The New York herald., 1850-05-18
Our London Correspondence.

Our London Correspondence.
LONDON, May 3, 1850.
Jen~y Lind-Her Agpearawce in Z" La Fgiia del
Reggimewto'' Great Excitement and General
Rush Of the People to hear h1'-Ercitimg Scenes
at Covm Garden-Hr Triumph in the Cha
rdetsy of Maria, and the Unbounded Enthusiasm
Of the Andifory--Shs is Pronounced the Greatest
Comic Vocaiist--Her Competition in Melodranla
wifh Grisi, etc.
At such great distance of time as, in the pre-
sent rapidly progressing age, four years, or at any
rate, three years and half, may without doubt
be well considered, it would perhaps be impossible
to remember correctly the times and dates of every
incident in the various of the charming song
stress. Her next appearaxce was, however, if we
may trust our own memory, without referring to
file ofthe Times, in the "Figlia del Reggimento;'
that opera of Donizetti's which was originally pro-
duced at the OPERA Comique in Paris, under the
name of La File du Regiment" When this
opera hrst appeared upon the French stage, and
Anna Thillon had taken the part of Marie, that
charming and intelligent soprano had been highly
successful in il, and had established the character
as her own undisputed property upon the French
scenes. Such, however, was the popularity OF the
OPERA that il soon crossed the frontiers of France,
and was translated into the German tongue. Here
il was reserved for Jenny Lind to popularize il.
This she had done, and the opera was now to fol-
low her from Germany to England.
AS comic character, and that, too, Of the most
facile and versatile description, it excited Won
derul degree of curiosity on the part OF those who
had been her admirers They wanted to judge of
her capabilities for the style Of pure comic vocalism
They had known and experienced her powers
great meo-dramatic singer. How was she to
realize the playful and essential comic requirements
Of the muse of Donizetti, in this opera On the
evening in question, on which La Figla del
Reggmento" was first produced, the crowd, from
an early hour, were in attendance round the doors
of the theatre. When these were opened, the
scramble TO get in mocks at belief. Many OF the
ambitious occupants of the gallery were literally
carried past the man who was placed there to re-
ceivc payments, and the check takers, by the in
fux Of the mob who beseiged the doors, and we
have heard that on this night little more than two
thirds of the gallery audience paid for admission A
manager may possibly find some disadvantages in
the possession Of too popular an artist, and so did
Mr.. Lumley then find it. AT the pit the scene was
as bad as il had been the first night of her ap-
pcarance in "Robert lie Diable." The pick-pockets
were busy in the crowd, and many gentleman had
the sataction of finding that he had paid consider
ably more than the price Of his place, which at this
time had begun TO bear high premium to secure
admission. AT length, however, the audience had
managed to fill the house, though the same scene
was still going on al the doors, and the curtain
drew up for the opera. When she came upon the
stage. all were on the qni rire to detect any failure
in the character; but e'er the first act was half
through, the question which they had proposed was
peremptorily decided, and Jenny Lind was stamped
by the verdict Of musical London, as as great or
greater a comic actress, than she was a melo-dra-
matte one. Nor indeed wasit unnatural to suppose
that this would have been the case. Her quiet and
happy-looking face might well have suggested that
would be SO. Her manner, so full OF mirth and
espiegi0is, confirmed the opinion. As for myself,
| will frankly own that was completely subjected
by it. Nothing could well have been more deli
ciously and naively rendered, than was her first
duet with Sulpzio. There was in it one Of those
lengthy and sustained notes, which she gives with
ed more wonderful than ever. 1t flowed from her
with the purity and tenderness Of an angelic in
tonation, melting gradually away into whis-
per. 1t called from the audience perfect
marching duet, with the well-known Rata
plan" 1t was deliciously and gloriously given
The audience encored this twice, and this to-
ken of appreciation became the one which was
afterwards invariably awarded il. Then came the
second act in this her old and courtly aunt begs
Maria TO indulge her with an ancient romance
The mischievOus Sulpizo is, however, there. He
continually reminds her, by his voice, of the mer-
ry Ra-fd-t9dn. The girl endures il for some time,
but at last. as the notes Of the song of the old
" Eleventh" are heard through the music, she
dashes from her the words OF the romance, and
Joins again in the chorus of her old marching song
She displayed in the last passage of this delightful
power over ali the resources Of her art, that the
Three times was she summoned To the front Of the
stage, and three times did they clap their hands,
and shout their riros. The very ladies stood up
III their boxes, and waived their handkerchiefs.-
Her success was stamped at once. She was 40
knowledgcd to he the greatest comic vocalist whom
they had ever heard
Ii was. in truth, curious TO sec how the enemy at
Coycnt Garden did battle with the sense Of her SUI
penoriiy. IL generously conceded, at the first
blush Of her reputation, that she was great melo-
dramatic artist, Comedy and tragedy, however,
required something more than the degree Of trick
that would carry a vocalist down the stream of
public success in meodrama.
This was granted them by the admirers Of 4" the"
Lind. Nay, they even allowed them to settle the
lie Diable' TO be melo-dramaiic opera, while they
asserted the tragedy OF " Scmiramidc " and " Nor
ma
Here, however, Jenny had fairly over,hrown
the first half Of their position. She had given
character with more comic humor in il that would
haNc been possible tor any other woman upon the
present lyric stage. They were fairly driven from
The hrst part OF their line OF battle, and Jenny Lind
tock her place nj the head Of this branch of her
profession, without the slightest dispute. All
opinions concurIed in placing her there. more
difficult taek was, however, now required of her.
She must make herself the greatest tragedian of
the day, as well as the greatest comedian on the
operaiic stage. For this purpose she was an
nounced in Norma" You did not see, and, there
fore, cannot possibly imagine the CONSERVATION
which seized upon Covent Garden. In Norma"
der Deyreni had failed to deprive her of when she
embodied u in the wbirlwind Of that terrible rage
which made her seem an inspired Pythsness in the
erandcr moments Of her tragic passion. With
Lind II was different from any other singer. Every
thing which she hsd touched had turned to gold.
Supreme in comedy and melo-drama, she dared to
dispute the empire Of song with her mighty rival in
tragic opera, as il was called. Nor must il be re-
was this light task for IL was in Crisis
greatest character that the battle between them
was TO be fought The two actresses had to strug-
gle on the ground that had hitherto, by proscriptvc
right, belonged solely TO one Of them. When this
's recalled, we .apprehend that IL will be allowed
That Jenny had not earned her position amongst
rs without labor. had seen Jenny, in this yotc,
at Ferlin, some three years previous. ] must how
ever, own that was not without some fears for
her success. These were destined IL be dissipated
~ her complete succcss-a success the more won
icriul as il was scarcely anticipated by her warm
Brooklyn Intelligence.
0SSirrs LictSsss.--Judge johnson. before whom
The appeals frtm various judgments obtained by the
rity against the drivers Of the American Line Of Om
nibuses was argued yesterday decided in favor Of the
omnibus propretors, conclu ding his follows