-no effort

HER MAJESTY'S THEATRE. The announcement of Jenuy Lind to appear in a new character suffices to counteract any of the causes that usually militate against the collecting of an immense audience. Thus, notwithstanding the hitherto all-absorbing Cup Day at Ascot, the theatre was crowded from stall to gallery, on Thursday, to witness the sprightly opera of 'L'Elisir d'Amore,' with Jenny Lind as the warm-hearted but flirting Adina. The Elisir' is, we think, one of Donizetti's best works, and may take the same rank amongst his multitudinous operas as does The Barber of Seville in the long list of Rossini. Its great charm is, however, its grace and spontaneity; there is no appearance of labour, no signs of fatigue-it bears the thorough impress of the village life-there are no attempts at fineryof so-called high art." It is a musical idyl, and gives a similar pleasure to the ear as doth the fragrant smell of the new-mown hay. To the prolific brain of Scribe we are indebted for the incidents and the creation of the characters. Adina is the most charming of coquettes-teasing, but not cruel; triumphing and glowing, as youth and conscious beauty will ever triumph and glow; and Nemorino, awkward, bashful, and impatient as a rustic in the Georgics; and Belcore, a real dashing white sergeant-bouncible and bellicose, a game cock, crowing and swaggering amongst the men, a positive turtle, murmuring and cooing amongst the women; but all must hide their diminished heads before the potent, portly Dulcamara, the Prince of Pills, the Duke of Drugs. Lablache is Dulcamara, Dulcamara is Lablache; they are one and indivisible. He is a lyrical Falstaff, and stands amid his stage compeers as does the fat night amongst the revellers at East Chepe.

The centre figure, of course, was Jenny Lind's Adina, and the delineation was characterised with the delicate discrimination and deep appreciation which distinguishes her from all others. Adina has but few means to produce strong dramatic effects, but there are several small points by which a great actress may prove her genius, and where these occurred they did not escape her watchful observation. One chief merit in the production of the Elisir' is the restoration of all the original music, and for this honourable measure the public is indebted to Jenny Lind. A charming quartet, for Adina, Nemorino, Gianetta, and the doctor, and the well known bravura air, 'Prendi sel libero.' The execution of the latter was quite wonderful as a specimen of vocalisation: the most extraordinary distances were achieved as though by act of mere volition, the effect upon the audience was electric there was a fine specimen of coquetry exhibited in the duet; the recal before the curtain was numerous, and all the performers were summoned at the conclusion of the opera.

VAUXHALL GARDENS.

The Royal Property,' considering the unsettled state of the weather, has been well attended during the week, the principal attraction being a new group of Ethiopian Serenaders, brought over from New York, by Pell, the celebrated Bones' of the St. James's Theatre. Amongst the new corps is Juba, an extraordinary artist in Nigger antics, whom Mr. Dickens has celebrated in his "American Notes." The performances of Professor Hemming and his three sons have also been deservedly appplauded for the grace and agility displayed in the various feats they execute. The vocal concert is unusually strong, comprising, amongst the artistes, Mrs. Aveling Smith, Miss Georgina Hodson, and Miss Georgina Smithson, with Mr. J. W. Sharp, the comic vocalist. The pic

torial representation of the City of Constantinople is exceedingly brilliant and effective.

ZOOLOGICAL GARDENS.

M. Jullien and his admirable band made their first appearance at these popular gardens on Monday week. The concert commenced with the overture to Der Freischutz. A new set of quadrilles followed, called, 'The Queen of the May,' abounds with most beautiful melodies, and is in every respect entirely devoid of what may be termed theatrical effects. The grand symphony in C minor of Beethoven was beautifully rendered, and Jullien's celebrated Swiss Quadrille' was greeted with loud applause. A new polka by Jullien, and another by Koenig, were favourably received; the solos of Richardson, on the flute, and Cioffi were individually worth much more than the price of admission. We must not omit noticing the charming manner in which Madlle. Lovarny sang the bravura of The Soldier Tired' and the Scotch ballad of What's a'that steer kimmer? Both were enthusiastically applauded and encored. The evening's entertainment was in every way excellent.

FOREIGN THEATRICALS. PARIS....Little has taken place in the theatrical world during the last two weeks deserving particular attention. A little comedietta has, however, been Its title, produced at the Gymnase with success. somewhat naif, is Horace et Caroline; Horace

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being a handsome, good-hearted, unfortunate young fellow, who passes his time in the low society of cafes and divans, amongst whom he takes rank No. 1., and a pretty cousin, Madlle. Caroline, acts as a kind of good genius towards him, and awakening him to better tastes and feelings, gradually weans him from the billiard room to the boudoir, and, in a word, transforms him from the vulgar 'habitue' of the estaminet' to the accomplished gentleman, and something more, a very promising husband, for the affair, of course, concludes with marriage. This little piece was extremely well acted. It is asserted that the distinguished vocalist Grisi, is to be co-directress of the Italian Opera of the French capital on the approach. ing season. M. Dupin is already named as succeeding M. Vatel. These are reports believed to be correct in the Parisian musical circles. Mdlle. Rachel is on a tour in the French provinces, at the conclusion of which it is asserted she will visit London for two or three weeks.

FLORENCE.-Madlle. Rosetta Risorska has appeared as Linda, in this city, and created a perfect rage. She was ably supported by Messrs. Puzzolini and Profeti.

BARCELONA. The performance of Madame Rossi Caccia in Elvira, is described as unrivalled in '1 Puritani, which has been revived at the Liceo Theatre. The other parts were well sustained by Bozetti, Ferri, and Silingardi.

REGGIO.-The English prima donna, Miss Hayes, has gained a new triumph in the part of Lucia. The young vocalist is spoken of in the most rapturous manner, the applause being represented as unprecedented. She was ably supported by De Bassini and Graziani in the basso and tenor parts.

MADRID. Macbeth' has been performed with great success at the Circo, by Madame Bosio, and Bordas and Morelli. The Queen honoured the theatre with her presence on the first night, and appeared highly entertained.

GENOA.-Madame de Giuly and M. Gnone have highly distinguished themselves in Verdi's Macbeth,' at the principal theatre of this city.

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MILAN. I Lombardi' has proved highly succesful at the Teatro Nuovo, in this city; the principal

DRURY LANE.

The opening of our principal national theatre with a company of French artistes from the theatre Historique, in Paris, did not take place, as announced, on last Wednesday evening, owing, as we stated in our last, to the Lord Chamberlain's licence not having been received for the performance of the drama of Monte Christo.' The Lord Chamberlain had, we believe, refused to license the piece until the immorality, indecen. cy, and other abominations with which it abounds should have been removed. The opening, was, therefore, postponed till Friday, to enable the licenser of plays to perform the Augean task of cleansing the drama of the pruriences that dis tinguish the writings of M. Dumas, and rendering it fit to be tolerated on the English stage. To do so, however, it was found necessary to make such extensive curtailments that two whole acts are said to have been excised, and the remainder of the piece so cut up that the directors determined not to present themselves before a London audience with a drama rendered, as they thought, so unintelligible; had it been made wholly so we should have to thank the dramatic censor for a service conferred upon public morality.

The gag of a red stamp is upon our lips, we are therefore compelled reluctantly to extract the following graphic and truthful account of the proceedings on the last night of the representation, from our contemporary the Morning

Post.'

A similar scene to that which took place on Monday was repeated last night, with increased intensity. The English party seemed determined to carry out their intentions vigorously and con sistently, and, as we consider their cause a good one, it has our hearty wishes for its success. The pity is that, while contesting for victory, they are bringing money to the treasury, which otherwise would most assuredly never have reached it. But one of our national characteristics is not to regard outlay when a moral good is to be achieved. The system adopted last night by the direction to force these performances down the throats of the public is most reprehensible, the pit being packed before the doors were opened with a herd of Frenchmen, who, to judge from their appearances, seemed to be the vilest scum that ever congregated at the lowest 'cabaret.' By a singular accident we were admitted amongst the foreign affairs.' When the doors were opened to the public, would it be believed that an effort was made by the incum. bents to prevent the legitimates from taking certain vacant seats; but this was resisted by a cry of 'No places taken in the pit,' Some of the most earnest shouted Britons, be bricks!' and 'Britons, support the British drama!' and various other patriotic cries. Then came the National Anthem, sang capitally by a majority of the audience, then followed a grim silence until the rising of the curtain, when one burst of indignation burst forth, sufficient to fright the Isle from its propriety; up stood the Gallic cocks, and crowed with might and main, and shook their dingy wings, but the roaring of the British lion and his determined front were not thus to be put down. The plan of the French party was to call

for the police, and then to rush in overwhelming numbers upon the offending parties. This, for a time, answered, but upon repetition failed. Now, as the question of tolerating a second French company at the Theatre Royal Drury Lane is entirely English, the brutal interference of these Frenchmen should at once and for ever be stopped. Foreign artists of every nation have been received with liberality and generosity by the people of England, and that the expression of their will should be interfered with by a hoard of hired foreigners, marshalled expressly for the purpose, should be resented in a manner that should convince them that if they are suffered to dwell here, and gain that subsistence which their native country refuses to them, they should be modest and peaceable, and not grossly thrust their feelings and their pecullar likings upon the people who willingly afford them a shelter and a home. The English public have no personal prejudices against the company of the Theatre Historique, but to the occupancy of our great national theatre by a second French company. No voice has ever been raised against Mr. Mitchell's admira bly conducted theatre-it has existed, we cannot say flourished, for some years, and has been honoured by the continued presence of the Queen, and most of the leading families of our aristocracy, a portion of which countenance, had it been bestowed on English authors and actors, our national theatres would not have become the refuge of Italian singers, and French speculators.

An attempt was made by Mr. Mitchell to establish an English company in Paris, the theatre was let to him for twelve nights to be renewed, if successful, at the end of that time, they did not meet with the suc cess they anticipated, still he applied for a renewal of the term, and not only was an oposition raised by M. Verron, the director of the Academie Royale upen the grounds that his theatre enjoyed a subvention from the Government, with the proviso that the" Italiens" and on the alternate Sabbaths, and that the letting of were only empowered to perform three nights a week, the theatre on the open nights was a violation of the Government monopoly, but an action for damages was commenced against M. Vattel and Mr. Mitchell, for losses said to have been incurred by the performances of the English troupe. But the English actors were permitted to perform for one night at the Opera Comique, for the benefit of the distressed widows and orphans of French authors. When, some years since, Mr. Penley attempted to establish a small English troupe in Paris, the actors were pelted off the stage with sous and other missiles, and for these courtesies we owe them so much gratitude. The riots at Drury Lane should be stopped at once, and the most effectual method of accomplishing this desired end is for the Lord Chamberlain to withdraw his license,

Just before going to prees we have been favoured with a copy of the different squibs, flying about the neighbourhood of the Theatre.

"What is Monte Christo? A tale told by an Idiot; full of sound and fury-signifying Nothing."

"Let's whip these stragglers o'er the seas again Lash hence these overweening rags of France!"

Englishmen !!-In opposition to the verdict of the British Public on Monday night, the bankrupt Jullien having unblushingly robbed us, even of the coat he wears, still attempts to force these moustachioed invaders down our throats and his

solicitor asserts the French shall have the theatre whether the English like it or not. So says he Mr. Jardine tells us we have an undoubted right to express our approbation or disapprobation of the performance, unaccompanied by rattles, whistles, cat-calls, and trombones, (even the privilege of hurdy gurdies is denied us)-but we have our lungs still left, and the right to exercise them. We can have no opposition from Englishmen, or those who feel as such, nor are we yet sunk so low in the scale of nations as to dread that of the French. Use then your lungs lustily-they are permitted by the law. And if any Frenchman would physically deny you that right, use those weapons which have never failed to sustain English honour in the hour of needyour hands! infringe no law, maintain your rights, support your own countrymen, no French Actors in Drury Lane."

The 'Times' of Saturday, contains the following words: A good many reasons have been assigned for the decline of the drama, and its expulsion or flight from the two great London Theatres. It would be idle to enumerate them, for they must be familiar to our readers; but it is doubtful if one in especial has been sufficiently dwelt upon. Covent Garden and Drury Lane are far too large for the representation of the highest class of dramatic works,-Lear and Hamlet requiring a smaller frame, a more delicate setting, to bring out their hidden beauties.'

Allow me, in reply, to ask, whether this fact was ever found out by the fashionable world when those then comparatively prosperous establishments were honored by the frequent visits of Royalty? and if they really are far too large for the representation of the highest class of Dramatic Works,-How does the sapient Times' Critic so cleverly manage to find out the extraordinary genius displayed in the acting of that truly interesting being-JENNY LIND, in a Theatre almost double the size of the two previously mentioned. The plain fact is, that the one great cause of the present state of the Drama (however it may suit the purposes of some to biink the question) is, the want of patronage on the part of Her Most Gracious Majesty herself her frequent visits to the Foreign Theatresher continued absence from their English Rivals. To this unfortunate loss of Royal patronage the British Actor must of course submit, in deep respectful silence, however he may feel that even moderate notice might revive his blighted hopes. What cannot Fashion do! When Charles VII., of France, lengthened his coat to hide his ill-made legs, his courtiers quickly lengthened their own tails. When Henry Plantagenet wore long pointed shoes to hide a large excrescence on his foot, of course no feet must then be short; and if His Royal Highness the Prince Consort was, in the course of to-morrow, to indulge in an exhibition of the Rat-killing propensities of the celebrated Dog Billy, rough Terriers would be found in the arms, the carriages the boudoirs of all the Town Ladies of Fashion, most

certainly before the end of the next week.

Following in Fashion's train, the kid-gloved Critics of the Press, with few exceptions, have also left you to your fate. At the English Opera, Mr. Charles Matthews,in certain parts unrivalled, gets a line as follows:-Mr. Charles Matthews bustled through the part of Dashington with all his accustomed vivacity. At the St. James's, however, M.

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Felix obtains a column, which is scarcely a sufficient Space for a full description of his exotic talents, and sends the Critic home in a perfect state of ecstacy and bliss. Macready is a paius-taking, correct actor; but Bouffi is a God. Oh Opera Boxes! what a charmed power you possess guide the pens of Critics of the Press. Smiles, Invitations, smoking Dinners too, arise before your potent call. By aid of Lumley's gifts the Critic of the press knows not a butcher's bill, daily he dines abroad and always well. What matters it to him how English dramas fare, for Jenny Lind, and lists of noble names, are to his paper things of higher import.

Gentlemen, until these points are remedied but little can be done. If proper patronage be equally bestowed, why need the British Actor fear Free. Trade.

Since writing the above, we perceive that the French have announced their intention of only giving two more performances in this country, fixing the admission at One Guinea.

We have received a copy of a petition now in the course of Signature, under the supervision of Henry Betty, to restrict the number of foreign theatres in the metropolis. The signatures at the time of writing amount to upwards of three hun dred, including the important names of the most influential members of the profession. We are sorry that our space precludes the possibility of our inserting the prayer of the petition.

OBITUARY. Died at her residence, Charlotte Street, Bloomsbury, after a lingering illness, Mad me Proche Giubilei, known for some years past as a clever second dancer at the Italian Opera, Drury Lane, and other metropolitan theatres. The deceased was married to Signor Giubilei, the basso singer, who died three or four years since at Milan. Madame Giubilei was a native of France, and made her first Theatre, in 1832, in the ballet of Une Heure a appearance in England on the stage of Her Majesty's A few Naples,' being then eighteen years of age. seasons after she appeared at the Adelphi theatre, in the ballet of Alma,' and has since then been attached vals in the provinces. Her last (ngagement was at to various metropolitan theatres, starring' at interJullien, where she danced with Madlle. Louise and Drury-lane Theatre, during the management of M. Madle. Melanie Duval in the ballet of La Genie du Globe,' until the rapid progress of consumption, the the stage. Mr. Delafield, and the new directors of disease of which she died, obliged her to retire from the Italian Opera, Covent Garden, behaved with extreme liberality towards the deceased: that gentleman, hearing of her illness and her distressed circumplaced on the salary list for 67. a week, although the stances, generously directed that her name should be state of her health rendered it hopeless that she should ever again appear at rehearsal. The deceased has left two boys and two girls orphans; but we are glad to learn that the comittee of the Drury Lane Theatrical Fund have undertaken the charge of them until they shall be of age. A sum of 801. a year has also been paid from the same fund towards their support since the death of their father,