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l' Ultimo Giorno di Pompei, have been tastefully arranged by A. Diabelli for two performers on the piano-forte. A Polacca for the same instrument, by Chalieu, exhibits talent and force of expression. Indeed, the style of this composer is bold and brilliant. Trois Pieces amusantes et non difficiles, (three amusing and not difficult pieces), by Hummel, display invention and taste. One, which is called a rhapsodical finale, is as melodious as it is animated.
Two Airs by Mr. C. Cope Temple— “Oh, list to the sound of my Lute,” and “Glide, lightly glide,” are harmonious and elegant.
The Lone Minstrel, a Glee,_the Sylph, a song, and the Twilight Hour, a canzonet, are creditable to the taste of Mr. James King. The melody of the second piece, in particular, is original and very pleasing, and the digressions are in good keeping.
The KING's The ATRE.
The re-appearance of Mademoiselle Garcia, now Madame Malibran, excited a strong sensation among the musical amateurs. This lady's voice is sweet and flexible, but it is not faultless; the execution is good, but it is not perfect; she never offends, but she rarely astonishes. This can hardly be considered a fault; and yet, with her style and her evident attempts to astonish, like Catalani, one would sometimes be disposed to think that there is a failure. If, however, Madame Malibran, as a singer, is inferior to Pasta, she is, as an actress, quite equal to that lady; and this we think, is no mean commendation of her powers. It is quite delightful, after the ennui of witnessing the wretched acting of most of the English singers, to see a character of such depth as Desdemona represented on the Italian stage with as much fidelity as if it had been enacted by Siddons or O'Neill. In person, Madame Malibran has neither been favored nor neglected by nature; she is of the ordinary size, and of a figure rather well than ill-formed ; her face is not handsome, but it is very expressive; and she seems to have a thorough command over every feature. Donzelli, as the jealous Moor, surpassed all his former efforts: it was, indeed, a matchless performance. He has certainly more breadth in his singing than any other person in his line, and he has the rare merit of using his falsetto, which is of the richest kind, with discretion and propriety, passing to it from his natural voice without that break, or, as it is technically termed, bridge, which is so displeasing in most other singers. Levasseur, as the father,
sang the bass part with great skill and sweetness; o Curioni, as Roderigo, was very effective; but the part of Iago was most wretchedly represented. In a divertissement, a new i. Madame Vaque Moulin, made her first appearance; she possesses extraordinary talent, and displays a style of great neatness and execution. Eager to gratify the public taste for an union of fine music, expressive dancing, and splendid scenery, M. Laporte lately produced the ballet of Masaniello, ou le . Pécheur de Portici. It has met with decided approbation. Coulon, in his dancing and his acting, was excellent. Pauline, Leroux, Rinaldi, and Mons. Frederic, also elicited well-merited applause. The dresses are magnificent, and the costumes perfect. The most effective scene is the fish-market at Naples, where a national dance is executed with much spirit, and concluded by a devotional chorus. The music is chiefly selected from an opera composed by Auber on the same subject, the remainder being supplied by Mr. Bochsa.
erfect developement of the muscles of the o: back, arms, legs, and thighs. They stood out as boldly as if they had been chiseled by a sculptor, and appeared to be of almost Herculean proportion. The most curious feat, was, when the taller of the two fastened himself to a pole, fixed perpendicularly in the centre of the stage, by the feet, and then threw his body out nearly in a horizontal position, while his companion held fast by his hand; and, while they were in that situation, the pole being made to revolve rapidly by a sort of windlass, they were carried round with alarming velocity. The entertainments concluded with a melodramatic fairy tale, entitled Thierna na Oge (the Land of Youth), or the Prince of the Lakes. It embraces several of the opular superstitions of the south of Ireo but is founded chiefly on the legend of O'Donoghue and his White Horse. This was, as the story goes, a famous chieftain, remarkable for the justice and wisdom with which he governed the district bordering on the lake. Being, however, engaged in the unfolding of some prophetic events, which were to take place in future, he rose and deliberately walked into that portion of the lake which was under the lofty cliffs of Glencar, and disappool. He appears riding on his white orse, on the lake, once in seven years, to the great astonishment of the natives. While he thus appears, he is surrounded by fairies, spirits, and others of his court, which he holds at the bottom of the lake. The subject is one well calculated to give scope to the scene-painter, for the purpose of rendering this spectacle very imposing. The plot seems to be this:—Dame Kearney has a pretty little daughter, who is an object of attraction to all the neighbouring swains. Glencar, the lord of the manor, is also attracted by Kate Kearney, and is determined, if possible, to effect her dishonor. In this he is assisted by his servant, Samson Sinister. In order to deceive Kate the better, Glencar, whose person was unknown to Kate, presses his suit honorably, under the name of Patrick
ties appear, according to appointment, and poor Kate is on the point of being carried away by force, but is rescued by Dan, who receives a shot in the shoulder for his interference. During the struggle, Kate ascends the cliffs, and plunges into the lake below. O'Donoghue saves her life, and takes care of her in his palace below. Dame Kearney then accuses Dan of the death of her daughter before the young lord, who declares him guilty, and condemns him to be hanged. By the in
tervention of O'Donoghue and his spirits,
he is released, and Samson hanged in his stead. In conclusion, Dan, as a reward for his constancy and troubles, receives the lovely Kate in marriage. The success of this production mainly depends on the brogue and wit of Dan O'Reilly, in which Mr. Weekes succeeded à merveille. He sang a song so much in the style of the Munster-man that it was encored. Mr. Harley, as Samson, contributed a great deal to the success of the piece, as also did Mrs. C. Jones, in the representation of the Old Lady of the Lake. The scenery is very splendid. The bay of Glena, by moonlight, in the first act, attracted much attention, and was greatly applauded. In the second act the hall in the palace of O'Donoghue is splendidly painted, and the last scene, representing the ascent of O'Donoghue and his court to the surface of the water, is admirable.
cov ENT-GAR DEN THEATRE.
As the return of Easter suggested the expediency of producing, according to annual custom, a striking entertainment, a supernatural story was embodied for the occasion. A new musical tale of romance was brought forward, under the title of the Devil's Elirir, or the Shadowless Man. The main plot is taken from Hoffman's extraordinary romance which bears the first title; and some use has been made of Peter Schlemilh to supply that part which relates to the loss Pthe hero's shadow. The author has, however, managed his materials so ingeniously as to give to the performance a more origi
contest which the holy man had with the demon to whom it belonged. The property of this elixir is, that it enables the rson drinking it to assume the shape of is rival; and the price of this privilege is the eternal damnation of the tippler. Francesco's hopeless passion prevails with him: he swallows the potion, and takes the place of his brother. Nicholas, the bell-ringer of the convent, impelled by love for Ureka, Aurelia's maid, at the same time quits the line he has been brought up to, and engages as servant to the supposititious Hermogen. The false count at first prevails, is received as his brother, and is about to be married to the lady, when the real Simon Pure presents himself. The perplexities which ensue are made very amusing and interesting. Nicholas at length hits upon a plan for discovering the impostor. Having heard that the devil's votaries have no shadows, he prevails upon one and entraps the other to pass before his lamp. Hermogen's shadow appears (and this deception is very cleverly managed)—Francesco has no shadow: this is taken to be conclusive evidence of his guilt, and he is borne off to abide his doom as a wizard or magician. While he is confined in the belfry of the monastery, the demon visits him, and offers him liberty and Aurelia if he will ratify the compact. He consents, and the terms are, that if he shall, of his own free will, refuse the lady's hand, she being ready to marry him, before the clock strikes eight, the demon shall claim Francesco as his own. As soon as the monk consents, the demon transports Hermogen and Nicholas sleeping to the belfry, and Francesco to the lady's castle. Every thing is once more ready for the impos
comes to interrupt the ceremony. He is now less successful, and, as he is about to be carried to the stake for the purpose of being purified by fire from his supposed offence, he makes a passionate appeal to Francesco. The better feelings of the latter triumph; he resigns his bride; and the demon at the appointed hour claims his prey. At this critical moment the victim recollects it is the Eve of Allhallows, at which time no unholy spirit can approach the shrine. Thither he goes . protection; the fiend attempts to follow him, but is stricken into the earth by a bolt from Heaven. The whole building is demolished and disappears, and a clear tranquil landscape is seen in its place. Amidst the consternation of the wedding-party, Francesco appears in his monastic habit, and accounts for his absence by saying he has been on a pilgrimage. Hermogen and Aurelia are united, and Francesco retires to expiate his crimes and testify his gratitude by a life of penitence. The denouement is rather aukward. While the author was collecting his materials from romances, he should not have omitted one by the most witty and inventive, though, unfortunately for his own fame, one of the most licentious of modern French writers, who has extricated his hero from a similar scrape by making his mother-in-law (a highly comic character by the way) sew a
hial of holy water into his small-clothes.
he piece, however, is cleverly constructed, and goes off very, agreeably. The music, by Mr. Rodwell, is spirited and W.' and was very ably executed by
iss Hughes and Mr. Wood. The scenery, by the Grieves, is admirable, and some of the mechanical contrivances—the change of Francesco's dress and the sha
tor's marriage, and the bridal procession dow scene in particular—are highly is approaching the shrine of St. Antony, effective. when Hermogen, who has escaped, again -- -rJaghiong.
DESCRIPTION OF THE ENGRAVINGS.
This costume, which is peculiarly suited to the morning exhibitions and public promenades, consists of a tunique-pelisse and petticoat of salmon-colored gros de Naples: the skirt is ornamented down the front by bows of riband of the same color; and the tunique, which is shorter than the petticoat, is edged round with a double rouleau. The body is in the Anglo-Greek style, and the sleeves are à la Mameluke, with a very broad gauntlet cuff. The hat is of gros de Naples; and under the brim on each side, just above the ear, are two full rosettes of white blond. The crown is very low, and is ornamented with a bouquet of primroses. The turban represented in this engraving is of satin, and is adorned at the sides with esprits of green heath.
This dress is of a new color, called samphire-green, and is of soft satin; it is trimmed at the border with a row of ornaments, representing Oreilles-de-lievres, each being edged, on the side which is not fastened to the skirt, by a narrow ruche. The body is made plain, en caur, with sleeves à la Mameluke, and antique regal bracelets of gold confine them at the wrists. The hair is arranged in clustered curls on each side of the face, and ornamented on the summit of the head by a comb, the gallerypart of which is formed of vermilion and gold. The ear-pendants are of Oriental pear-pearls—The turban which appears in the print is of white crape, a la Janisaire, ainted over in different flowers of various hues, and quartered with pink satin
Paris 1.4 N. B.A.L.L. DRESS.
Over a satin slip is a pink crape dress with a broad hem headed by three narrow satin rouleaur either of Indian green, or etherial-blue satin; and on the left side of the border, just over the head of the hem, is a bouquet of artificial flowers. The corsage is á la Sevigné; the sleeves are short and full, and over them are wide loose sleeves of rich white blond, descending nearly as low as the elbow. The hair is arranged in full curls on each side of the face, and in bows on the summit of the head, and orna
The west end of the town has lately presented a grand spectacleofelegant carriages and fashionable female pedestrians; from three o'clock in the afternoon, till five, we behold carriages stationed before the most noted repositories of all the accessories of the toilette, or at the doors of the morning exhibitions, from which they wheel off to Hyde Park, that their owners may enjoy the pure and healthful air, so peculiarly delightful at this vernal season.
For this fashionable drive we have just seen completed a very charming pelisse of pink satin, made plain and simple, with a pelerine of the same, trimmed round with a quilling of white blond net. Black velvet pelerines form also a favorite outdoor covering at this demi-saison time; some are trimmed all round with a full quilling of black blond; and, as this is a most expensive trimming, it is most di
stinguished ; others have a rouleau of .
satin round the edge, and the gold chain
by the other parts of the dress of those ladies who had adopted them, we find they are not in mourning, nor should we have cited the fashion, had they not been seen on the heads of those females who are moving in the first circles: the addition, however, is not pleasing or appropriate, as it gives a heavy look and sombre appearance to such bonnets at this cheering season of the year. White bonnets of gros de Naples, with a broad blond at the edge of the brim, are still worn in carriages; and for the morning promenade, a fine Dunstable or Leghorn, the crown surrounded by a broad rich riband, of which also the strings are formed, that tie it down close, is the most admired headcovering. A black veil of Chantilly lace is generally worn with these bonnets. Dresses of white tulle, either plain or figured, are most in request for the ballroom, and are worn over white satin slips. White crape, also, painted in colors at the border of the skirt, is in high favor at fulldress balls. Blond constitutes the most admired trimming forevening dresses. Black satin gowns are in vogue,and wenay expect them to continue so till the end of May, unless the weather should become unusually warm ; as they form a dress in which every female looks well, we know. they will retain them as long as they can; they are now worn at all times of the day, except at the breakfast-table; and their trimming varies accordingly. For the
evening, festooned flounces of white blond, headed by white satin rouleaur, are most admired. Those for half-dress have very broad hems, surmounted by a few narrow tucks. Pelerines on dresses of gros de Naples, of the same color and material as the dress, are very prevalent. Fine merinos are now only worn when the weather is chill; the favorite way of trimming them is by one deep flounce at the border. Colored crapes are worn by young persons at concerts and other evening assemblies, but not so much for dancing as they were in the last month. Chintzes are in high favor for dejeune costume; but the most approved negligée is a short tunic and petticoat of very fine corded India muslin; the petticoat has a deep flounce of the same, and the tunic robe is filled all round with muslin. The borders on the blond caps are very broad; but they are turned back, and the ribands and flowers which ornament them, lie on the hair in front, and very long lappets of blond float over each shoulder. The hair in full dress is adorned with feathers, flowers, or jewels. The colors most admired for pelisses, cloaks, and dresses, are stone-color, pink, garnet, and blue ; for bonnets, turbans, and berets, celestial blue, pink, canaryyellow, and mazarin blue.
..MI0 DES P.A. reis ironwry Es. Several pelisses of gros de Naples have appeared of the color of Burgundy wine. is beautiful red is quite the rage: it must, however, be remarked that pelisses of this color are more worn in deshabille than in the public walks, where satin pelisses of salmon-color have a decided preference. Satin pelisses of violet, or of steam-yellow, are much admired. Shawls of Cachemire, and those of fine worsted, in imitation of the Oriental ones, are favorite out-door envelopes. Some of the hats for the public promenades are ornamented with two birds of Paradise, set on en ailes de moulin, and separated by a satin strap; the edge of the hat is finished by a very broad blond. Seven points made of satin riband are often seen forming an ornament beneath
finishes in two points, which, being brought together, form a “bow without ends.” One crape hat has been seen of Navarin blue, the crown of which was adorned with Bengal roses. The crape hats are, in general, of various colors, and are trimmed with blond; and some have white feathers. Bonnets of steam-yellow satin are lined with blue, and decorated with blue ribands. Many ball-dresses are seen trimmed at the border with narrow rouleaur, which ascend as high as the knee. Ladies who are seen at balls without joining in the dances, have appeared in dresses of black crape, with stripes of gold, the borders of which were richly ornamented with palmleaves, wrought in gold. The full, pool, falling tuckers are getting out of date; but when the bodies are cut low, a chemisette-tucker is discovered of fine India muslin, elegantly embroidered, and edged with narrow lace. In the trimming of dresses it is expected that passementerie or braiding will be much employed; already have several silk dresses been seen ornamented with bands and fringes made of this material; and the pelerines worn with such dresses are trimmed round with a net fringe formed of a corresponding article. Either a bandeau of pearls, or a cordon of flowers, is a favorite ornament across the forehead of young ladies at balls and evening dress-parties. The hair is arranged on the summit of the head in bows and plaits, among which are placed flowers formed of pearls, made to vibrate on their stalks. Bows of gauze riband, cheuered with satin, are frequently worn in . hair. Flowers, feathers, and diamonds, decorate the hair of ladies of high rank, and the same embellishments appear on their turbans and bérets. The caps a la fiancée are seen constantly at evening parties: there is no coiffure so unbecoming and ridiculous. The borders turned back, and extending on each side, impart a breadth much wider than that of the shoulders. The silk stockings for full-dress are of open lace-work, and are embroidered with