The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1848-09-12 00:00:00

JENNY LIND AT THE COLLEGIATE
INSTITUTION.

It was reasonably to be anticipated that this concert,
which was held on Thursday last at the Collegiate Insti-
tution, would prove one of a most attractive and distin-
guished character. In the first place the spacious lecture
room of the institution, in which the concert took place,
possesses this advantage over any of our theatres that,
whilst capable of seating about 2000 persons, nearly ever,
one is in a position of propinquity to the performer suf-
ficiently close to be able to have a good personal view, W
catch every expression of feature, and the most delicate
intonations of voice. In the case of the fair Swede this
was an object desiderated by hundreds of her auditors,
who were quite as anxious to trace in her countenance the
index of the amiable spirit, which she is said to possess,
as to be enraptured with her rare powers of vocalise'.
Another advantage of the locality, and a circumstance
which contributed to the success of the concert, was the
opportunity which it afforded, not only of seeing and
hearing this famed child of song, but of listening to
music of the highest order, to hundreds of families, whose
members object to the scenic displays with which it it
accompanied in our regular theatres. It afforded, in fact,
to the entire audience, the opportunity, a rare one, of
seeing some of the leading vocalists of the day in their
"at home" costumes and looks, un-be-rouged and un-be-
decked with stage costume and artificial character. The
previous expectations formed were fully realized. The
audience was a fashionable, a full, though not a crowded,
and above all a happy and delighted one.
In addition to the attraction of Jenny Lind, the en-
gagements included M. Roger, the newly imported French
tenor, Signor Belletti. the celebrated basso, from her
majesty's theatre, and Signor Lablache, a picked number
of performers from the orchestra of the Italian Opera,
and M. Herrmann, the violinist.
We shall not attempt a detailed critique of the pieces in
the order in which they were given, preferring to notice
the several performers, beginning with Jenny Lind, the
great attraction. Her first solo, from Lucia di Lammer'
moor, " Perche non ho," was an elaborate effort, proving
at once the perfect ease with which she can surmount the
very greatest artistic difficulty, sustaining in the midst of
efforts, which by the ordinary human voice would be im-
possible, and to the most cultivated would be a work of
harassing exertion, a quietude and simplicity of manner
which is inexpressibly beautiful. This very manner is one
of the most witching characteristics of Jenny's style. iler
next performance was indeed a most wonderful one—e
trio from Meyerbeer's " Camp of Silesio," in which two
of the parts are sustained by flutes. Much as we had.,
heard of this effort from the London press, it far surpassed
our expectations. The most critical could not have dill;
tinguished the difference in tone between vocal and wine
instrument, so beautifully were they blended throughout.
The next solo was one from the German of Der Freischuts,
and exhibited that wonderful sostenuto, in which the fair
Swede is far above all other singers. It was splendidlf
sung and rapturously applauded. Her Swedish melodies,
however, appeared to be regarded by the audience as het
most unique performance, and that one in which she sing
in echo to the mountaineers' call was encored by them en
masse, amid showers of bouquets. There is something en'
chanting in these songs from their originality, and as well
the naive manner in which they are sung. In concluding
our notice, we may congratulate the fair songstress upon
the impression which she has made upon the many who
heard her on Thursday for the first time, and confirmed in
those who had previously only heard and seen her on the
regular boards. She is above all the aids of scenic effect
accompaniment. A few rapid touches of her piano, in her,
quiet, easy way, are enough for her introduction ; the resb,
is accomplished by her wonderful powers, combined with
a childlike artlessness, which wins us whilst we wonder!,
Mons. Roger is a great singer, but it is in his own arts'
ficial school. His voice is good and highly cultivatedl,
but he seems to eschew the use of all except its acquired
powers, and to delight only in the display of consummate
art, forgetting that ars est celare artem. Signor Belledt !
singing, especially in the duet from William Tell, tole
much better upon the audience. Of Signor Lablache,
who is well and most favourably known to our readers, !le
are the pieces selected for him, we need say nothing to
commendation.
A selection from Lea Huguenots was admirably 0114
by the band ; and M. Herrman played e solo on the violin'
on a theme from Lucia di Lammermoor very beautifullft
and was very warmly applauded.