488 THEATRICAL INTELLIGENCB. 



thereof. Old or young, grave or gay, resist all quarantine restrictions 

 which prudence or economy might impose; and the votaries of 

 the harp and cymbal kneel at the shrine of the melodian deity. 



King's Theatre. — The rush to the doors of this theatre forcibly 

 reminds us of the attractive days of Kean, when groups of that 

 inimitable actor's admirers would assemble two hours before the 

 rising of the curtain, and fill up not only the entrance avenues, but flock 

 around the outer walls, like a swarm of bees clinging to their regent 

 queen. The spoHation of head dresses, the ruu)pling and crum[)ling 

 of satins and silks, the derangement of well trimmed peruques, are 

 all hazarded to attend lo the delightful performances of this house. 

 In the petty space of one month, the season of popularity has arrived 

 at its zenith. The musical talent of the whole world would appear 

 to be concentrated in the never-ceasing admirable Grisi ; and lier 

 efforts, if such they may be called, nightly number the links to the 

 chain by which we are held captive. It cannot be denied that the 

 human voice is the most perfect of all musical mstruments, and every 

 orchestral sound is but a faint imitation of its powers. To those only 

 conversant with the combinations of instrumental harmony can then 

 be calculable what the voice is capable of; and, knowing the truth of 

 our position, we veritably declare that we deem our heroine's 

 display to be at the summit of nature's doings, nor can we adequately 

 express our delight at the rich treat afforded. The impressions of 

 Pasta's splendid histrionic and soul-moving delineations are fading, 

 fainter and fainter, when drawn into competition with the capabilities 

 of Grisi; and were we, or could we, appeal to the opera frequenters, 

 or the auditors of both parties, of the truth of our declaration, we 

 divine the ayes would have it. To allude to this season's debut of 

 this accomplished creature, it may be stated that report had been 

 busy in picturing that the greatest expectations would be realized. 

 The house was crowded inside and out, and considerable was the 

 envy kindled among the unsuccessful. The burst of welcome which 

 met her entree, of which every soul seemed lo contribute, was a true 

 specimen of English enthusiasm, and truly it was singularly exciting. 

 The entertainments of the evening created throughout the most 

 unalloyed delight. The powerful support given to Grisi in her 

 personation ofNinetta, intheGazza Latira, by Rubina, Tamburi, and 

 Lablache, may be conceived to be rather calculated to add to than 

 detract from the effect. Her subsequent performances lose not by 

 repetition, but gene-ously afford those not among the number of her 

 first audiences an opportunity of judging for themselves. Soir.e of 

 our friends, ourselves among the number, like Justice Greedy, have 

 such an insatiable appetite for this diet that we would advise the 

 hungry not to calculate upon our absence, through surfeitinsr ourselves. 



Since the preceding data, the serious opera of Norma has 

 been revived, and Grisi took the part of the high priestess. It 

 has been several times." repeated and each representation with 

 increased effect. The finale of the first act is a most splendid 

 triumph. The duo in the second act by Grisi and a Mademoiselle 

 Assandri, a singer from the Theatre Italian of Paris, was an 



