168 
her return to the stage, in the character of 
Letitia Hardy, in Mrs. Cowley’s charming 
comedy, The Belle’s Stratagem. She made 
her re-appearance (her first in this charac- 
ter) on Feb. 5, toa house not only thronged - 
in every customary part, but in every 
passage, lobby and avenue ; and was hailed, 
it appears, with unbounded enthusiasm : 
and Mr. Hayne, it is said, was in his box 
to witness her reception. We were present 
at her repetition of the character, on the 8th, 
when the house again was very full, and 
the applause ardent. But we cannot quite 
commend the taste which selected the cha- 
racter. When the temporary fervour has 
subsided, it will perhaps be thought that it 
abounds too much in passages that perpe- 
tuate recollections which it would be better 
should be suffered to subside. Nor do we 
think the choice judicious in a mere critical 
point of view. There is a very interesting 
range of characters, in which we have seen 
Miss Foote with more pleasure than any 
actress beside who ever trod the stage—a 
line of characters of which grace and femi- 
nine sweetness are the peculiar charm ; and 
which not only can bear, but require, to be 
played in the modulated undertone of sim- 
plicity. Lady Frances Touchwood, in this 
very play, is of the number. This, in the 
hands of Miss Foote was, in reality, a first- 
rate character; for there is no other who 
eould play it so well; and whenever this 
can be said of any really interesting cha- 
racter, it becomes, to the performer, a first- 
rate. But we must not suffer our sym- 
pathy to blind our critical judgment so 
far, as to pronounce Miss Foote equally 
competent to the arduous character of 
Letitia Hardy. Here we want the soul of 
vivacity, of buoyancy, of versatility; a 
quickness of fancy, a facility of feeling, that 
can pass with easy transition from the 
rustic hoyden to the inspired enthusiast,— 
from the aemé of brilliant gaiety to the 
depths of pathos. Letitia Hardy should 
command our smiles, our. laughter, our 
sympathies, our admiration, and our tears. 
Of such a character Miss Foote presented 
us a tolerable faithful sketch ; but certainly 
it was nothing more.—The sketch—of a 
picture all whose beauty consists in the 
colouring / All the other characters were 
admirably sustained. In short, it is rarely 
indeed that we see a play so got up and 
filled as this comedy, and Farquahar’s In- 
constant. f : ’ 
Tue Oratorios, this season, are to be 
alternate only: on Wednesdays at this 
house, on Fridays at Drury Lane. That 
which was given here on Wednesday 234, 
was well supported in yocal talent; but, 
through the first and second parts, heavy and 
monotonous in selection. Even Haydn’s 
creation (though it reaches not, with 
all its grandeur and science, the true sub- 
lime of Handel) is fitter for a church than 
a theatre ; but the selections from Mozart’s 
Requiem, sombrously sublime as we admit 
Theatrical Review ; and Music. 
[ Mar. 1, 
it to be, was entirely out of place; and 
the selections being almost all choral, over- 
whelmed rather than displayed the vocal 
powers of Miss Love, Miss Graddon, 
Braham, Sapio, &c.; even the exquisite 
and brilliant sweetness of Miss Paton 
could scarcely be discerned in the eternal 
peal of chorus upon chorus. But for the 
relief of Mori’s delightful concerto on the 
violin, and that magic combination of con- 
stantaneous sounds (as though at once the 
harp were under his finger and the viol 
under his bow,) which by a dexterous ma- 
nagement he produced, we must have been 
wearied out. The third part however 
made atonement—a /ate atonement, indeed, 
—for it kept the audience, or a part of it, 
till almost one o’clock. This part was, 
miscellaneous. Miss Graddon sung bi- 
shop’s “ Bid me discourse,” very beauti- 
fully, and was deservedly encored. Bra- 
ham’s “ Bonnie lassie O!” was in his 
best style (i. e. not overlaid with ornament) 
and was encored also. Miss Love, indeed, 
was not at home in “ Una yoce ;”’—we 
cannot think what infatuation could lead 
her to select a song so totally out of unison 
with the character and quality of her voice. 
Sapio was highly successful in Klose’s 
“ Triumph of Freedom,” both the words 
and music of which go to the heart; but 
the taste, sweetness, brilliancy, and power 
of Miss Paton in Arne’s “ Soldier tired,” 
and that glorious swell of richness and 
harmony with which her voice filled the 
whole area of the house, till the very walls 
and roof vibrated in unison, and the whole 
theatre appeared to be one aggregate in- 
strument responding to the master touch 
of harmony, was, triumphantly, the most 
delicious treat of the evening. 
<_< 
NEW MUSIC. 
“ Fall of Algiers,” by H. R. Bishop. Gould- 
ing and Co. 
We regret that we are not enabled com- 
pletely to fulfil our promise of last month, 
by giving a full and detailed notice of the 
opera in this number, from the delay of the 
publishers ; but, as far as they will permit 
us, we shall proceed seriatim; we must, 
‘par force,”’ leaye the remainder for our 
next number. 
“ Far from Home and all its Pleasures.” 
Introductory Chorus. 3s. 
The harmony of this piece of music de- 
lights more in the study than on the stage, 
and, at least, aspires to be classical: the 
wailing of the first movement, a larghetto 
in f sharp minor, is expressive of the cha- 
racter of the scene; the general style of 
the minor approximates closely to that-of 
Catholic church music. The major is an 
andante in f six-sharps (rather an appal- 
ling number) and in its way is characteristic 
also; the key alone gives a peculiarity of 
’ effect, 
