The first of the series of six dramatic concerts, got
up by Mr. Lumley in order that his theatre may not be altogether deprived of the attraction of Jenny Lind, took place in the theatre on Thursday evening. It con- sisted of the greater part of the music of Mozart's Flauto Magico; performed on the stage indeed, but without scenic spectacle or dramatic action. The performers sat in a row in front of the stage, with the chorus arranged be- hind them; and they stood up to sing, and sat down when they had done after the fashion of an oratorio. This scheme, we see it stated, was adopted by Mr. Lumley in consequence of Jenny Lind, after keeping him long in suspense, having at length and at the eleventh hour intimated her deter- mination to appear no more as an actress; her motive for this resolution being religious scruples on the score of the sinfulness of her late calling. Conscientious scruples every one must respect, but those attributed to Miss Lind are not very intelligible. Had the ex prima donna renounced all connexion with the stage, we could at least have understood her mean- ing; but when she refuses to act in an opera, and yet comes forward to sing through the same opera, on the same stage, and along with the same actors with whom she would have been associated, she appears to be guided only by the whim and caprice of a spoiled child of fortune. That this freak will be a serious loss to Mr. Lumley, it is impossible to doubt. It has been remarked a thousand times, even at our miscellaneous concerts, how much operatic pieces are injured by the want of their dramatic accessories. How much more annoying must it be when a whole opera is thus sung, on the stage, and by the whole performers necessary for its dramatic repre- sentation? It so happened, indeed, that the Flauto Magico is, of all operas, that in which such deficiencies are of the smallest importance. Its music is exquisitely beautiful, and has become supremely popular in this country, quite independently of the drama, which never has been, and never will be, popular in any country but Germany. But what will become of Fidelio, sung in this concert-fashion? what of the Freischtitz, Oberon, the Yestale On the other hand, these concerts must be regarded as a musical en- tertainment of the highest order; for, as appears from the announcement of their plan, they are to comprehend a series of great works, both of the Italian and German schools, which are seldom or never produced on the Italian boards, and which we have little prospect of hearing in any other form. Indeed, these six concerts will give the public an opportunity of hearing as much dramatic music of this class as either of the Italian theatres is likely to furnish in as many years. The performance of the Flauto Magico was an entertainment of this refined and classical nature. Jenny Lind ex- erted herself to the utmost, and never on any former occasion produced a greater effect than she did in her two principal airs. The first, the fatuous song of the Queen of Night, was a display of vocal power absolutely un- paralleled: the other, Pamina's melancholy air in the second act, (for Ma- demoiselle Lind did not adhere to owe character,) was equally unrivalled
for exquisite expression. The other principal airs were admirably given by Lablache, Belletti, and Coletti; the concerted pieces and choruses were perfectly executed; the effect of Jenny Lind's sympathetic voice and pure style being delightfully perceptible in many of them; and the fine accom- paniments were delicately played by the orchestra.
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