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Mann would be to single out almost every passage; but not to name the scene of the second act, beginning with the slow movement, ** The Colleen Bawn, the Colleen Bawn!" as among the finest pieces of dramatic singing that have been heard for years upon the stage, would be to leave unnoticed one of the most remarkable features in the performance of Mr. Benedict's deservedly successful opera. To the chorus, the orchestra, and Mr. Alfred Mellon, their talented and indefatigable chief, justice has already been rendered. Such auxiliaries in an operatic performance on the grand scale of the Royal English Opera are invaluable. They give life and spirit to the whole.— Times, Feb. 17.

MONDAY POPULAR CONCERTS. The concert on Monday night (the 75th) was interesting for several reasons. The programme contained three pieces which had not previously been heard—viz., Chcrubini's third quartet (in C major), the andante and Scherzo from Mendelssohn's unfinished quartet (No. 7), and Hummel's trio in E major, for pianoforte, violin and violoncello. It was tho lost appearance of M. Sainton, and the first of Mr. Sims Reeves, M. Sainton's engagement has been a legitimate success. The great French violinist has shown that his style was neither French, German, Italian, nor Belgian, but cosmopolitan, and that the works of every master came easy to his hand, and lay entirely within the sphere of his appreciation. More vigorous, chaste, and unaffected playing 'could not be wished. On Monday, as though to give (clat to his temporary retirement, M. Sainton played, as it seemed to us, even better than at any previous concert. The quartet of Chcrubini—a truly grand work, originally composed as an orchestral symphony—is a severe test for the most expert violinist; and equally so, in a totally different style, ore the movements from the posthumous quartet of Mendelssohn. Both, however, were perfectly executed, the scherzo of Mendelssohn (a thoroughly Mcndelssohnian inspiration, full of the spirit and humour of A Midsummer Night's Dream) being encored and repeated. M. Sainton's coad jutors were MM. Rics, Webb and Fiatti—Mr. Webb especially winning distinction in the first variation of Mcndelsshon's andante, where the theme is given to the viola. Signor Fiatti, who has but lately returned from his tour with Mad. Goldschmidt-Lind, remains where he was— at the head of all existing violoncellists. In the quartet of Chcrubini he was a tower of strength ; whilo the fairy-like passages of Mendelssohn's scherzo were touched with a delicacy scarcely less ethereal than themselves. To Mr. Halle, the pianist of the evening, was assigned the solo sonata of Beethoven, Op. 26 (with the variations and funeral march)—how he plays which need not be told. In the trio of Hummel (with M. Sainton and Signor Piatti), Mr. Halle's execution could hardly have been excelled in neatness, grace, and vigour by the composer himself, one of the greatest masters of the instrument in an age prolific of great masters. The trios of Hummel (whose music, by the way, is happily becoming more in vogue at these concerts than was formerly the case) are precisely the cheerful, brilliant sort of pieces to wind up the concerts with effect, and send away the audience in good spirits. The trio in E is among the most spirited and attractive of the seven ; but every one of the remaining six deserves a hearing.

For Mr. Sims Reeves, who received the hearty welcome to which his rare merits as a singer of classical music entitle him, two of the finest songs of Beethoven were selected—" Oh, beauteous daughter of the starry night" (in the original, "Bnsslied"), and the Lieder-Kreis—" An die feme Gelicbte" ("To the distant beloved"), six songs in one, each a melody, and the whole, combined, R masterpiece which even Beethoven has not surpassed. Both were grandly sung, and after both Mr. Reeves was recalled with enthusiasm ; but, as a matter of course, the incomparable Lieder-Kreis was the most [striking display. Although the six songs comprise in all some thirty verses, the earnest and impassioned manner in which they were delivered held the audience spell-bound to the end, a genuine burst of applause testifying to the delight they had experienced. The other singer was Miss Susanna Cole, whose fresh and attractive voice is getting more and more thoroughly under the control of its possessor. In Mr. Henry Sraart'B elegant canzonet, "Soft and bright the gems of night," and in an exquisite " Lullaby" of the 17th century C Golden slumbers kiss your eyes"), for the revival of which we are indebted to tho indefatigable research of Mr. W. Chappell (in whose "Popular Music of the Olden Time, " it finds a place), Miss Cole won golden opinions, and at the termination of each was complimented by a " recall." Mr. Benedict accompanied the vocal music. The pianoforte part of Beethoven's Lieder-Kreis is extremely difficult, but under the hands of this accomplished musician the difficulties seemed to vanish, and none but those who are acquainted with the music would have guessed that anything more trying than an ordinary accompaniment was in question.

At the next concert, when Mr. Sims Reeves is again to sing, Miss Arabella Goddard is announced to play Woelfl's celebrated sonata di bravura, called Ne Plus Ultra. On the same occasion M. Vieuxtemps makeshis last appearance for the season. The place of the admirable Belgian violinist, however, is immediately to be filled up by Hcrr Joseph Joachim. If spirit and enterprise deserve success, it is unquestionably merited by these entertainments, nothing being left undone to sustain the high position to which they have hitherto been indebted for their almost unexampled popularity.

ADELINA PATTI AT BRUSSELS. (From an occasional Correspondent.) We have lately been in a high state of excitement, musically speaking, in this pleasant little capital, this petit Paris, as the brave Belgians themselves delight in calling it; so, under the impression that a short account of the cause thereof may prove interesting to the readers of the Musical World, I have determined to forward you a few lines on the subject.

Sig. Mcrelli has arrived here with his Italian Operatic Company, from Berlin, and taken up his quarters at the Theatre Royal do la Monnaie. The first opera 'represented was La Sonnambnla, and Mlle. Adelina Patti was the Amina. The house was crammed long before the rising of the curtain, the most astounding reports of the fair stranger's vocal powers having preceded her arrival. Great was the anxiety manifested to hear ono who may be designated the "girl prima donna," with as much right as Cardinal Wolsey was once dubbed the "boy bachelor," since it required the same amount of precocity in the young lady to achieve at her age the position she holds on the lyric stage, as it did in the Ipswich student to merit, when only fourteen, the title of B. A.

Public expectation was screwed up to fever height, and, in this case, it was not disappointed. In Mile. Patti, Bellini has found an artist worthy of the gentle production of his brain, and one who won all hearts ere she had half got through tho part she selected for her debut before a Belgian audience. All those who have listened to her syren strains declare they never heard a more beautiful, a softer, or a purer voice, a voice which owes more, mayhap, to nature, bounteous source, than to art. She was more especially applauded in the duet of the first act; in the scene of sonnambulism of the second, and in the andante of her grand morceau in the third. I really fancied the public would never be tired of applauding.

Although you in England know all about Mile. Patti's voice and acting, you do not know what the critics here say of them, and therefore I will give you a specimen from the leading journals — the subject being Amina:—"In the two performances of La Sonnambula,"—I forgot, by the way, to inform you that this opera has been given twice — " Mile. Adelina Patti surpassed all the expectations which, with good reason, had been founded on her extraordinary merit and recent reputation. Mile. Patti is a great singer. She belongs to no one school more than another; her singing, full of sympathy and feeling, leaves the old beaten paths far behind. Her style is peculiar to herself; it is impossible to compare it, with justice, to anything ever heard before; she resembles no one, she imitates no one; she is Mile. Patti! Her certainty of execution; the delicacy and purity apparent in all she docs, and, above all, the irreproachable correctness of the whole register of her voice, which is of incredible compass.rcnder her an exception among the artistic celebrities of the day; her prodigious talent astonishes, surprises, captivates; you applaud in spite of yourself,carried away by an irresistible feeling of admiration. If to the preceding qualities, which border on the marvellous, we add the most graceful appearance that ever set off a young girl; beautiful and brilliant black eyes, full of slyness when they are not full of tenderness or grief; an infantine grace, overflowing with charms and wellbred case, and a genuine histrionic talent, delicate, witty, striking, and dramatic, you will have a tolerably complete idea of this fairy of eighteen, whose name is Adelina Patti. Her success, or, as we prefer saying, in order to be nearer the truth, her triumph,was immense. Overwhelmed with marks of approbation and applause, and recalled by the entire audience with a degree of excitement verging upon frenzy, the fair young creature was obliged to come back and repeat the final rondo, besides coming forward once again, after tho fall of the curtain, to receive from our intelligent public a fresh proof of their approbation. Mile. Patti will mark a fresh era in Brussels, as, by the way, she has already done in America, in London and, quite recently in Berlin.

All I hope is (and I could choose a dozen more critiques, on Rosina Lucia, Norina, &c, equally flattering), that these unbounded eulogia will not turn the head of the little "prima donna." Iam told this is unlikely, that, in short, Adelina is not to be spoilt. Taut mieux. R. S.

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JAMES'S HALL,

Regent Street and Piccadilly.

MONDAY POPULAR CONCERTS.

SEVENTY - SIXTH CONCERT, on MONDAY EVENING, February 24, for the.Beneflt.of

M. VIEUXTEMPS

Being, most positively, his last appearance this season.

PROGRAMME.

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PART MM.

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(Mendelssohn)- Song, »

Sonata, ** Ne Plus Ultra," for Pianoforte Solo, Miss Arabella Goddabd (Woclfl).

Part II.—Sonata, in D major, for Pianoforte and Violin. Miss Akaiiella Goddard Mid M. Viri'xtemps (Mozart). Song. " Adelaide," M r. Sim Hervfs (accompanied on the Pianoforte by Miss Arabella Goodardi (Beethoven). Old English Song, "The Oak mid the Ash," Miss Clari Fkasi K (Popular Music of the Olden Time) Quartet, in A, Op. IS, No. 5, for Two Violins, Viola and Violoncello, MM. Vict'XTemps, L. Rin, II. Webb and Piatii (Beethoven).

Conductor, Mr. Benedict. To commence at eight o'clock precisely."

Notice.—It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last Instrumental pi-re, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

Between the last vocal piece and the Quartet, an interval of Five Minutes will be allowed. The Concert will finish before half-past ten o'clock.

Stalls, 5s.; Balcony, 3s. j Admission, Is. t

Tickets to be had of Mr. AUSTIN, at the Hall, 28 Piccadilly; Ciiappbll Sc Co. 50 New Bond Street, and of the principal M u ■—iters.

fTERR JOACHIM, the celebrated Violinist, will make

.11- his first appearance in London at the Monday Popular Concerts, St. James's Hall, on Monday evening, March 3rd. Sofa stalls, as st Chappbll & Co.'s, 50 New Bond Street.

TO CORRESPONDENTS. E. A. J.—Received and will be attended to.

NOTICES.

To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little A>-gyll Street (First Floor). Advertisements can be received as late as Three o'Clock P.M., on Fridaysbut not later. Payment on delivery.

~ j Two lines and under 2s. Or/.

(Unn.6 j Jjb^ additional 10 word* ... ... Gd.

To Publishers And Composers.All Music for Review in TnE Musical World must henceforward be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.

To Concert Givers.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.

% gpttttczd SSSorto.

LONDON: SATURDAY, FEBRUARY 22, 1 8 6 2.

MRS. BRADSHAW, the once celebrated Miss M. Tree, sister to Mrs. Charles Kean, whose death has this week been recorded, was one of the most popular ballad-singers of her day. The term "ballad-singer," as understood in the olden time, can hardly be estimated at its proper value now. According to the modern acceptation of the word, all our artists are ballad-singers, from Mile. Titiens and Mr. Sims Reeves, downwards, since they are constantly singing simple songs. But these are their exceptional moments, and only go to prove the condescension, or the willingness to oblige, of our first sopranos and first tenors. Formerly

the reputation of vocalists in this country depended almost entirely on their ballad-singing. For that branch alone of vocalisation they were prepared and educated, and they attempted no other style. Nor did their fame suffer because their range was restricted and their efforts limited to one school. That a vast deal may be accomplished in the interpretation of simple, unsophisticated airs, no one will dispute. Miss Stephens, one of the most remarkable singers whom England has produced, owed the greater part of her celebrity to ballad-singing. So did Incledon, Sinclair, Wilson, Mrs. Dickens, &c. Singers like Mrs. Waylett, Miss Byrne, Mr. Pearman, and Miss M. Tree, were indebted for their name altogether to their ballad-singing. Ballads were not only the songs of their predilection, but they had studied them alone, and could excel in no others. The artists had concentrated their mental powers into one focus, wherein was displayed all their strength and brightness. Had Incledon lived in the present day, who could assert that, with all the advantages of modern education, he would have risen superior to what he was when he wrung tears from his audience in "Black-eyed Susan" and "Farewell my trim-built wherry," or threw them into ecstacies in "The Storm" and "The white-blossomed sloe?" Certainly in those days ballads were the sole medium for the expression of sentiment in music. Our composers did not attempt grand operas, like Mr. Balfe and Mr. Wallace, nor operas of the Opera Comique kind, like many of our native musicians.

The real English lyric work for the stage was a ballad-opera, which was little more than a drama with single songs, like the Beggars' Opera, with an occasional duet, trio, or chorus, and now and then, rara avis, a concerted morceau. Henry Bishop, the most successful of our writers of ballad-operas, achieved his principal successes in productions of that kind, and by his genius, made them the chief standard works in the repertory of English lyric theatres. With such beacons before them, doubtless the aim of the English vocalist would be in a great measure to devote his talents to the mastery of ballads. It was that which above all was expected from him, and the accomplishment of which was most deeply appreciated by his hearers. But music made rapid advances as an art and a science, and the public feeling went no longer hand-in-hand with such trite simplicities as ballad-operas. The introduction of Italian and French operas on the English stage lent a distaste to these meagre national concoctions, and some of our composers, fired to emulation by the success of Auber, Rossini, and Mozart at Drury Lane and Covent Garden, essayed to produce an opera after the orthodox model. Mr. John Barnett's Mountain Sylph, we believe, and Mr. Edward Loder's Nourmahal led the way; or, at all events, the reception they obtained from the public impelled other musicians to follow in the same track. Perhaps the greatest blow the ballad-opera received was in the immense success achieved by Mr. Balfe's Siege of Rochelle, which may be said to have revolutionised the English operatic stage.

That the ballad opera was the last remnant of an uninformed taste and a circumscribed education, we think all will admit,— as well as that it was an incontrovertible proof that England, from the days of Dr. Arne, had produced no j great original thinker in operatic writing. Ballad-operas had their uses and influences notwithstanding. From their constitution and the special favouritism bestowed on them sprung the best and purest school of plain singing. No vocalists in the world could sing simple airs like the English; could give them the same unadulterated expression and the same unadorned style; or warble them with richer and fresher voices. The ballad-opera is no more, and to be a mere ballad-singer is now the aim of none of our artists. All desire to be great and grand, in'place of simple and engaging. The desire is not to be discommended; but it too often comes to pass that a young lady or gentleman, who has a fresh and beautiful voice, possessing more feeling than energy, greater delicacy than force, a larger amount of tenderness than dramatic fire, with full powers of sostenuto and small powers of execution, rushes into the classical and the bravura style, and so a perfect ballad-singer is lost for ever to the world and a respectable artist substituted.

THE new edition of M. F^tis's Biographic Universelle dcs Musiciens is, in almost every respect, a vast improvement on the old one. One of the recent articles relates to that very popular dramatic singer, Cliollet, who was much admired in this country, even when past the zenith of his powers.

Chollet, it appears, was the son of a chorus-singer at the Opera. Born on the 20th of May, 1798, he was admitted a pupil of the Conservatoriura of Music in the month of April 1806. There he applied himself to the study of the violin and the solfeggio. Shortly after, his course of study was suspended, but subsequently resuming it, he obtained a prize for solfeggio in the competition of 1814. The Conservaforium being closed in 1815, in consequence of political events, Chollet not long after this became a chorus-singer at the Opera; thence he went to the Italian Opera, and, lastly, to the Feydeau Theatre, where he remained until 1818, and finally accepted an engagement with a troop of country actors. A good musician, and gifted with an agreeable voice, though little experienced in the art of singing, he made up for want of scientific acquirements by great intelligence and address. His voice at this time was of deeper tone than was subsequently the case; its character was that of a baritone, for in the list of the company at Havre, in 1823, he figures as engaged to take the parts of Martin, Lais and Solli«S. He was then called Dome Chollet. Being engaged in the same capacity at Brussels in the year 1825, on his way through Paris, he appeared at the Opera Comique, where he was much applauded, and obtained an engagement for the year 1826, as a salaried actor. Accordingly he returned to fulfil his engagement, and his debuts were so brilliant, that he was admitted an associate (societaire) at the commencement of the following theatrical season in 1827. Composers were eager to write for him, and from that time he gave up baritone for tenor parts, to which latter he confined himself exclusively. The first who wrote a part for him of that character was Herold in his opera of Marie. Then followed La Fiancee, Fra Diavolo, Zampa, and some other works, providing him with a stock of parts, in all of which his success was brilliant. The public listened to him with pleasure, although in Paris lie never exercised that attraction which has the effect, when the name of an actor appears in the bills, of filling the theatre with a dense crowd.

On the dissolution of the Society of Actors of the Opera Comique, Chollet was engaged by the management which succeeded ; but the failure of that enterprise having left him free to dispose of himself, he seized the occasion to make a tour and exhibit his powers in the principal cities of France. Engaged as leading tenor at the principal theatre in Brussels, he made his debut there in April 1832, and continued there until the spring of 1834. He now proceeded to the

Hague, where he was employed in the same line of parts. In the month of May 1835, he returned to the Opera Comique in Paris, and remained there for a succession of years. At a later period the management of the theatre at the Hague was confided to him, and during the term of his management the King of the Netherlands treated him with marked favour. Suddenly, however, Chollet threw up his post and returned to France. Since then he has appeared in London (at the St. James's Theatre, when under Mr. Mitchell's direction), and once more at the Theatre Lyrique in Paris. While in Brussels Chollet met with frantic applause; no such vogue attended him in Paris, where, nevertheless, the public was well disposed towards him.

Endowed with qualities which might have ensured him a superior talent had his vocal education been carefully attended to, Chollet possessed more dexterity than real skill, more manner than style. He would sometimes deliver his notes with an abruptness savouring almost of affectation; and as often altered the character of the music by varia tions of tempo or the introduction of a multitude of cadences {points oVorgue), for it was especially in such embellishments that he made a display of his head notes. The study of vocalisation was the point in which he was wanting, so that the production of his voice (mise dc voix) was defective, and he never executed an ascending scale otherwise than in an imperfect manner. Notwithstanding these defects, the charm of his voice, his knowledge of those things which pleased the public, and his self-possession as a musician, enabled him to produce more effect than singers of greater ability unpossessed of these advantages.

Chollet has composed romances and nocturnes, which have been published in Paris and Brussels, and in some instances have met with success.

M. Van Pbaag. — This most able and obliging of concertagents and managers of balls, soirees, &c, has issued his annual circular, wherein lie apprises his friends that he has taken up new quarters at 71 Wardour Street, W., where he will be most happy to hear from them, engaging himself, by his zeal and unremitting attention, to deserve that confidence at the hands of his patrons which has been bestowed on him for many years. We endorse, without hesitation, the document of M. Van Fraag, knowing him to be every way experienced and trustworthy in his business, and no less eager and willing to serve those who employ him.

M. Vieuxtemfs' makes his last appearance this season on Monday night, at the 76th Monday Popular Concert. On Tuesday lie starts for Rotterdam, being engaged to make the tour of the principal musical societies in Holland.

Herb Joseph Joachim is daily expected. He will first play at the 77th Monday Popular Concert, then at the first Philharmonic Concert, and then (his own Hungarian Concerto) at the first concert of the Musical Society of London.

M. Depeet.—The report that this singer had died in Italy, turns out to be a canard. M. Dejiret is at this moment sound of wind and limb, and enjoying himself at Florence. Also, rumour recently slew llerr Schultz.

Mb. Louis Jullien.—" On dit," that this year we shall have a new aspirant to public favour in the person of Mr. Louis Jullien, the son of the renowned musical conductor, who formerly was associated so much with the entertainment of the public in the production of the most interesting and popular concerts of the day, viz., "Jullien's Promenade Concerts." From what we have heard, we anticipate a repetition of promenade concerts as they were, combining all the talent, musical effects, and novelties of former days.

Postponement or The Bradford Triennial Musical FestiVal.—A special meeting of the general committee of the Bradford Musical Festival of 1859, was held at St. George's Hall on Tuesday, for the purpose of determining on the course to be adopted with reference to the next festival. There were about fifty present. Mr. Aid. Brown, chairman of the general committee, presided, and explained that he'had called the meeting in order that they might confer as to the desirability of holding the festival this (being the triennial) year; but taking into consideration the great attractions of the metropolis, such as the International Exhibition and the Handel Festival of three days, to be held at the Crystal Palace in June, he was of opinion, like many other gentlemen connected with the town, that there would be no hope of holding the Festival with any prospect of advantage to the Infirmary.—The Rev. Dr. Willis, the Rev. Dr. Campbell, and other gentlemen expressed a similar opinion; and Dr. Campbell moved the following resolution, seconded by Mr. John Barraclough, and unanimously passed :—" That in consideration of the holding of the International Exhibition in London, it is not expedient to hold the Triennial Musical Festival in Bradford during this year; but, in furtherance of the general understanding that a musical festival should be held in Bradford every three years, the committee do now adjourn till January next year, to take such preliminary steps as then may be deemed expedient, for holding the festival in 1863."

St. James's Hall.—A concert was given on Tuesday in aid of the Hartley Colliery Accident Fund, which attracted a brilliant and overflowing audience, notwithstanding the advance in the terms of admission. The artists, all of whom tendered their gratuitous services, included, among others, the attractive names of Titiens, Giuglini, Arabella Goddard, Sainton-Dolby, Weiss, &c. The Vocal Association, too, under the direction of Mr. Benedict, gave their services, and supplied some favourite pieces by Mendelssohn, Auber, Bishop, Handel, &c, honourably distinguishing themselves in all. Mlle.Titiens sangSignor Arditi's " II Baccio," a German Lied, a duo with Mad. Lcmairc, and the popular duet "II suon del arpi angeliche," from Donizetti's Martiri, with Signor Giuglini, all in her most splendid manner, and creating quite a furor in tho first and last, which were encored. The one solo, "M'appari tutt' amor," which fell to Signor Giuglini, w:is unanimously redemiuulcd, when he sang " Spirto gentil" instead, with no less effect than the romance from Martha. In tho trying scene from Mr. Benedict's Undine Mr. Wilbyc Cooper sang like a true artist. Mr. Weiss, too, displayed his remarkable powers in Schubert's "Wanderer," and "The village blacksmith." Two songs from the Puritan's Daughter," My own sweet child," by Mr. Lewis Thomas, and " Bliss for ever past," by Signor Burdini, were both commendable performances; while Mad. Sainton-Dolby's chaste and cxpressivo reading of "The Lady of tho Lea " was entitled to all praise. M. Sainton achieved an irresistible encore in his fantasia on Scotch airs, and Mad. Lemairo gave "Nobil Signor" and "Ilsegreto" in her best manner. Last not least, Miss Arabella Goddard's incomparable playing of Thalberg's "Last rose of summer" enchanted the audience beyond measure. How the performance was received we need not say. Messrs. Howard Glover, Ganz and Benedict conducted the concert, being under the direction of Mr. Maplcson, to whom belongs tho credit of its origin and organisation.

On Wednesday the Hall was again occupied lor charitable purposes, tho Infirmary for Consumption and Diseases of the Chest being the motive power for the display of that virtue which is said to cover a multitude of sins. Mad. Sainton-Dolby, Miss Arabella Goddard, Messrs. Sainton, Cooper and Weiss were once more the principal artists, and repeatod the same morceaux which was given at the previous concert. In addition Miao Augusta Thompson sang "Qui la voce," from IPuritani, besides joining in two quartets; Mr. Brinley Richards performed two pianoforte solos, "Ethel" and a " Tarantelle," while Mile. Georgi, who made her debut at Mr. Howard Glover's concert, if we remember rightly, exhibited a pleasing voice and much promise in the airs, " 0 mio Fernando," "Floating over the waters," and "O bid your faithful Ariel fly." The West London Madrigal Society contributed the following pieces:—" All ye who music love," "Lady fair let golden sleep," "O who will o'er the downs," "When April deck'd," "Cheer up companions" (encored), "T'other morning very early," and "Spring's delights," all fairly sung and warmly applauded. Messrs. Benedict and Lake were the accompanyists. The room was well filled despite the miserable weather, and, as in the former cace, the concert was a decided success which must add something considerable to the funds of the Infirmary, thanks to the generosity of the performers who again tendered their valuable services gratuitously.

The Concert given at tho East and West India Dock Company's Literary Institution, on Wednesday, was under the direction of Mr. George Tedder, who was assisted in the vocal department by Miss

Poole, Mad. Bishop, Mr. Henry and Master Edwin Sanders, and in the instrumental by the Brothers Shapcott, who played selections from operas by Donizetti, &c, &c, on tho " Silver Neo Horns." Mr. Henry Farkor was the accompanyist. Previous to the concert, Samuel Grcgson, Esq., M.P., the chairman of the West India Dock Company, addressed a few words to the audience, begging them to refrain from encoring the different pieces in the programme, as it would extend tho concert to an unreasonable length. Notwithstanding the good advice of the worthy M.P., repetitions were insisted on of the "Last rose of summer;" song (Mad. Bishop) "Will you for a soldier go?" by Miss Poole; and "The Bay of Biscay," by Mr. George Tedder. Tho last named, indeed, pleased so much, that it was doubtful whether he would not be obliged to sing it a third time.

Strand Theatre.—On Thursday night a very lively farce, written by Mr. J. P. Wooler, and entitled Orange Blossoms, was produced with a degree of success remarkable even in these days of universal approbation. The title points to matrimony, and the violent propulsion of a determined bachelor into tho holy state is the subject of the plot. Mr. Septimus Symmetry (Mr. J. Clarke), exulting in tho independence of single life, is a professed hater of the fair sex, and scorns the idea of becoming a Benedick, notwithstanding the circumstance that, by the terms of a deceased uncle's will, he will forfeit his extensive estates if he does not take to himself a wife before he has completed his 35th year. Colonel Clarence (Mr. J. W. Kay) and Mr. Falcon Hope (Mr. Belford) ho regards as mortal foes, simply because they bring their wives (Miss Bufton and Miss Kato Carson) into his house, and thus encumber his premises with two lively specimens of womankind. He resolves, therefore, to work them a mischief, and his discovery that in early days Colonel Clarence aspired to the hand of the future Mrs. Hops, while Mr. Hope honourably wooed tho future Mrs. Clarence, enables him, with the aid of a little exaggeration, to destroy the happiness of two couples at once. Words run high between the Colonel and the civilian, but the mischief-maker is not allowed to havo his own way, for tho two Othcllos soon find reason to believe that their mutual jealousy is misplaced, and that their common Iago is also their rival in the affections of their wives. To escape a double duel, Septimus accepts the condition imposed upon him by the husbands, which is to the effect that he shall immediately marry Hope's cousin Louisa (Miss Fanny Josephs), an eccentric young lady, familiarly known by the name of "Little Loo." By affecting a hatred for matrimony, "Little Loo" has already made some impression on the heart of the woman-hater, and when he consents to take her. for a wife he is refreshed by the discovery that she is the person to whom his estate would have passed if ho had remained a bachelor beyond tho prescribed period.

Tho circumstance that Mr. Symmetry is a despicable, malicious poltroon, half demon and half idiot, does not in the least lessen tho diversion afforded by the farce. The author has simply endeavoured to get up a genteel " row" among a set of well-dressed personages, and his plot, in spite of its improbability, is rendered highly entertaining by his own smart dialogue and the very lively acting of the compact Strand company. It should bo added that the action takes place in front of an exceedingly pretty scene, representing the garden of tho principal personage.

Olympic Theatre.—On Monday night Mr Oxenford's capital farce, Retained for the Defence, was revived, and Mr. Robson, after a long interval, resumed his favourite character, Pawkins. In delineating this plebeian victim of circumstantial evidence, Mr. Robson presents one of those types of low life on which he has partly based his great reputation ; and among the amateurs of humorous acting Pawkins takes his place with the Wandering Minstrel and the Boots at the Swan. Mr. Neville has become a member of the Olympic company since the last performance of the piece, and he represents the barrister, Mr. Whitewash, not only with his usual gentlemanlike case, but with a forensic assurance that gives individuality to the part.

Death Of Mrs. Bradsiiaw.—This once eminent vocalist, known to the elder generation of playgoers as Miss M. Tree, died on the 16th inst. In the old days of English ballad-opera she stood in the highest rank of her profession, and in the musical adaptations of Shakspeare's plays, which were common many years ago, she wns frequently associated with Miss Stephens. Her retirement from the stage, consequent on her marriage with Mr. Bradshaw, occurred so long siuce, that to modern amateurs of music she will seem to belong to a remote past, and to exist only in honourablo tradition. Thirteen years have elapsed since the death of Mr. Bmdshaw, and she has left one child, a daughter, who is married to Mr. H. Langlcy, formerly of the 2nd Guards. Mrs. Bradshaw was the eldest sister of Mrs. Charles Kean, and in consequence of her death Mr. and Mrs. Kean have not performed at Drury Lane Theatre during the week.

"§XQbiruhl.

The following is an extract from The Leeds Express of this day:—

"To the committee of gentlemen who organised the Messiah performance on S.iturday last, in the Leeds Town Hall, much praise is justly doe — for, in addition to the opportunity thus afforded our lo:-ul musicians of showing their heartfelt interest in tho cause of a noble charity,—they were instrumental in procuring tho services of a distinguished foreigner, who for the first time essayed the soprano music of Handel's great oratorio. Mile. Titiens readily transferred the weight of her name for the benefit of our local institution, when it was found that the Hartley Colliery Fund—to support which she had originally been appealed to for her gratuitous services — needed no further assistance. No less acknowledgment is due to Miss Carrodus, Mr. Inkersall, Mr. Brandon, Mr. Haddock and his band, Mr. Burton, Dr. Spark, and the members of the Leeds Madrigal and the Leeds Festival Societies — all of whom willingly placed their abilities at tho disposal of the managing committee. We have stated that Mile. Titiens, for the first time undertook the soprano music of the Messiah; and at the present time, when a vocalist to supply the place so long held by Mad. Clara Novello in the oratorio school is wanted—the event is of more than ordinary interest. It is but following an ordinary expression in criticism to say that Mile. Titiens created a profound sensation. Her singing indeed touched the hearts of all present. Miss Carrodus, Mr. Inkersall, and Mr. Brandon, in their respective solos, sang with care and efficiency. The band was, in most respects, admirable—the strings being superior to anything we have heard for some time in Leeds ; the wind instruments, however, were as usual, a little under the mark. The chorus once more proved, if such a proof were necessary, the thorough competence of our Leeds singers (with a little additional strength in the soprano and alto departments) for the finest performance of any complete musical work. Whilst the popular choruses 'For unto us' (encored) and the 'Hallelujah' received the greatest applause, we must specially notice the chain of fugal choruses, commencing 'Surely He huth borne our griefs.' Dr. Spark played tho accompaniments to tho recitatives on the soft stops of the organ. At the close of all the songs, tho organ was employed ; and also at the end of the ' Pastoral Symphony.' Mr. Burton conducted. The attendance was exceedingly good, and we believe a respectable sum will be handed over to the Treasurer of the Leeds New Infirmary."

The production of Mr. Howard Glover's operetta, Once Too Often, at the Free-Trade Hall, Manchester, is noticed at length in the Examiner and Times of Monday. The writer commences by saying —

"We have long been of opinion that English taste and feeling inclined to the comic rather than the serious character of operatic music, and that we only want the experiment fairly tried by some of our best English composers to secure a successful result. It was. therefore, with no slight gratification that we found on Saturday evening last so large an audience gathered in the Free-Trade Hall, and heartily enjoying the performance of Mr. Howard Glover's latest production, entitled Once Too Often."

With this opinion we in some respects agree. Of Mr. Glover's music the journalist thus speaks :—

"The composition of this little work is decisive as to the true direction in which Mr. Glover should employ his rare musical talent. There is originality of melody throughout, and of that special quality which follows you home, and lingers in memory, and which you are sure to hear sung in every drawing-room, and most probably brought still nearer to immortality by the street organ of the dark-eyed Italian boys. Among tho airs especially worthy of notice we would select the Romance, 'A young and artless maiden,' sung by Hcrr Reichardt with a refinement and delicacy of style which he has of late approached in a manner unsurpassed by any modern vocalist. 1 Love is a gentle thing,' is another of these charming ballads, to which Miss Emma Hey wood did ample justice. The songs allotted to Blanche, equally graceful in character, are marked with deep and earnest feeling; 'The solemn words his lips have spoken,' with its brilliant second movement, "Now all anxious doubts,' gained for Mad. Bauer a warm encore. What shall we say of the genial-hearted, rollicking Formes? and who, having witnessed his Marcel or Bertram, could anticipate such broad, unctuous humour as he contrived to throw into the Baron Fompernik? The composer haa evidently studied the natural and artistic qualities of the great basso,

and the result is a rare combination of music and histrionic power. The buffo duet with the Count, 'Fompernik, full well you know'— in which there is the repeated exclamation, 'What a wonderful man I'— called forth hearty laughier; the change into a delicate melody, 'Her loveliness and artless youth,' adding greatly to the effect; whilst the aria buffa, 'In my chateau of Pompernik,' is one of the best songs of its kind to be found in modern opera of any school."

The reopening of the Town Hall at Greenock, according to the local journals, was a most brilliant affair. A concert, consisting principally of choruses from the oratorios of Handel and Mendelssohn, under the direction of Mr. J. M. Hutcheson, was given by the Choral Society, Mr. E. T. Chipp, from London, and Mr. G. T. Poulter, town organist, presiding at the organ. The Choral Society of Greenock is not only a well-organised but a highly influential body. It emphatically represents the musical taste of the town, and to its exertions the public are mainly indebted for the new organ and the improvement and decoration of the hall. The Greenock Telegraph thus describes the alterations effected in the building, and the additions in the way of ornament, &c, which have been mnde in the interior:—

"The Hall i3 now a complete change from the cold, comfortless du«ty and dreary appearance it had until a week or two ago. The gallery front has been painted a light green, with gilt mouldings; the front of the boxes is of a rich maroon, overlaid with green painted fretwork hatched with gold. The organ screen has been decorated in a style corresponding with the beautiful arabesques on the front pipes, and in small panels are emblazoned the names of Handel, Haydn, Mozart, Bach, Beethoven, and Mendelssohn, with medallion portraits of the two principal composers, and in a panel above the key-boards is displayed the name of the builders—Messrs. Forster and Andrews. The appearance of the hall as a whole was magnificent, — the platform clustered with gentlemen and gaily-dressed ladies, the beautifully decorated instrument towering behind them, the galleries and back of area crowded, in the boxes a brilliant throng of ladies and gentlemen, principally in evening dress, while the light thrown by the many chandeliers above the galleries contributed to make the tout ensemble most imposing and agreeable."

A second concert was given tho following evening, consisting entirely of organ performances by Dr. Chipp and Mr. Poulter. The proceeds of both concerts are to be distributed among the charitable institutions of the town. The organ playing of Dr. Chipp created an almost unprecedented sensation, as was proved by the overture to Masaniello being redemanded with acclamations.

A correspondent from Bath writes as subjoined:—

"At Mr. Simm's morning and evening concerts, at the Assembly Booms, on Saturday last, M. Ascher played the following pieces of his own composition:—'Alice' (romance) j 'Hondo des Elves ;' ' Sans Souci' (galop); 'Fantasia on airs from Dinorah;' 'Gardez cette fleur,' and 'Galop Brillant.' M. Ascher, with a true feeling for art, unites a rare facility of execution, attracting no less by the grace than the brilliancy of his compositions. His playing exhibits singular ease in passages of rapidity, together with extreme delicacy, especially in the management of the diminueudo, seldom attained."

Saunders' News Letter gives an account of the" last concert of the Philharmonic Society in Dublin, at which the "Sisters,Marchisio" were introduced for the first time to an Irish ^audience. They also appeared at two other concerts in the..Ijp.'&'rtf'f*'' Pne morning and one evening, and drew enormous audiences. -"Their success has led to a second engagement, and they return next week and give yet two more concerts in Dublin. M. Vieuxtemps, who accompanies the " Sisters" in their tournte, has shared largely in their success, and is lauded to the skies by the writer in Saunders. Master Arthur Napoleon, the young pianist, and M. Lamory, the violoncellist, are also mentioned in terms of praise.

From the Torquay Directory we learn that Mad. Louisa Vinning gave a concert in the Bath Saloon on Wednesday morning, the 29th of January. The attendance was large, and the concert eminently successful. What the above-named journal thinks of Mad. Vinning, may be gleaned from the following : —

"We rejoice to find that Mad. Vinning retains her wonderful power and sweetness of voice, qualifications seldom blended except at a sacrifice of one or both. The Italian cavatina displayed her dramatic execution, but we delight much more in those simplo English songs, which

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