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DE OMNIBUS REBUS . "Et quibusdamaliis "—" concerning Omnibusaffairs , and especially the new ones . " Although remaining for so many ^ year » unimproved , the Omnibus has of late received no small attention from the ingenious ; and the public reaps the benefit . The public , indeed , may thank itself ; since the enormous use made of the vehicle is the reason why abundant capital and invention have at length been attracted to this particular kind of employment . Within the last twenty years , by favour of the Omnibus , the whole middle class may be said to have become a riding class , and to keep its carriage ; and the artizan class shares the convenience to a large extent .
The improvement—as in the case of Cabs—is seen not only in the structure of the vehicle but in the horseflesh .: those compact closed-cabs which now court our use at every stand are gra * dually becoming furnished with small , short-legged , serviceable horses ; the " Hansoms" cultivate a taller breed , a sort of horse-dromedary ; for bulk , condition , and power , the horse of the Omnibus not unfrequently outrivals his fellow in the private carriage of wealth and rank .
In the structure of the vehicle itself , the most recent improvements seem likely to divide the Omnibus into two kinds , suitable for longer and shorter journeys . In the longer journey , the object is to combine a maximum of capacity for carrying passengers with easy draught and speed . The general enlightenment on sanitary matters , especially the rise in the price of oxygen , makes the outside place more sought than it tised to be ; but this fact favours
a better construction of the carriage . Of the long journey kind , the EicJirnond Omnibus has become the model . It is short and light in the body , with a box separated from the roof ; it carries eleven passengers inside , and eleven outside . The stern part of this carriage sways less from side to side than that of the longer Omnibus when it is urged to a good speed ; the whole weight is well brought together ; thus the draught for the horses is easy ; and the Richmond O mnibuses have become a model of speed
and punctuality . For the shorter journey , the class is more numerous , and the wants ait different . Thousands of Omnibuses daily traverse our great thoroughfares , and the number is constantly increasing with the population and topographical extension of the metropolis . When in a good humour , the passenger overflows with gratitude for the modern convenience ; but how often is he crossed by the legs and knees that bar his entrance ; how often outraged at the squeezing , angered at the window ,
open or shut , in proportion as he for himself values c aloric or oxygen ; how often anxious about his purse ? The trouble of getting to tho roof , or down , among tho crowded carriages of tho streets , makes numbers , against their taste , disuse the outside seats . Ease of access , and a segregation from the excessively promiscuous company of a shortjourney Omnibus , are the grand desiderata . Those are supplied by the newest form , Frnnklinski ' s patent . The body of the carriage consists of so many separate coupes , eacli for olio pafiHengcr , facing towards the side , but slightly inclining forwards—just the comfortable angle for looking out . You can communicate with your wxt neighbour ; you can shut him off . On the roof is a ( series of elmiifl , facing forwards . Along each aide , near tho ground , runs a gallery , by which tho passenger walk * to his plnco . The mode in which nil this is packed together in very ingenious ; hut tho important facts for the paflHonger arc , the perfect ease of nccen » to coupe or root ; tlie perfect independence . This form , wo take it , must bo tho model for tho short-journey Omnibus .
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LA SO N N AM II ULA . Amina is another character peculiarly suited to Mademoiselle Caroline Duprez , and her performance of it on Tuesday night was a most decided and unequivocal success . Her acting was umiffeeted , quiet , and intelligent , displaying at times considerable dramatic force , particularly in the last scene of the second act , where she in reputed by her lover . Her Amina in to be relished for its freshness , for the total absence of conventionalities . From the " Coma per me screno " to tho "Ah ixm giunge , " she attempted nothing which was not delivered with exquisite- delicacy . One of tho secrets of her success is in not attempting
too much , either in the churucter she impersonates or in her ornamental passages of vocalization . Hyuinost , enthusiastic audience hIio was called before the curtain four times during th « opera , after tho first act , twice after the second , and , having appeared after tho third , the encore was so hearty and energetic that tho curtain rose again for tho repetition of the brilliant "Ah non giunge . " To the trifling part , of Lisa , Mademoiselle Feller H nvo i . u importance Unit , show * her capable of far nioro tl > " » * - hilH V (> t ( lone - *'" 1 «> 1 »" , as El vino , appeared to greater advantage thnn wo have yet seen him ; and Signor Coletti , as Count Rodolpho , met with an enthusiastic reception on . his rentrta .
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We should do our utmost to encourage the Beautiful , or the Useful encourages itaelf . —Gobthk .
Apbh . 12 , 1851 . ] $ ! , £ apairer . 349
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MAMA N I J'J L i < <>„ (/ 1 < both House / i . ) Mm Pantnlon * might , bo the title of an introductory article were it . proper to mention " unmentionables ; but . the fact is , " thereby hangH a talc . " You know fhorigorouB HtrictnePN of tho Opera with respect to drenB : very propor » tfictiu' « 8 , since it keeps the Opera
from becoming a bear-garden ; and , if men are permitted to enter in splashed boots and plaid trousers , women will cease to care for their toilets—and then what will the Opera be with the fair attractions huddled up in old shawls and discrepant bonnets ! So that plaid trousers , you see , are obviously impossible . I insist upon the plaid , because there is a story now amusing the clubs about the son of a late statesman ( himself a legislator ) who , on being refused
admittance in tartan unwhisperables , began to storm aiid ask them if they knew who he was—flinging his big name at them as Polyphemus flung rocks at ribald peasants who got in his way . The doorkeepers were respectful—but not crushed . Their orders were to admit no one except in evening dress . They stood to their watchword . The Legislator in question having very little temper —( which may , account for his losing it so easily)—threatened that he would " ruin the theatre , " and stalked away , red and defeated .
Now , contrast the son of * * * ¦* with Vivian—the Legislator of England with the Legislator of Parnassus ! I went on Tuesday to Covent Garden in pantaloons that were not black , but of a very dark iron-grey , which I fondly hoped might pass for black , or at any rate be winked at by the official eye—especially when worn by Vivian ! Error ! They were stopped at once ; blandly , yet irresistibly , the checktaker enforced his orders ; not a pleasant office as he soothingly remarked , but one he was there to fill .
Did / storm ? Did I stagger his fluctuating soul by the announcement of my august individuality ? No : I tried to persuade him that my unutterables were of a most unobtrusive colour , that none but the most curious eye could detect their imposture , and that no one would be curious enough to look at my legs . ( The dog gave me a roguish look at this—as much as to say : The idea of such symmetry escaping general attention !)—all in vain ; he was as unsusceptible to argument as to bullying .
I mention this as a warning . You ] vill say I was a noodle to attempt an entrance except in full dress . I perfectly agree with you ; but my warning is none the less opportune to all who may be disposed to run the risk . I did , under the delusion that " it doesn ' t signify to a shade . " It does signify . Black is the colour ; don't coquette with darkness ; rel y solely on blackness ; because it is probable you will not have the resource I had , which was to hunt up the most obliging of Secretaries , to whom I related my distress , and who relieved me from it by giving me an amphitheatre stall . I couldn't see the Prince of Wales and the Princess Royal so well it is true , but I heard the music even better than in the pit .
The opera was Masaniello for the rentree of Tamherlik , and the first appearance of Formes in Pietro . The sprightly and effective overture , with its picturesque colouring , its movement , and its piquant instrumentation , was executed in marvellous style , and drew down immense applause and an encore . I never heard it played better—such precision , such light and shade , such " crispness" and such powerful crescendos ! Madame Castellan made her rentree as Elvira . She is a pretty woman and an accomplished singer , but I cannot like her . There is something so insipid and characterless in all she does that I gain little pleasure from her mere vocalization . Whatever be the phrase she has to sing she twists her little head on one side , and smiles the same smile , leaving us to interpret whatever we please : " You pays your money , and you takes your chicc . '"
If Castellan did not transport me as Elvira I leave you to judge what I thought of Luigi Mei as Alfonzo ! But Tamberlik—the glorious Tamberlik ! it was worth going a journey to hear him in the grand duet with Pietro , " Aux Amies ! " his thrilling voice climbing altitudes with the rushing brilliancy of a rocket darting up into the night , and this too with a resonance of sound and intensity of expression that made me bound up from my seat ! I speak literally—I was positively lifted from my chair by the sudden spasm of delight . When a singer can produce an effect like that upon you , it is idle for people to abate his merit by reference to certain faults which ho has . I don ' t like the constant tremulounnesH of his voice ; it in a defec t in him as in Jtuhini ; but what singers they arc in spite of their d . fectH ! Tamberlik is not
perfection —ho is not equal to Mario— but , nil deductions made , he is tho second tenor in Kurope , and one who really does transport his audience . How many yearn would Castcllun need to throw her head on one side and warble well-executed singing lessons before she could produce one mich thrill as Tninberlik produces whenever ho has an intoiiHO passage to deliver Besides the duet with l'ietio let me notice his exquisite cantabilo in tho " HmnnwU , " where ho calls down sleep to soothe his sinter--there was a breathing ten < leinejss and delicacy in its expression which came out . in striking contrast to the . spirited splendour of the nppeid to arms , and to the madness in the fifth act . Apropos to this fifth net , it is not the taking ( ' sharp from the client which is the glory of Tamberlik , but the wail in which he takes it , tin ; note itself that is
delivered ! Formes gave a Hombre and energetic character to lMetro , which , although somewhat overdone , wan clfcctive and intelligent ; but hi « Hinging h « f » ono defect 1 cannot tolerate—the tondtmcy to b » llow «
His noble voice sounded well in many passages ; but in the duet with Tamberlik the coarseness and a certain jerking vehemence of delivery were a set off against his energy and weight . Had Formes been educated in Italy what a splendid artist we might have known ! The opera is mounted with the profusion and artistic skill of previous seasons . The chorus is in admirable order , and sang the prayer in the third act to perfection . Altogether it was a delightful evening . I was hot and headachy ; but to hear Tamberlik a headache is an insienifieant
price-On Thursday Her Majesty ' s Theatre brought out its Masaniello , with three debutants and Massol . Speculation was rife as to the result of this rivalry with Covent Garden in a field where such laurels had been won ; and curiosity to hear the new singers gave its zest to the early part of the performance . The overture , eo matchlessly executed at Covent Garden , did not augur well : it was coarsely played , and by no means deserved its encore ; the finale was a chaos of sound , the very storm and fury of brass . The curtain rose , and Signor Scotti made his bow as Alfonzo . This was novelty No . I . His first air showed , what the rest of his singing confirmed , that he only needs three qualities ( sometimes considered necessary ) to become an accomplished singer — correct intonation , expressive style , and a good voice . Bating these . . . . !
Novelty No . 2 was Signora Monti , who played Fenella , and made a deep impression by her pantomime . Her face is plain but expressive ; her gestures more representative than graceful ; her acting of the highest tragic order . The sway and swell of contending emotions depicted in the hurrying agitation of her features , and significant naturalness of her gestures in the fourth act , where Elvira and Alfonzo supplicate her forgiveness and protection , showed me that an Artist stood upon the stage . I have rarely seen acting of late that could be compared with it . Passionate , pathetic , natural—she was equal to the highest demands of the character , and materially aided the effect of the piece .
Novelty No . 3 was Signor Pardini , who played Masaniello . His appearance is prepossessing , and the Barcarole at once established his success : there was a dash about it which , aided by a sweet , yet powerful voice , told the audience they might expect something . Still finer was he in the grand duet with Massolrapturously encored . Indeed this second act was a triumph for him , but he fell off afterwards so decidedly that I left the house without making up my mind to his claims . This much , however , is certain :
he has a young , fresh , sympathetic , voice of power and sweetness , delivered almost wholly from the chest , as is the piactice with Young Italy , but I fear that he has the failing of Young Italy , viz ., of relying upon the effects he can produce by certain notes , and neglecting general phrasinsr . He was hoarse , however , after the second act , so that I will not pronounce judgment until I have heard him under more favourable circumstances . His acting was spirited , and on the whole I have little doubt that he will turn out the tenor of her Majesty's . Comparing tlie general effect of Masaniello at the two houses , I should say that as respects orchestra , chorus , and grouping , Covent Garden has the advantage—in Ballet her Majesty ' s recovers somewhat of the balance . Fiorentini is many degrees beyond Castellan ; Massol on tho whole I " prefer to Formes ( in Pietro ) ; Scotti will drive in a curricle with Liugi Mei ; Monti must not be degraded to a comparison with Miss Eallin—so that up to this point tho balance has fallen to her Majesty ' s—but Tamberlik kicks the beam ! Yes , the orchestra and Tamberlik are two unapproachable items in the account ! I should add that the Opera is lavishly mounted , and was enthusiastically received—encores being rather too frequent . Vivian .
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Citation
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Leader (1850-1860), April 12, 1851, page 349, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1878/page/17/
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