THE BALLET—TAGLIONI AND DUVERNAY.
TAGLIONI still reigns supreme, the Queen of the Ballet, without a rival. DUVERNAY is but as a beautiful peasant girl in com- parison : yet she too is delightful. The pus de deux between them, in La Bayadere, is a most extraordinary trial of skill—a brilliant display of graceful movement and finished execution. DUVERNAY has improved remarkably since we saw her last; or at least we think so, which is much the same : the ease, simplicity, and freedom of her style, aided by her tall, well-proportioned, and delicately-moulded figure, and animated countenance, produce an impression that even TAGLIONI does not efface. IV hile she is dancing, we perceive no lack of power, no deficiency of skill : but when TAGLIONI steps forward, with an air of blended dignity and elegance—like a goddess descended from her pedestal, transcend- ing her mortal rival—we see realized the perfection of French dancing; or rather time art itself seems sublimated. DUVERNAY left us nothing to wish for ; TAGLIONI achieves more than we could expect. DUVERNAY is the standard of comparison—and that a high one—by which we can measure the surpassing powers, the consummate skill, the exquisite finish of TAGLIONI. DUVERNAY is no common foil to throw out the lustre of TAGLIONI, but a dia- mond of purest water and without flaw; TAGLIONI is the rare bril- liant, enhanced in value by exquisite setting.
DUVERNAY is very young, and a pupil in the same school, if not of the same master, as TAGLIONI. With cultivation she may ac- quire the precision, though not, perhaps, the vigour of TAGLIONI. Her form seems better suited to lighter and more wayward move- ments. IIEBERLE should have been her model.
TAGLIONI, since the appearance of the ELSLERS, has acquired greater force and steadiness; subdued, however, by the most con- summate refinement and graceful ease. She possesses the power without the masculine character of TERESA ELSLER ; and she has successfully emulated the dazzling rapidity and aerial lightness of HEBERLE—the joyous impulse and ineffable naïveté of HE- BERLE are beyond the reach of art.
TAGLIONI is just now the sole support of the King's Theatre. H. B. might represent her poised on one toe, and upholding the edifice on the other.
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