TAGLIONI'S RETURN.
As the night of TAGLIONI'S reappearance drew nigh, we began to fear that our recollections of the departed sylph HEBERLE might be in danger of being effaced by the featly foot of the new charmer, like devices chalked on the floor of a ball-room. We thought that, in comparison with her, the ELSLERS might seem mere automata, PAULINE LEROUX subside into a pretty dancer, and DUVERNAY be remembered but as a feeble copy of a fine original. We had over- looked the fact, that since the time when TAGLIONI first bewitched us by her transcendent skill, facility, grace, and delicacy, the bal- let had acquired new strength of wing, and had taken a wider and loftier flight. TAGLIONI is no longer the sole divinity of the ballet, though she is peerless and unrivalled; she is, as we formerly called her, the Queen of the fairy court, and has now descended upon tip- toe on her vacant throne. HEBERLE is still enshrined in our me- mory, the spirit of the dance. TAGLIONI reigns supreme on the boards. She is still the same graceful and lady-like dancer. Her style is equally facile and finished; and she displays increased power and command of limb and agility of movement. She asto- nishes as well as delights. She achieves some of the feats of HE- BERLE and BRUGNOLI, and eclipses the ELSLERSev6n itt their own sphere. She tripped across the stage on one foot alone, Waving the other backward and forward all the while, with inconceivable grace, ease, and apparent enjoyment. Tier frequent pirouettes are as smooth and airy as the curling of a falling leaf in an eddy or air; and she rests on tiptoe as lightly as a feather on the point of its quill. Her movements are as flowing and continuous as eves; and herein she surpasses all other dancers. She accomplishes the most difficult attitudes without the demonstration of violent effort ; and there is no abruptness in her transitions from one step to another. Hers is the conscious elegance of the finished lady. Still the ELSLERS maintain their position : though they seem to step forward and exhibit their art, rather than to use it to fasci- nate us as TAGLIONI does. HEBERLE showed more enjoyment in dancing,—as if it were the kind of motion most natural and agree- able to her. TAGLIONI and the ELSLERS display ; but the latter, to make us admire them, the former apparently to please us. FANNY ELSLER'S staccato step on the point of the toe, as if her feet were cribbage-pegs, and she were tripping along the board, peggin.b in every hole, is unique. PAULINE Lsnotsls never danced better than on this night. The emulation of all was ex- cited; and TAGLIONI'S attractive manner alone secured her the triumph.
The dull divertissement of Fiore et Zephyr was revived on Saturday, for TAGLIONI'S reappearance; and it drove many of the audience from the house before the conclusion, by its tediousness. It should have been reduced to a mere trellis-work, enclosing the . lily TAGLIONI, those tall holly-oaks the ELSLERS, the honeysuckle PAULINE, the clematis PROCHE, and the humbler flowers of the parterre. Monsieur DAUIVIONT, a young dancer of great promise, displayed skill and activity of a superior order. His figure is light, and well-formed, and his style is free and chaste, with a considerable degree of finish. He does not, however, as yet evince any remarkable amount of grace or sentiment. The absence of GUERINOT threw upon him a double share of exertion; and he danced almost incessantly, being only once relieved by ALBERT, who bad but little to do. The pas des guirlandes was somewhat too artificial. It may be very well for TAGLIONI, who does every thing gracefully, to use a garland of flowers as a skip- ping-rope, and as a stirrup ; but we would fain excuse the whole corps de ballet from attempting to imitate her. It is like the dril- ling of an awkward squad ; and turns TAGLIONI into a saltatorial fuglewoman.
An Italian ballet is announced : we hope it has dramatic action. ALBERT, COULON, and PAULINE LEROUX, are seen to SO much advantage in ballet-pantomime ; and audiences accustomed to Masaniello, Kenilu'orth, and Faust, now require the excitement of dramatic interest and the relief of action in a ballet.
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