« 上一頁繼續 »
Harris does not look more than sixteen, and cannot, we are sure, be more than a year or two older. We hope, indeed, that her voice has not been over tried, and venture to think that a certain thinness perceptible in some parts of the scale will gain volume with another year or two of age. Her voice-a high soprano-has great compass, and when executing the most brilliant arpeggios or fioriture, with rapidity and quite delicious precision, she sang with that apparent facility which adds an indescribable charm. However nervous she might be, never for a moment did the listener feel that there was any strain or difficulty in her vocalization; and so certainly did she gain ground as she proceeded, that, long before the opera was over, the audience had evidently confidence in the young debutante, whom they watched with increasing interest. The "Come per me sereno" showed that it was no ordinary singer appealing for their suffrages. The bed-chamber scene still further established her claims; so that, indeed, though the last act exceeded all expectation with regard to brilliancy and limpid clearness of vocalization, the audience were prepared for a triumph in the glorious melody of the finale. But it is time now to say a few words of Miss Laura Harris as an actress. Our deliberate opinion is, that she has the requisites to be a great one. When she feels secure of the public favour-as surely she will do in a little time-we trust she will attain that confidence which will make her mistress of all her resources. With just confidence will come ease instead of restlessness-and her intuitions
are evidently so true that she may safely give reins to the passion of the character. In the bed-chamber scene, the manner in which the one word "Elvino❞ came forth was something more in art than the delivery of musical notes, and if she had an Elvino who would act up to her acting of the "ring scene" as well as sing the music, veteran opera-goers would probably find themselves reminded of Malibran, the darling of their youth. As Malibran acted the ringscene even men found their eyes swimming, and tender-hearted people turned their heads away as if unable to bear the life-like agony. We could fancy Miss Harris achieving a similar triumph; but certainly Signor Carrion, though a trained and accomplished tenor, is the coldest Elvino we ever beheld. And moreover he looks too old for the part. A few words of cordial praise are due to Mademoiselle Redi, another debutante who supported the rather thankless part of Lisa. She has a fine voice, and a goodly presence, and is altogether an acquisition to the company. Mr. Santley was the Count, and not only sang the music delightfully but looked and moved the gentleman to the life and the choruses throughout the opera were the fullest and most efficient we ever remember. Signor Arditi deserves full recognition also of his Bervices ás conductor to hear such an orchestra he he now contmands is itself á fich musical
treat. More recently Mdlle. Titiens has delighted her audience in some of her favourite characters, and the first appearance of Mdlle. Ilma de Murska has proved an important epoch of the season. Indeed Mr. Mapleson has been wondrously fortunate in his debutantes, or to speak more correctly, has proved his judg ment and thorough comprehension of all that his critical and fastidious audience demand at his hands. Lucia di Lammermoor was the character chosen, and in it Mdlle. de Murska has proved herself a singer of high quality, and an actress of great and original power. Rarely has Donizetti's rendering of Scott's pathetic story had such justice done to it, while the acting of Lucia's madness, intense in its delineation of the heart-broken distraught maiden, and full of striking original traits, never overstepped the line where truth to nature ceases. Mr. Santley was an admirable Enrico, indeed this great English baritone is becoming a fine actor. The new tenor M. Joulain, sustained the part of Edgardo ; but as he pleaded indisposition, it would be unfair to judge of his powers. We understand that Miss Harris will shortly appear in Donzietti's "Figlia del Regimento," when she will come into forceful contrast with Jenny Lind's impersonation of "Marie;" but we have little fear for the result. Altogether the season at Her Majesty's Theatre promises to be unusually brilliant. C. C.
The newest production is the play, at the HAYMARKET, called "Brother Sam." In this piece (the plot of which is by no means new) Sam Slingsby (Mr. Sothern) is a swell, with good qualities and an empty pocket. His uncle, Rumbelow (Mr. Buckstone), exhorts him to marry, and indeed will only continue the supplies on that condition. Sam writes that he is married, and is blessed with a charming wife and baby. Rumbelow thereon suddenly announces his intention of visiting his nephew, who in desperation applies to his friend Trimbush (Mr. Compton) for the use of his house during the visit, and asks Mrs. Trimbush (Miss Snowden) to enact the part of his wife. She, being a termagent, refuses vehemently; but her sister, Alice (Miss Nelly Moore), consents. The uncle arrives and all goes well, when, as Sam is shewing the baby borrowed from Mrs. Trimbush to his uncle, that lady rushes in and carries it off. Sam ultimately makes violent love to her, thus deepening the plot. How Trimbush is astonished; how the uncle is more so; how Mrs. Trimbush discloses the whole; and how the attachment which has sprung up between Alice and Sam is made to end the piece happily, we leave our readers to see for themselves. The acting of all concerned is of the best kind, and exhibits the various characteristics of the actors to a high degree. The piece will doubtless have a successful run.
A CRAPED NECK-TIE.
MATERIALS.-Boar's Head Crochet Cotton, No. 60, of Messrs. Walter Evans and Co., Derby; a pair of bone knitting pins, No. 12; two lumps of sugar dissolved in half a pint of hot water, and let remain till cold; two chenille tassels.
This is one of the prettiest articles for a necktie that can be made; having, when finished, all the appearance of soft white crape, and may be adopted either in mourning or out, by adding either black, coloured, or white tassels.
Cast on the pin 460 stitches, and knit in plain garter-stitch till it is five nails wide; then cast off, but not too tight; then sew a strip of calico on to each side, but only so that it can be easily
untacked. If the work is at all soiled, wash it with white curd soap and water; then rinse it perfectly, and squeeze it in a cloth very dry; after that dip it in the sugar and water, squeeze it slightly, and lay it out on a doubled sheet to dry; afterwards take off the calico, sew it up, and add the tassels. The washing and rinsing in sugar and water will always give it the appearance of being new.
INFANT'S CROCHET BOOT.
MATERIALS (for one pair):-Eight skeins of white single Berlin wool, four skeins of black, and two skeins
The elegance and grace of this little boot amply repay for the trouble of making it. Round the ankle it is very light, being worked in open crochet. The whole of the boot is made in close double crochet, always worked on the right side, so that the wool must be cut at the end of every row. Make a chain of 9 stitches with black wool, and work 2 rows with the same number of stitches; in the 3rd row begin to increase by working 3 stitches in the middle stitch; continue to increase in the centre stitch of every row; in the 4th row work the 3 middle stitches in red, for which take a piece of red wool 4 yards 12 inches long, and begin in the middle of it, leaving the ends to hang down on each side, to go on with the small red border in the middle of the black; in the 5th row the 3 middle stitches are white, with 1 red stitch on each side, and the rest black. The same arrangement of colours is to be continued in the following row. There must always be the same number of black stitches, with 1 red stitch on each side; the white part alone increases. When you have worked 10 rows with white, work 4 rows, missing in each 1 stitch on each side, but you must also bring the red stitches nearer, so that the number of black stitches remains the same. At the 13th row, with white, divide the two parts round the foot, working on each side, and leaving the middle stitch free. Work on each side in the following manner, beginning in the middle: 1st row. 10 white stitches, 1 red, 5 black. 2nd, 9 white, 1 red, 5 black. 3rd, 8 white, 1 red, 5 black (from this place do not miss any more stitches at the ends). 4th. 8 more white, i red, 5 black. 5th. 9 red, 5 black; work 8 more rows entirely black, with
out increasing or decreasing. Complete the op posite side in the same manner, and sew the edges together. The sole is worked with white wool, backwards and forwards, very tightly, and always inserting the needle through both parts of the stitches. Begin at the point of the foot, make a chain of 8 stitches, and work 3 rows with the same number; then increase 1 stitch at the end of each row until you have 13 stitches; afterwards work 14 rows without increasing, and then decrease in the same proportion, until you have only 8 stitches left; after working 2 rows with 8 stitches, increase to 11 stitches, work 6 rows with that number, and decrease again to 7 stitches. The sole is then completed. Join it to the boot by a seam. The trimming at the top is worked on a foundation of open crotchet in white. Round the top of the shoe, work 1 row of double crochet and 4 of treble open crotchet. In the upper chain of the 3 last rows work a fringe as follows: Draw a loop through the first stitch, pull it out to half an inch above the work, draw a second loop, and keep both on the needle, repeat the same in each stitch; afterwards join all the loops together by a row of chain stitches, work 1 chain in each loop, and 2 between each. The chain stitcbes in the first and third rows must be worked in red, those of the second in black. The top of the shoe is finished off with a stitch of double crochet into each long stitch, with 3 chain between each in black. A plaited string in red and black wool is run through the first row of open crochet, and two small rosettes in red wool, ornamented with pearl buttons, are added on the front of the shoe.
(Specially from Paris.)
FIRST FIGURE-Dress composed of a black silk skirt, having round the bottom a band of green silk. Body à la pensionnaire. The sleeves are cut with elbows, and are slit up and rounded at the end, which is bordered by a double fluting. Silk waist-band bordered with steelbeads. The black skirt is cut in wide dents at the bottom, and bordered with a double fluting.
SECOND FIGURE-Dress of light Havanna coloured pou de soie. A Milanese-body, composed of an under body of striped pau de soie, round at the waist, over which, in front and behind, is a Milanese corsage made of plain Havanna pou de soie, forming a square plastron or breast piece, without seams under the arms. Elbowed sleeves. Fanchon bonnet made of crinoline: a mauve crape-puffing two inches wide runs round the front. Behind, over the hair, a steel fringe, a mauve crape-puffing, and branches of white lilac. Inside, lilac and crape-puffing; white tulle puffing down the sides.
White muslin robes are again in favour, and are often accompanied with a ceinture corslet of a bright tint. Coloured muslins are if possible prettier than ever; some have appeared with a cordon of flowers at the bottom, or with groups of them disposed in the most graceful ways. Sleeves are worn nearly tight-and black and white collars and wristbands, either of linen or piqué, remain in favour. Round waists prevail; but corsages are still cut with basques. I beg to inform your readers that we are about to return to les coiffurs élevée sur le sommet de la
tête." Not the style of 1830, when the hair was placed as high as possible in large coques, which gave the wearer an aspect more or less comic--a style, however, which Etty delighted to portray; but the genre which Leroy coiffeur to l'Impératrice has adopted, and one which our classic beauties will only be too happy to adopt. Indeed, there are few to whom the highdressed head does not give a charm of dignity or grace. Do not believe, however, the hair dressed low is out of vogue: far from it. It will be so worn as long as the chapeaux fanchons are in fashion, to which it is indispensable to receive the tulle veil, or spray of flowers that are disposed en cache-peigne. Indeed coiffures relevées continue to be worn in preference for evening or morning toilets intérieur, or almost always except with the empire bonnet, which is not a favourite. The models of this genre are gare nished at the side with a very thicket of field flowers, and have a little bias of taffety adjusted in the form of a curtain, or very often a bouillonnée of tulle, with loops of ribbon, No. 4, posed à cheval behind. The chapeaux coquilles have no crown: these are worn a little more perched on the summit of the head than the fanchon-shape bonnets; where, with their bright colours and light ornaments, they resemble gigantic butterflies with trailing wings. The little round hats are charming in form, and as becoming as they are convenient. We especially admire those of Leghorn, accompanied with a veil of green gauze, which makes a charming addition to a toilette de voyage.