16 APRIL 1853, Page 11

Tamberlik has gathered fresh laurels by his performance of Arnold

in Guillaume Tell. He appeared in this part, for the first time at Covent Garden, on Thursday, and made an impression never exceeded by either of the two great Arnolds of the Parisian stage, Nourrit and Duprez, and certainly not equalled by any of their successors. Tamberlik's voice is as completely fitted for the music of this part as if it had been expressly written for him. His tones want the softness and voluptuous sweetness which give a charm to the more sound of Mario's voice independently either of expression or execution. Tanaberlik's voice has something of the quality generally observed in French tenors—metallic, piercing, pene- trating, and increasing in power as it ascends in pitch. Hence, in what is called level singing, where passionate expression is not demanded, it would excite all() notice were it not for his artistic management, and his clear and appropriate elocution. But in such a part as Arnold all its powers are called forth, in giving expression to the fervour of love, the depth of grief, the height of martial ardour. The famous war-cry "Fol- low me !" on the C—the " ut de poitrine," which most tenors can scarcely even touch—rang like a trumpet-call through the theatre. His action was manly and noble; and his whole performance was undoubtedly the greatest manifestation of vocal and dramatic power that he has yet made. In other respects the opera was cast as last year, and in its ensemble left nothing to be desired.