ciation, on his first appearance, created a strong
feeling in his favour—it betokened a man who
thoroughly understood his profession ; and his
execution of the first aria, in the part of Crucci
funasta smania, at once insured his success. His execu-
tion of the duo, " A ragion mi fe spietato," in the second
act, with Madame Persiani (who, appeared for the first
time this season as Lucia), was full of beauty and pathos..
Nothing could exceed the tenderness with which he gave
the words,

" Ma si taccio del pasmto--
.
Tuu fratello io sono ancor."
(But let us be silent on the past, I am yet your
brother). The triumph of the night, however, was
the magnificent duo "Si trAdirmi to potrai." In the
passage—

•
"Ne tuoi sogni mi vedrai
Ombra iratu e rninacciosa ;
Quella scure sanguinosa,
Stara sempre innanzi a te."
(You shall see in your dreams my angry ghost
threatening you ; the axe stained with my blood
will be ever before you), there was something
spiring in his tones. They seemed to thrill to the heart.
In this duo he shOwed himself the most perfect singer
that has appeared in England for years. It is needleo:
to say that the applauSe was enthusiastic, and Ronconi
has at one effort completely established himself with the
English musical public. Signior Guasco was the Ed-
gardo, and, notwithstanding he was suffering from
hoarseness, went through the part in a manlier that
proved him to be fully entitled to the high reputa-
don he has acquired. His duo with Madame Persiani,
at the conclusion of the first act, " Verano a te
sull' aura " was exquisitely given and loudly applauded,
in his concluding scena, " Tombe degli avi miei" there
was all the tenderness of Rubini, but with greater power.
Had it not been for his hoarieness, Guasco's execution
of this scena would have been perfect. Madame
Persiani, whose looks and whose tones have, if possible,
improved since her last visit, was, with Ronconi and
Guasco, called for at the conclusion of the opera, and
they were all three -greeted with enthusiastic applause.
The house was crowded with fashionables. Her Royal
Highness the Duchess of Cambridge, with the Princess
Augusta, and a distinguiShed party, occupied the Queen
Dowager's box, and frequently testified their approval
of the performance. Her Majesty did not honour the
theatre with her presence, and the Royal Box was un-
occupied during the whole evening.
The following brief sketch of Ronconi, is taken from
the Observer : Georgio Ronconi was born in Venice, in
the year 1612, His hither, Domenico Ronconi, a man
famous among his fellow-citizens, at once as an artist
and as a professor of music, and in his early youth a
pupil of the great Babini, and the still greater Pache-
crotti, gave him all the advantages which a refined taste,
and profound knowledge, aided by paternal affection,
could impart to his tender mind ; and it is to his in-
struction that all those ideal graces, that classical per-
, fection of style, and that fascinating spirituality, which
are the chief characteristics of the present singer's
method, are wholly and entirely due. • In the year 1831
Ronconi appeared, for the first time on the boards of
arty theatre, at Pavia, and his debut was most success-
ful. Since then lie has run a career of triumph through,
every city of his native country. No less than thirty
operas have been written for him, among the most pro-
minent of which may be named " Torquato Tasso "
(performed in this country about two years since), "
Furioso," "Il Desertore per Amore, "Maria de Ru
deuz," "Pia di 'folomei," and "Francesco Donato "
HAYMARKET THEATRE