The Sun.
London, England, 1842-01-17 00:00:00

MISCELLANEOUS.

At a meeting of the Directors and Guardians °Plias
Poor of the parish of St. Marylebone on Friday, it ap-
Peared from the report read, that bodies from between
20 to 30 had been taken from that poor-house for ana-
tomical purposes, and no subsequent account rendered
of them ; while, within -a period of 17 months no less
that 254 bodies of paupers bad been deposited in Globe-
fields in defiance of the law. The subject, considered as
one of the greatest imporfance, has been laid before the
Secretary of State, who has thought proper to appoint a
Commission to investigate it.
Prince Albert lays the stone of the New Royal Lx--
change this day, shortly after half-past one o'clock,
attended by the Lord Mayor and the other City function-
aries, and at five o'clock dines with his Lordship and
the Lady Mayoress.
The snow in some parts of the country on Wednes-
day, is stated by the driver of the Nottingham coach to
have been seven feet in depth, and that he could with
ease have sat on the box and made snow-balls.

Nottingham, on Saturday, in 1140, was destroyed by
fire. It was also the anniversary of Gibbon's, the histo-
rian's death, in 1794. The retreat of Corunna, also con-
cluded on this day, in 1809, attended by the death of Sir
John Moore.

On Wednesday Mr. Bishop, the newly-elected Pro-
fessor of Music in the University of Edinburgh, was in-
ducted into office, in the presence of the Senatus Aca-
demicus.

During the thaw on Friday, at a moderate calcula-
tion, upwards of 100,00 p persons were employed at once
as scavengers. If the New Police Act were as unobjec-
tionable in other respects as it is in reference to keeping
the foot-pavements clear of snow and ice, we should not
hear so many complaints against its arbitrary enactments.

COVENT-GARDEN THEATRE.
Mercadante's grand opera,Elena Überti, was produced at
this theatre on Saturday evening, for the first time in this
country, the character of Elena Überti being sustained
by Miss Adelaide Kemble. The'scene is laid in the city
of Feltre, in Italy, in the latter half of the thirteenth
century, when the feud between the Guelphs and the
Ghibellines was at its height. At the period when the
action of the opera is supposed to 'Commence, the Ghibelline
party in Feltre were in, the ascendant, Boemondo (Mr.
C. White), the Viceroy of Ezzelino the Fifth, having ex-
pelled Sigifredo Count Überti (Mr.
,Leffler), the father
of Elena and chief of the Guelphs, from the city and
forced him to take refuge in Belluno, leaving Elena in
Feltre. Elena is betrothed to Count Guido San-
vitale (Mr. Stretton), a Guelph Nobleman, who
has, however, recently joined the Ghibellines, and
with whom Boemondo is desirous of forming
an alliance by giving him Imberga (Miss Grant), his
daughter, in marriage, making this alliance the condition
on which the estates Of -Guido, forfeited for his adhesion
to the Guelphs, are to be restored to him. Guido, how-
ever, is faithful to Elena, and forms a plan for marrying
her in secret, and flying to her father, thus sacrificing
his ambition to his love. Count Übaldo di Collalto (Mr.
W. Harrison), a Ghibelline NOW, and friend of Boe-
mondo, also loves Elena, but has been rejected by, her,
and is, in consequence; a prey torthe deepest melancholy.
He and Guido have long been friends, although each is
ignorant of the love of the other for Elena. At this
period of the story the action of the opera commences.
The first scene is a magnificent hall in the Palace of
Count Übaldo, who is discovered in an inner apartment
sitting disconsolately at a table. ; His friends and re-
tainers, who fill the hall, after lamenting in the opening
chorus—" that winter's blight shoyld fall on valour's early
years," endeavoer in vain to cheer him. He rises, and
abruptly dismisses them, and immediately afterwards
Guido enters, and after expressing his abhorrence of the
alliance which Boemondo would force upon him, demands,
in the name of their .friendship, the aid of Übaldo to
secure the means of flying from Feltre with the lady
of his love. Übaldo, with the frankness of a
soldier, immediately promises his assistance, and de-
mands the name of the sweet saint to whom he is
soldier. Guido answers in two words—Elena Überti—
words of mighty pow`er, curdling the heart's blood of
Übaldo, at once transforming the mirror of chivalry
into the recreant knight and the false friend. His emo-
tion is not unobserved by Guido, but Übaldo attributes
it to his fears lest the wrath of Ezzelino should fall on
Guido for daring to form an alliam'e with the daughter
of the outlaw, and urges him to reconsider his determi-
nation. Guido, however, renews his vows:of fidelity to
Elena, and the scene conCludes with a beautiful duet, in
the course of which Stretton was much and deservedly
applauded. The next - scene takes place in the hall and
garden of the palace of Sigifredo. Elena is discovered joy-
ful in the thought that Sigifredo is safe in the strong for-
tress of Belluno, and that the morrow, which will see her
united to Guido, the object of her heart's choice, will also
restore her to her fond father's arms. She gives vent
to her feelings in a beautiful air, "'The hope of coming
blessing," to which Miss Adelaide Kemble imparted all
the effect that the highest musical powers, cultivated by
study and taste to the utmost pitch of perfection, could
impart. Her manner of giving the passage—
" Rein in no more thy wild delight,
Fond heart with raptureleating ;
Come blessed hour of meeting,
Thy lord, thy love is nigh "
was beautifully characteristic. I: was the overflowing
of a young impassioned heart, revelling in the anticipa-
tion of "joys too bright to last." Sigifredo enters, dis-
guised as a pilgrim, hurriedly informs her that Belluno
is fallen, and that he alone of all his band has escaped
the vengeance of Ezzelino. Foot Steps are heard approach-
ing, and Sigifredo has barely time to conceal him-
self, when Übaldo enters, and after a short
parley, in which Elena again rejects his suit,
seizes her, and is forcing her off, when Sigi-
fredo, rushing from his place of concealment, rescues
his daughter from Übaldo's grasp, and challenges him to
combat. Übaldo threatens Sigifredo with the heads-
man's axe, and Elena, in agony, falls at Übaldo's feet,
beseeching him to spare her father, and endeavours in
vain to hold him back from calling in his followers to
seize Sigifredo, who lead him off to a dungeon, while
Elena falls senseless into the arms of Übaldo. The trio
and finale, with which this the first act of the opera con-
cludes, was most effectively given by Miss Kemble and
Leffler, who were, however, but indifferently sup-
ported by Harrison, who wants voice sufficient to give
full effect to the music of the part, and has not suffi-
cient cultivation to disguise his want of power. The se-
eund act opens in the Palace of Boemondo, who,
informed of Guido's love for, Elena, promises
-Übaldo to spare her father if she will remove
the only obstacle to Guido's union with Imberga,
by uniting herself to Übaldo. Tortured almost to mad-
ness, she consents to give Übaldo a heart that's break-
ing, warning him at the same time that death will strew
her bridal bed. The hall is cleared, and Guido, who
has been concealed in a secret passage by the crafty
Boemondo, to hear her give her consent, enters. He,
however, will not believe Elena false, in an exquisite
melody, " True as the stars to vesper-clime," gives utter-
ance to his unshaken faith in her fidelity. This air, which
is exactly suited to Stretton's voice, was given with exqui-
site expression and pathos, and elicited much applause.
The concluding scene of this act is one of the most
gorgeous ever exhibited even at this theatre. It repre-
sents a magnificent hall, decorated with the in-
signia of Victory, to commemorate the con-
quest of Belluno. Boemondo and Imberga, at-
tended by Übaldo, . Guido, and all the ladies
and Knights of his Court, enter in grand procession.
Elena is brought in, and commanded by Boemondo to
repeat her promise in the presence of the assembled
Court. She hesitates; but at length overpowered by the
recollection of her father's dangers, she collects all her
energies to enable her to make the self-sacrifice she has
promised. Her agitation ceases—she stands fixed as a
statue of despair; and, in a quiet, low voice, which sounds
unearthly, from its very calmness, declares—
" ris to—Ubaldo—my hand—is given !
I have vowed it."
Guido, in a paroxysm of disappointment, taunts her with
her faithlessness, little knowing the cause—pledges his
faith to Imberga, and rushes at Übaldo. The at-
tendants interfere to separate them, while Imberga
and Boemondo triumph over the sufferings of the
tortured Elena. The third opens with an oratory in the
Palace of Sigifrcdo, to which Elena has fled to seek con-
solation in prayer. Guido enters, and urges her to fly
with him, as he knows that her lips uttered what her
heart meant not, overawed by the presence of Boemondo.
She is on the point of yielding, when the clock strikes
the hour at which her father was to be set free. Filial
affection overcomes every other feeling—she tears her-
self from Guido, bidding him raise an eternal barrier be-
tween them, and declaring that she is Übaldo's This
scene, which is by far the most effective in the opera, was
exquisitely given by Miss Kemble and Stretton, and, as
a matter of course, the concluding duet was encored. In
the next scene we return to Übaldo's palace, where we
find Übaldo in an agony of rage at having discovered the
treachery of Boemondo, who, in violation of his oath, has
caused Sigifredo to be executed in prison at the very hour
he had promised Übaldo to set him free. He calls his re-
tainers together, and leads them forth to vengeance on
the tyrant. In the air and chorus with which this scene
concludes, there was one little snatch of melody, which,
being within the compass of his voice, was very wellgiven
by Harrison ; but, as a whole, the airie too much for him.
The concluding scene represents the exterior of the
Cathedral. Elena is discovered anxiously awaiting the
approach of Übaldo and her father. The Cathedral gra-
dually becomes illuminated. The bridal procession of
Guido and Inberga pass across the back of the stage, and
enters the sacred edifice. The full-toned organ peals forth,
and voices are heard within chaunting the nuptual hymn.
Elena, heart-broken' sinks on her knees, and prays for
Guido's happiness. Übaldo and his followers enter, and she
rushes to him, and demands her father. He answers, " I
vow to avenge thee." In agony she cries. "My father !
—answer, or kill me." A strain of joyous music is
heard ; she rushes towards the sound, exclaiming,
" They rejoice. They set him free ;" and the bridal
procession of Guido enters. She learns her father's
death, and, snatching a dagger from Übaldo, stabs her-
self. The attendants gather round her, and the curtain
falls. Our account of the opera has extended to such a
length, that our remaining space compels us to be
brief in our observations on the merits of the performers.
Miss Kemble has, both as a singer and an actress, more
than sustained the high character she has ac-
quired by her personation of Norma. Confessedly
without a rival. in the English musical world,
she has, in Elset Überti, exhibited histrionic
powers which, since the days of Mrs. Siddons, have
never been equalled. The part of Elena, as our readers
pereeiye, is one admirably adapted for the delineation of

intense passion, and Miss Kemble did more than justice
to it. The scene with Guido was intensely affecting, mid
the tears of the audience bore silent witness to her won-
derful powers. She was admirably supported by Stretton,
who both sung and acted con amore, and Leffler did wilt
little he had to do, as Sigifredo, admirably. Miss
Kemble was called for, as a matter of course, at the con-
clusion of the opera, and was led forward by Mr. Charles
Mathews, when the whole house, boxes, pit, and gallery,
rose to greet her. The scenery is magnificent, and the
costumes gorgeous in the extreme. The evening's
amusements were concluded by the pantomime, which is
by far the best of the season. The house was full, the
pit being densely crowded long before the rising of the
curtain.