1825, 
though she evidently missed her quondam 
partner, Terry, in the scene. 
The pastoral ballet intervened, and Col- 
man’s broad-grin farce of five acts, The Heir- 
at-Law, brought up the rear, with novelties 
and changes—some for the better, some 
for the worse. Dowton gave to Dowlas 
(alias Lord Duberly) appropriate humour, 
without degenerating into buffoonery ; made 
a character of it, and brought it within the 
pale of nature. Mrs. C. Jones ladied it, 
in the true style of upstart assumption, in 
- the new-thought peeress ; and Mrs. 
Humby did justice to the simplicity, 
though she could not enter into the pathos 
of Cicely Homespun : she merely pleased ; 
she ought to have commanded our tears. 
Mr. S. Bennett’s Dr. Panglos, disap- 
pointed the expectations we had formed, 
from the very errors of his Mr. Simpson. 
But what is a performer to do with ‘such a. 
part? Itis a mummery, not a character ; 
a grotesque foolery, fitter for a Bartholomew 
booth than for the comic scene ; and, per- 
haps, all that ought to be attempted, is to 
monkey it some way, that may drown all 
critical conception in a roar of laughter. 
But who is Mrs. Burn, who was uncere- 
moniously dropped among us, in the cha- 
racter of Caroline Dormer, without even an 
intimation of who or whence, or so much 
as a hint of a first appearance? And yet, 
to us, at least, she was new :—has a good 
figure (though rather over-tall) a pleasing 
countenance, a genteel deportment, and a 
fine barytone voice (if musicians will 
permit us to apply their terms to the into- 
nations of speech) ; and performed the little 
she had to do with a grace, a propriety and 
apparent feeling, which led us to suspect 
that she was capable of something more. 
Mrs. Burn has since confirmed our fa- 
yourable impression in the character of 
Miss Woburn, in Mrs. Inchbald’s incon- 
gruous, but partially interesting comedy of 
“ Every one has his Fault,” and Mrs. Hum- 
by has further evinced her Proteus-like 
versatility as Jacintha in “ Lover's Quar- 
rels ;’ as Cherubino, the page, in ‘* The 
Marriage of Figaro ;” and as Queen Dolla- 
lolla, in the perverted and ludicrous mum- 
mery of “ Tom Thumb.” Uer page was, 
perhaps, the most successful of all her 
rapid metamorphoses. She is an acquisi- 
tion, not to the Haymarket only, but, we 
“trust, more generally, to the London boards. 
The ‘* Marriage of Figaro” was delightfully 
sung and played throughout. Vining is 
unrivalled in d/maviva ; Russell was respec- 
table in Figaro; Wilkinson quite at home 
in the Drunken Gardener; Miss George 
sung with sweetness and good taste in the 
Countess, and with more acquired accom- 
plishment than we had given her credit 
for ; and Madame Vestris, the star of this 
little hemisphere, is never likely to be sur- 
passed in Susanna. A Mr. Farren, fresh 
from Dublin, with an ample share of its, 
not unfounded, easy confidence, and a little 
Theatrical Review ; and Music. 
365 
of its gentlemanly brogue, made his success- 
ful debut as Sir Robert Ramble ; and after- 
wards bustled through the hero of “* The 
Weathercock,”’ with full eclat. He wants 
nothing but more attention to intelligible 
distinctness, in his rapid enunciation, to 
make him prominently useful in the line of 
eccentric comedy. Mr. Raymond, a son 
of the late actor of that name, has also 
made a sucessful debut in the secondary 
line of comic character. Upon the whole, 
the manager has begun his early campaign 
with much spirit, and apparently with cor- 
responding success. 
—_——I 
NEW MUSIC. 
Abon Hassan.—We were in hopes to 
have been able to enter into a short ana- 
lysis of the separate parts of this opera ; 
but the engravers haye only, at present, 
produced two pieces, asong and duet, with 
which we must par force content ourselves. 
“ My Heart now fails me.” Recitative 
and Air. Weber. 2s. 6d. Goulding. — 
The song commences with an allegro vi- 
vace of a yery spirited character, in the 
course of which one of those elegant legato 
passages is introduced, which ring in the 
ear for a week after it is heard. This leads, 
by a six-eight movement, to an andante, 
with a harp and bassoon accompaniment, 
the least effective part of the song; and the 
whole concludes with an allegro of simple 
construction, somewhat in the style of 
Rossini’s vivace finales. In the last move- 
ment, the effect of languor and subsequent 
revival of the power of music is well ima- 
gined. 
“ Hear me, Love.” Duettoin Do. 2s. 6d. 
Goulding and Co.—The introduction, an 
andante of three pages, is very elegant, and 
possesses the strong peculiarity of style 
which marks this author’s best efforts. 
The allegro giojoso is by no means an in- 
ferior composition, but it requires some 
striking effects of light and shade to re- 
lieve a rather monotonous style; and the 
translation is ill adapted, both as sung at 
the oratorio and in the piece. The opera; 
as a whole, is inferior, by many grades, 
both to his Frieschiitz and Euryanthe, and 
though * assisted by some selections from 
his Preciosa, went off very heavily, as far as. 
the music was concerned. 
Foreign Melodies. The Poetry by H. 
Stoe Van Dyk; with Symphonies and dc- 
companiments by T. A. Rawlings. 15s, 
Goulding and D‘ Almaine.—Though several 
works of the same nature have been for 
some time in the possession of the public, 
and much admired, it does not appear that 
the stores of our collectors are in the least 
exhausted, or that there is any probability 
of their becoming so. ‘The greater part of 
the twelve melodies, before us, are highly 
beautiful, and equal, if not superior, to Pr 
‘ 0 
* As, performed at Drury-lane, it was. 
