THE THEATRES.
PERROT'S benefit at the Italian Opera, on Thursday, was signalized by the London (lain of the renowned vocalist Signor MORIANI; who made his first public appearance in this country as Edgardo, in Lucia di Lam- mermoor, the part in which he achieved his Continental triumphs. Ex- pectation, though high-raised, was in this instance fully gratified. The performance of Signor MORIANI proclaimed him to be a consummate artist, both as an actor and a singer, and created a strong sensation. His voice is a tenor, of clear, fresh, and even quality, produced almost wholly from the chest ; apparently powerful, rich and sweet in tone, and susceptible of delicate and varied expression. His intonation is perfect ; his style, of elegant simplicity, pure, finished, and eminently dramatic ; and he is equally successful in depicting the fierce and tender emotions. His passionate vehemence in the last act of this opera carried with him an audience not easily moved : his withering scorn and indignation when Lucia signs the marriage-contract with his rival, and the melting pathos of his dying accents, touch the heart. In personal advantages, Signor MORIANI is not deficient ; his air and deportment are grace- ful and animated, his gesture and action eloquently significant, and his countenance is intellectually expressive. Indulgence was craved for the debutant on a plea of indisposition ; though there appeared little need of such propitiation. But another hearing will enable us to speak more decisively of his merits.
After the opera, FANNY ELSSLER danced the Cracovienne, and a new pas-de-deux ; then came a scene or two from La Prova, in which LA- BLACHE was magnificently droll ; and last came the new ballet of Zelia, reduced to the proper dimensions of a divertissement. In this shape it is an agreeable entertainment ; and CERITO, as a nymph of Diana lured by love to forsake her chaste mistress for an amorous swain, has opportunities of displaying her bewitching qualities. But, alas ! poor PERROT is again disabled as a dancer ; and the pretty pas- de-rose, which, in the character of Pan, he danced with CERITO on the first night, was consequently omitted.
A word about costume. In a mythological subject, why not let us have classical draperies and shapes, iu lieu of the hour-glass waists and haycock heaps of muslin, the prescribed forms of the female corps de ballet ? Diana displayed an approximation to the antique attire ; but the " hustle" is not classic. Assuming the objection to be that the clinging folds of classical drapery impede the free action of the lower limbs, we answer, that the check to rapid movement of the legs would be much less than the restraint of stays is to the flexure of the form. Nay, we will go further, and say that there never can be true and per- fectly graceful dancing, or naturally beautiful forms and attitudes ex- hibited in the ballet, until both stays and "bustles " are abolished. The most consummate artiste must inevitably fail in conveying an idea that the muscles of the body are influenced by the action of the limbs, while her waist is laced in with whalebone and cordage ; and no movement or pos- ture of the figure can be really or ideally elegant in which the play of the muscles is impeded : there will always be an effect of stiffness, angula- rity, and constraint, in consequence of the free and consentaneous ac- tion being stopped somewhere. Hence the mechanical motions of the corps de ballet, who seem to dance with their legs only ; their arms being poised awkwardly, in consequence of disconnection between the movements of the upper and lower limbs, caused by a want of bodily action. Though dancing is artificial, it is founded upon a natural im- pulse; and, -as an art, its aim should be to develop the utmost beauty of contour and gesture of which the human form is susceptible : the poetry of motion should not be confined to the feet.
Otello is to be played on Thursday, for GRISIS benefit ; when Montan will sing in the last act of Lucia.
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