In this day, Wagner _consule_, of the eclipse of Italian opera, the programme of a Lind concert will perhaps win a glance of curiosity even from the lovers of "Tristan und Isolde," who follow with reverence in the parquette the mighty score of the trilogy upon the stage. Here, for instance, is the programme of a charitable concert of Jenny Lind's in Boston on Thursday evening, the both of October, 1850, just a month after her first concert in the country at Castle Garden in New York on the 11th of September. The programme is a pamphlet opening with four marvellous wood-cut likenesses of Jenny Lind, Jules Benedict, her conductor; Signor Belletti, the barytone, and Mr. Barnum. The words or each song in the original and in translation are printed upon separate pages, and the whole concludes with sketches of the lives of Jenny Lind, Signer Benedict, Signor Belletti--and Mr. Barnum. The selection of music comprises Beethoven's overture to "Egmont;" an air from the "Elijah," first time in America, sung by Jenny Lind; "Non piu andrai," from Mozart's "Nozze di Figaro," by Signor Belletti; piano solo, Mendelssohn's "Songs without Words," by Signor Benedict; and, for the first time in America also, "Und ob die Wolke," from "Der Freischutz," by Jenny Lind. This was the first part. The second part began with Reissiger's overture, "Die Felsenmuhle;" Signor Belletti then sang the "Piff Paff," from Meyerbeer's "Huguenots;" Jenny Lind followed with the "Come per me sereno," from the "Sonnambula," for the first time in America; then Belletti with the "Miei rampolli," from Rossini's "Cenerentola;" and the concert ended with the "Dalecarlian Melody" and the "Mountaineer's Song," both for the first time, by Jenny Lind.