Well, never mind; here, take your browns, sir; I'cod! that chap did rarely hook it! I know'd for "sartin," ere he took it, What! sure as Jonathan's my name Well, come as it will, I'll try my hand! No, no, John; don't you touch them things! Now mind, Will Somerton; let me be, Or, if there's blows, you'll be to blame; Do just keep quiet, and soon you'll see How beautifully I'll make my game. Lawks! only think, too, if I but won, 'Twould beat the harvest-work to sticks. Now, then, I will wager two pound--Done And on that thimble, there, I fix. Holloa! how's that? Why, your honour's wrong: Next time you'll take a better aim. "Next time," you rascal! it's precious long Come, gently, gently; don't you fret man, For don't you twig them horrid "Blues." PUBLIC AMUSEMENTS OF THE METROPOLIS. "Then to ihe well-trod stage anon." "And ever against eating cares Lap me in soft Lydian airs, Such as the meeting soul may pierce, MILTON'S ALLEGRO. The ITALIAN OPERA has still continued the great central attraction of our pleasure-seekers: the taste for music being at least on a par with the taste for fashion, and both combining to render this theatre the ne plus ultra of desirability. The first novelty that occurred after we had gone to press last month was the new ballet of "Rosida." This production, the brilliant idea of the fair dancer who is also its heroine, is an old Germanic fiction, infinitely improved, and married only so far to mysticism and the piece, as to exhibit pleasingly-marvellous pantomimic effects. Indeed, even on the Proteus-like boards of her Majesty's theatre, this display of subterranean splendour was both novel and interesting; and the accompaniments of sylphs and gnomes, "white spirits and grey," Viennese dancers and thinly-robed fairy-queens, with agreeable music, established the ballet at once as a seasonal favourite. The operas performed here with the best success have been "Don Giovanni,' "Lucrezia Borgia," "I Puritani," and "Otello." "Il Pirata" is not a favourite with the public, for it possesses the double fault of indifferent and borrowed harmonies. Madame Castellan's young and fresh voice becomes daily more popular. It has not a strained or harsh feature in its whole compass, and from first to last of an opera it is untiringly sweet and tender. Grisi (with some unequal nights) has maintained in the worthiest manner her reputation as a first-rate vocalist; and, we trust, for many seasons yet to come, the brilliant lustre of her powers, as our most admired prima donna, will remain undimmed. We heard her last as Desdemona, and believe that in the first scenes she was suffering from some slight indisposition; but, if it were so, apparently it soon ceased, and she speedily, as usual, electrified her audience by that display too well known almost to be specified. Il padre m'abbandoni, and Ah piu d'un salice, were the two favourites, perhaps, in which she triumphed the most. We can scarcely sufficiently do justice to Castellan's Zerlina: since the lamented times of Malibran, we have not yet been so well pleased with the cast of the character: and still more perfect than her Zerlina, is the manner in which she performs "La Sonnambula." Indeed, as Grisi's forte is the grand and majestic, where a sort of stern and overwhelming power is required, such as in "Norma," "Semiramide," "Anna Bolena," &c., so Castellan's genius is best proved in those parts where the energetic pathos and tenderness of the simple, truthful, loving girl, appeals to the feelings rather than the judgment of an audience. Brambilla and Madame Bellini have mainly assisted the brilliancy of the season. Mario was never so highly appreciated for the unequalled softness of his voice, and for those dramatic qualities he will not always exert, but which undoubtedly are always called forth at will. As Elvino, in "Il Pirata," rather more than a week ago, he obtained from us that unqualified admiration, which is sometimes withheld by the inertness of his acting: and, in this, he has often reminded us of the gifted Malibran, who would sometimes almost appear without power to embody her own conceptions, and who, withal, had within her the greatest amount of musical and dramatic genius it has ever been our lot to meet with in a singer. Moriani is very great in most of his characters: his part in "Linda di Chamouni," in which he so ably supports Madame Anaide, is perhaps that most suited (of all its range) to his peculiar and effective organs. Fornasari, Lablache, even Corelli, the best Roderigo (in "Otello") we have heard this many a day, still increase the measure of delight awarded to the dilettanti of this house, still Untwisting all the chains that tie The re-engagement of the little Viennoises, the charming automata of terpsichorean science, gives universal satisfaction. Carlotta Grisi in her unequalled Esmeralda, Cerito in her more aerial sphere, Lucile Grahn in her not so attractive, but still most spirituelle grace, and Taglioni's first-cast appearance (that has taken place with unrivalled applause even as we go to press), these are the attractions that (opera and ballet included) render the opera-going public of 1845 almost unanimous in opinion that it is, and has been, the phoenix of seasons. The little theatre of St. James's, withal the hottest in London, is still the crowded resort of the distinguished: and deservedly so, for Mr. Mitchell has not failed to give us a succession of the principal Parisian "stars" of the drama. That most agreeable tenor and excellent actor, M. Achard, is at present the chief mark of attention. His re-appearance in "La Famille du Fumiste" was hailed with much warmth, and his last night (which is said to take place on the evening of the day on which we indite our remarks on his popularity in this country) will no doubt prove that his exertions have been crowned with increased favour. We have ourselves witnessed his Guillaume. Among Les Dames de la Cour, the finesse with which he opes the paysan is delightful: indeed, both for costume and comi F cality this little opera of " Trianon," in which he figures as Guillaume, is invaluable. We have also been present at a stupid vaudeville called "L'Amour en Commandite," which the actor's powers alone made amusing; the amusing solo vaudeville of "Le Brasseur des Champs Elysées ;" "Babiole et Jablot ;" the latter one of his very best performances; and we have, in common with all who have seen him, pronounced his Pascal in "L'Aumonier du Regiment" a perfect specimen of the tact and discrimination peculiar to the histrionic powers of our continental neighbours. He is to be immediately succeeded by M. Arnal, of whom great things are augured. We omitted to mention the sweet effect produced by the mode in which Achard sings Felicien David's admired production of "Les Hirondelles." Eliza Forgeot is the most sprightly of all French actresses. We have always to remark, indeed, even among the mere subordinates of a French company, an infinitely greater amount of stage knowledge, of keeping, and of nature in art-that is, of natural gesticulation, ease of manner, and attention to the parts enacted-than we unfortunately observe in most English corps dramatiques. The probability of a national failure may be traced to a general want of enthusiasm in our several vocations. We go through a routine merely as the routine of business, without taking the trouble, or perhaps, without having the capacity to extract the amusement from it, which appears always to be done with our more volatile neighbours. We must still continue, alas! on the foreign list while we justly eulogize the Brussels Company that have been for a short time past occupying the boards of poor COVENT GARDEN-fallen, indeed, from its high estate, as a national bulwark of the drama. We have in that little central capital of Brussels itself often enjoyed the excellence of their opera as a whole-a second-rate excellence after all-and yet not to be sneezed at, even by our more finished artistes of the Italian Theatre. First of all, every one will confess that the Brussels orchestra is Germanic in its excellence; that its vocal corps is welldisciplined, its general effect most satisfactory. Charles Hussers is an excellent band-conductor, and so methodical and unaffected in his manner as to be a pleasing contrast to the ostentatious pretensions of some of our foreign leaders of orchestras: each of the members of his band are choice instrumentalists, and prove, therefore, collectively most admirable accompanyists. We need not individualize: Madame Julien, Madame Guichard, Madame Laborde, Laurent, Quelleveri, Condere: these are all efficient principal portions of an excelling whole. The choruses are remarkably good in their acting and expression, and, we must say, although we very much deplore the deficiency of national spirit, and perhaps of national talent, that thus permits us to lavish the preponderance of our wealth upon foreigners, instead of upon our fellow-countrymen, that in this case popular favour is thoroughly well bestowed. A Brussels manager does not take liberties with an opera: the score is religiously respected. We hear it such as a composer of genius has produced it, and therefore we have a full comprehension of what is going on. Why is half-price banished from this theatre ? -because foreigners bring foreign customs too? |