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Louisa Pyne and Mr. Harrison could not have read, much less have written, this wretched trash before it was consigned to the printer. English Opera has much to contend with; let us hope that it will never be damned by such another production. |
Then let those of our English singers who fancy that a foreign name will be more acceptable than competence, read and consider your praises of Miss Louisa Pyne, Mr. Santley, and Mr. Sims Reeves. It appears extraordinary that, among some hundreds of English singers, numbers of whom possess excellent voices, there should be only some half dozen who may be termed really first-rate. What is the reason? There is not employment; there is no demand for more. It is notorious that, at the only institution we possess (all praise and thanks to Miss Louisa Pyne and Mr. Harrison for the establishment), where constant employment is afforded to singers, only two, or at most three, really firstrate vocalists are employed — a soprano and a barytone, who could not be replaced at present, who sing every night for six months, and for whose very lives even, in the midst of such exertion, and remembering the fate of Malibran, we tremble; and a tenor who, as an actor unequalled on the English stage, and as a singer remarkable for expression and energy, yet makes his listeners long for the exquisite tones of a Mario, a Giuglini, or a Sims Reeves.
What is the remedy for this state of things, I mean in regard to English singers and Opera? You have said, sir, that you do not know what remedy to suggest, and urge everybody should be silent ; but you will not dissent from the following:—
Given—The Puritan's Daughter and Robin Hood, the Lily of Killarny and the Amber Witch, with the original principals, and on alternate nights, the conductor, the band chorus, &c, of the Royal (under these conditions the National) English Opera, and who would be the sufferers? Probably the Italians, the Germans, the French, and Americans, who now hold possession of our two great theatres; certainly not Miss Louisa Pyne and Mr. Harrison, nor John Bull.
Meyerbeer And Auber.—Special invitations were forwarded to these illustrious musicians to be present at the performance of their new works, on the 1st of May, at the opening of the International Exhibition. As Auber never leaves Paris, there is no chance of his renewing acquaintance with London (after an absence of sixty years!) Meyerbeer, however, has arrived, and will doubtless be present at the rehearsals of his Grand March on Tuesday and Wednesday.
M. Vkrdi And The Great Exhibition.— (To the Editor of the Times.)—Sir,— Just arrived in London, I hear that in one of your articles of the 19th inst it is stated that of the four composers who were to write each a piece of music for the opening of the International Exhibition I am the only one who has not yet sent in mine. I beg to say this is not the fact. On the 5th inst. a gentleman appointed by me wrote to the secretary, Mr. Sandford, that my composition was in his hands completely finished, and at the disposal of her Majesty's Commissioners. I have not composed a march, as it was first arranged, because Auber told me in Paris that he was composing one for the occasion. I composed instead a vocal solo with choruses, which Tamberlik kindly offered himself to sing. I thought that this change would not have displeased the Royal Commissioners'but instead they intimate that twenty-five days (sufficient time to learn a new opera) were not enough to learn this small piece, and refuse to accept it. I wish to state this fact, not to give any importance to a transaction in itself of no consequence, but only in order to rectify the mistake that I have
not sent in my composition. I shall be very much obliged if you will make this public, by inserting it in your most valuable paper. I am, Sir, yours, truly, G. Verdi.
43 Alpha-road, Regenfs Park, April 23.
Signok Veedi has arrived in London — not, it appears, to hear the cantata which he so readily and kindly prepared for the opening of our International Exhibition. He was present on Thursday evening, during the entire performance of Meyerbeer's Prophete, at the Royal Italian Opera.
Miss Louisa Pyne And Mb. Harbison.— The Royal English Opera Company has commenced a series of performances in the Theatre Royal, Dublin. The first was Mr. Benedict's Lily of Killantey, which was received with enthusiasm. A detailed report (from our usual correspondent) will appear in our next.
Bibkenheadt—At the last "Wirrall Philharmonic Concert" here, Mad. Guerrabella was the singer, and Mad. Arabella Goddard the pianist. The programme was excellent, and the performance one of the most brilliant ever heard out of London. Our correspondent's report is in type, and will appear next week.
Thalbebg.— This celebrated pianist, now in Paris, will visit London during the International Exhibition.
ROYAL ITALIAN OPERA.
La Favosita, without Mario and Grisi, loses much of its charm for the English public, who have been so long accustomed to associate them with the hero and heroine of Donizetti's best French work. Nevertheless, the performance at the Royal Italian Opera which actual conditions render possible is by no means destitute of attractions. Mile. Csillag'a Leonora is one of the most thoughtful and carefully finished of that very clever lady's assumptions. Like all she attempts, it is marked throughout by earnestness and strong dramatic feeling ; and if it does not at all times go so directly to the hearts of the audience as to induce them, at the conclusion, to absolve the repentant " Favorite," and endorse the forgiveness of the wronged and unhappy Ferdinando, this must be laid to over-anxiety on the part of the Teutonic songstress, who, by studiously elaborating every scene, leaves a certain impression of artificiality, rather than to any shortcoming in her musical delineation of the part. The interest she creates is vivid, if not profound; and we quit the theatre under the persuasion of having witnessed a remarkable exhibition of artistic skill, if not precisely one calculated to raise those emotions which it is only in the province of genuine sensibility to inspire. Sig. Neri Baraldi might reasonably lay claim to indulgence as having undertaken the character of Ferdinando at an unusually short notice, in consequence of Sig. Gardoni's indisposition. Happily, however, he stands in need of no apology, the manner in which he acquitted himself entitling him to the most favourable consideration. Nor had he any reason to complain of want of sympathy on the side of the audience, who lost no opportunity of extending to him that generous encouragement which, under the circumstances, he had a just right to expect, and which could alone have supported him in his arduous task —arduous in a twofold measure, inasmuch as he had not only to make up for the absence of Sig. Gardoni, but to contend with the indelible impression left by one of the most accomplished artists and universal favourites that ever trod the lyric boards. In the last scene, and especially in the famous duet, " Vieni a Vieni," he fairly divided the applause with Mad. Csillag. The plaintive romance, " Spirto gentil," which he sang with unaffected expression, was rewarded by an "encore" that in hearty unanimity has seldom been exceeded. M. Fanre's Alphonso is in the truest sense a kingly impersonation ; nor could the beautiful air "A tanto Amour"(" Pour tant d'amour"), in which the hypocritical monarch beguiles the unsuspecting hero whom he degrades while feigning to honour, be more admirably delivered, or more thoroughly have justified the " encore" that usually awaits it, and which, though declined by the singer on the present occasion, was naturally not withheld. Sig. Nanni, a new comer, has at least one requisite for the part of Baldassare, the priest — that of a deep and sonorous bass voice; but ho must be judged of definitively iu a part where there is something besides, mere declamation to test his capabilities. The general execution of the Favorita requires no description. Amateurs need hardly be reminded that, whether as a scenic exhibition, or as a musical performance, this opera is one of the most complete and imposing in the Covent Garden repertory.
On Saturday night Mr. Santley made his second appearance as Conte di Luna, and fully established his success. On the whole, the result of opening the theatre in Passion Week can scarcely be said to have vindicated a departure from the ancient plan. The house was very well attended on Tuesday, it is true ; but this was not the case either on Thursday or Saturday.
The present week at the Italian Opera has been a busy one. On Monday (first "extra" night) Guillaume Tell (fourth time) was represented, Mr. Qye's "Easter-piece." The "great temple of the lyric drama" (contrary to precedent) opened its doors at the very commencement of the Easter holydays. That the magnificent opera of Guillaume Tttt, with its picturesque incidents, still more picturesque scenery, and, most of all, picturesque music, superbly placed upon the stage, and sung and played as the public have been taught to expect at Covent Garden, would suffice to enchant without the adventitious aid of fairy tale, burlesque, or melodrama, might have been taken for granted. Happily, not alone the chorus and orchestra—-which have rarely shown to greater advantage in this opera, so full of varied choral effect and bright orchestral colouring—but the principal singers before the lamps were in the best possible mood; and thus the Easter audience enjoyed such a musical treat as is not on every occasion vouchsafed to those who attend on ordinary Opera nights. The great second act, in which the representatives of the four Cantons assemble on the banks of the lake, to swear the oath of patriotism and liberty, has, perhaps, never been more striking. Mad. Miolan-Carvalho gave the music of Mathilde better even than usual. In the trio for Arnold, Tell, and Walter—tho finest piece of concerted music in the opera—Sig. Tamberlik almost surpassed his previous efforts, imparting a force and pathos to the slow movement, and a fiery vigour to the allegro, which made every note and every accent tell with thrilling effect. He was supported most admirably by M. Faure and M. Zelger, who in the swearing of the Cantons were as dignified and imposing as ever. The whole scene was what it rarely fails to be at this theatre—a scenic and musical triumph; and the curtain fell amid loud and unanimous plaudits. Mr. Costa presided in the orchestra. On Tuesday, La Favorita was repeated; and on Thursday, the Prophets was given for the first time this season, with Mad. Csillag as Fides and Sig. Tamberlik as Jean of Leyden. The " spectacle" presented all the grandeur of former years, and the magnificent music was listened to throughout, by a crowded audience, with unabated interest. We reserve our remarks on the performance until our next, merely mentioning here that it was one of the most generally excellent we remember of late years.
HER MAJESTY'S THEATRE. This Theatre reopens to-night, under the direetion of Mr. J. H. Mapleson, with Verdi's Ballo in Maschera, the artists being Miles. Titiens and Dario, Mad. Lemaire, Signors Giuglini, Giraldoni, Casaboni, and Gassier. At the rehearsal, yesterday, Sig. Giuglini showed that he had entirely recovered the use of his voice, and the new barytone, Sig. Giraldoni, promised to be a real success.
Mr. Charles Dickens's Readings.—On Thursday evening, in St. James's Hall, Mr. Dickens read selections from Nicholas Nickelby for the first time. The passages selected were those descriptive of Nicholas's adventures during the Dothcboys Hall phase of his adventurous career, which, when they were first published, carried despair to the heart of many a Yorkshire schoolmaster. The present selection was as connected and complete as the story of little Emily which Mr. Dickens has been recently reading from the volume of David Copperfield, and which, with the slightest link of the memory, bore all the appearance of a consecutive and entire narrative. The wonderful description of the tea party, to which Miss Squeers invites honest John Browdie and mischievous little Miss Price, was given with the happiest diversity of tone and dialect; and the scene in the school-room, where Nicholas rescues Smike from the clutches of his brutal persecutor, was received with as much enthusiasm as if all the circumstances had passed actually before the eyes of the audience. The extraordinary powers of personation which Mr. Dickens possesses are never pushed to extremes, and, although all his readings are essentially dramatic, he disdains making an actor's points, seldom pauses for applause, and succeeds entirely from an exhibition of art and not, of artifice. The immortal trial of " Bardell versus Pickwick" concluded the reading, which evoked continual applause and laughter from two crowded and appreciative audience.
The musical arrangements are complete. The places and stands in the great orchestra are all marked cut. The band will occupy the front part of the platform, the violins disposed on the right and the left, and the wind instruments in the centre, the whole J
flanked by ninety double basses and violoncellos, with three sets of kettle drums at equal distances in front of the chorus. An echo having been found to exist under the dome, the orchestra will be covered at a proper height with a drumhead-shaped, oiled and hardened striped canvass awning, which will not only destroy the echo, but materially aid in propelling the tone through the ( length of the nave and transepts. The vocal music will be exclusively choral. Even the solo portions of " God save the Queen" will be sung in unison by all the voices. The "Hallelujah Chorus" and the "Amen Chorus," from the Messiah, will also be performed. The remaining vocal music will consist of Professor William Sterndale Bennett's Ode, the words by Dr. Tennyson, the poet-laureate. This work is entirely choral, with full orchestral accompaniments. At the request of the International Commissioners, M. Sainton—who assumes the baton whenever, from any circumstance, Mr. Costa is unable to conduct at the Royal Italian Opera or at the Sacred Harmonic Society's Oratorios—will be the conductor of Professor Bennett's Ode. The instrumental music will comprise an Overture by Meyerbeer, and a March by Auber. The Sacred Harmonic Society, remembering the inconvenience caused by the rush for tickets at the last moment, have engaged the Lower Hall, Exeter Hall, as a Ticket Office.
MONDAY POPULAR CONCERTS.
One Monday night Mr. Arthur Chappell supplied the numerous patrons of these concerts with an entertainment of rare attraction, and this without any departure from the plan which up to this time has invariably, and with such manifest advantage been adhered to That good music is as great a temptation to amateurs in the Easter holydays as at any other period of the year was shown by a fact the eloquent truth of which was incontrovertible. St. James's Hall, in area, orchestra, and galleries, was literally thronged. The first piece in the programme was that particular quartet of " Papa Haydn," in which his attachment to the Imperial House of Austria was shown by his adopting in his slow movement the Austrian Hymn, *' God Save the Emperor," as B theme for some graceful, touching, and ingenious variations (No. 3, Op. 76, in C major). The performers were MM. Joachim, Wiener, Baetens, and Piatti. The quartet was followed by one of the most expressive lieder of Schubert (" A winter's walk," according to the newest and best English version), and this in its turn by " The Colleen Bawn," from Mr. Benedict's Lily of Killarnep. The first was intrusted to the clever and rising Mad, Florence Lancia; the last (unanimously encored) to Mr. Santley, after whom it would be no enviable task for any other barytone to attempt it. The first part ended effectively with Beethoven's universally known and (perhaps unfortunately) almost as universally played sonata in C minor (Op. 13), entitled Sonata patetica, for pianoforte solus, the hearty reception accorded to which will astonish none (not even those amateurs who, with more or less success, have attempted it themselves) when it is added that Mr. Charles Halle—who, according to custom (this time an easy task) played without book, and according to custom, was recalled—was the pianist.
Tho second part began with John Sebastian Bach's extraordinary Chaconne in D minor, for violin solos, performed by Herr Joachim. Whether the deep and varied reading ; the life-like individuality imparted to variation after variation—as if, though, one and all, the legitimate offspring of the quaint old dance-tune (which Bach elevated, as he did every theme that took his fancy), they were, in the midst of a strong family resemblance, idiosyncratically unlike each other; the unerring manual dexterity with which passages, many of them of unexampled difficulty, were executed; or the impression of unity left by the whole (after all the greatest triumph of artistic skill), be taken into consideration, this performance of Herr Joachim was one of the most original and wonderful we can recall, and created, as might have been anticipated the utmost enthusiasm. The remainder of the concert included the pathetic romance "I'm alone" (the "gem" of the Lily of Killarney), sung with exquisite feeling by Mad. Florence Lancia; a pretty Italian stornello, by Sig. Mariani, which Mr. Santley gave with his accustomed spirit and musician-like correctness; and the famous sonatas for pianoforte and violin dedicated by Beethoven " al suo amico, Kraut- ser (whom some adventurous biographer ventures so far as to say the great composer had never even seen — although he was introduced to him by Bemadotte at Vienna). This last was in the competent hands of Mr. Halle and Herr Joachim—which is equivalent to saying that the execution was all that could have been wished. Mr. Benedict accompanied the vocal music as he invariably docs—a panegyric of itself.
This concert, varied and throughout excellent as it was, came to an end before the hand of the clock pointed to " 10." If all concerts were as short (and as good) the number of amateurs would speedily be quadrupled.
■! VocaljAssociation—The third concert took place on Wednesday evening. The programme contained twenty-three pieces—some of them not of the shortest. This was really too much, and the deserted state of the room long before the end was a significant commentary. The Monday Popular Concerts owe much of their success to the judicious length of their programmes. No concert should exceed two hours and a half in duration, allowing for the interval between the parts ; for if the music is of a serious cast the strain upon the attention induces eventual lassitude, while, on the other hand, three hours of what is conventionally termed " light music" is worse than a pill and a draught. The selection was happily as varied as it was lengthy, aud the efforts of singers and players were not thrown away upon an inapprcciative audience. Place aux dames! Let us first record the doings of two fair debutantes—Miss Constance Rodcn and Mile. Auguste Mehlhorn, the latter taking the part set down for Mile. Marie Cruvelli, who was prevented from appearing by indisposition. Miss Roden has a voice of fine quality, which appears to have been wisely cultivated, and promises well for its possessor, as was shown in Kiicken's "Ave Maria" and the " Waters of Elle," both of which were nicely sung and favourably received. Mile. Mehlhorn made a fair impression in "Dove Sono "and in Schubert's "Gretchen" and "Barcarde." Herr Formes sang the " Wanderer," an air from the Seraylio, and a ballad of his own composition, all vigorously, the last with so much expression as to elicit an encore. The original words, "In sheltered vale" (the ballad in question), are in EicliendorfTs Voitslied (" Dos Muhhrad"), the English version being from the accomplished pen of Mr. Campbell Clarke. Miss Messent gave "Deh! per questo," and a scng called "Maiden gay," both in her best manner. The Misses Hiles, besides attempting " Ebben a te ferisci," with no marked success, in " 0 glorious ago of Chivalry"— the sparkling and melodious introduction to Mr. Howard Glover's operetta " Once too Often, the music of which seems just as attractive in the concert-room as on the stage—won a merited encore, to which they merely replied by returning to the orchestra 'and curtesying their sense of the compliment. Miss Eleanor Ward (who also joined her distinguished master, Mr. Benedict, in a brilliant duet of Kalkbrenner for two pianofortes) obtained a well-earned encore in Litollfs Spinnlied, for which she substituted a galop. Mr. Joseph Heine evinced qualities in his performance of Ernst's fantasia on airs from II Virata, which would elicit admiration under any circumstances, but are really wonderful in a player who is stone blind. Mr. Heine was unanimously and deservedly recalled at the conclusion of bis solo. Miss Chipperfield (member of the "Association") essayed Mr. Benedict's " La fedelta," which at present is beyond her capabilities. The most ambitious effort of the choir, after Mozart's " Ave verura" (the first thing in the programme), was Mendelssohn's "Hear my prayer," in which Miss Susanna Cole's charming voice and chaste style gave due effect to the solos. These, and Meyerbeer's " Pator-nostcr" in-wbich fresh beauties develope themselves at each successive hearing), and "The Vale" (an arrangement by Mr. Brinley Richards of "Ar-hyd-y-nos"—alias "Poor Mary Ann") were all more or less noteworthy examples of choral part-singing.
Crystal Palace Concerts.—At the concert on Saturday week, Mr. Sullivan's music to the The Tempest was repeated, with confirmed success. On Saturday last (19th inst.), Herr Auguste Manns provided his supporters with another splendid concert, the symphony being Beethoven's magnificent "No. 7." (in A major), and the solo player Herr Joachim. The first piece selected by this unrivalled player, was the Scena Canton te (or "Dramatic Concerto," as it is styled among our own amateurs), a work which, though not strictly a concerto in form, is perhaps, of all the so-called "concertos" of Sphor, the most generally popular, as it is undoubtedly the richest in imagination and the most interesting both as to plan and devclopemcnt. To surpass Herr Joachim's execution of this difficult and noble composition would be impossible. To equal it is a feat that still remains to be accomplished. Poetical expression, grand and varied reading, and irreproachable mechanical skill go baud in hand, so as to leave absolutely nothing to wish for. No wonder that, by the very musical audience which Herr Manns (who conducted the accompaniments with a scrupulous care and ability, that must have placed the solo performer entirely at his case) may be said to have "invented" at the Crystal Palace, this remarkable performance of a remarkable work should excite the enthusiasm that invariably attends it at those more venerable and classical entertainments where it is occasionally heard. Hei r Joachim's second piece was Beethoven,'s delicate and melodious Romance in F major, which even when
played to perfection—as it was on this occasion—we can hardly think well calculated for so vast an arena. The singers were Miss Armytage (a very rising pupil of the Academy) arid Miss Camilla Chipp, who, though young, has already earned laurels in some of the Italian towns. The concert terminated with one of the brilliant dramatic preludes of Aubcr.
Ltceum Theatbe.—M.Fechter has leased this theatre of Mr. Arnold for five years. He enters in possession before Christmas next. Mr. Falconer, it is said, has "his eye" (his "peep of day ") upon another house.
The International Exhibition.—It is announced that on the lit of May, with the opening of the London Exhibition, the South Eastern Railway Company will accelerate their service between Paris and London via Boulogne and Folkestone, to nine and a half hours, and vice versa. The through journey is to be accomplished by special tidal* trains, in connexion with two of the fastest steamers in the Channel, the Victoria and Eugenie, making the passage between Boulogne and Folkestone in 95 minutes. Moreover, a cheap third-class ticket, for 25f., available by the night traiu only, will probably be an additional inducement to travellers of slender means who may wish to avoid the long sea passage; and return tickets will be issued for one month, at reduced fares.
Les Voluntaires. — The first representation of the Voluntaires de 1814 took place on Tuesday evening at the Porte St. Martin, with, on the whole, but moderate success. It is just to say that the piece had been weeded of everything offensive to foreign Governments. It consists of not less than fourteen tableaux; and as the intervals between the acts are not short, it takes up more time in the performance than is agreeable. It begins at seven, and is not over till past one o'clock. No piece, however dramatic in its incidents, spun out to such length could be completely successful. There is, of course, a good deal of military show, bustle, and firing. The purely patriotic allusions seemed to touch the national fibre, and now and then produced a decided effect; the portion which was purely Napolconian fell rather coldly on the public car. When the piece is reduced within reasonable compass it will prove successful.—Times (Paris letter).
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1 he most distinguished living musicians, including Balfc, Sterndale Bennett, Clirinni Potter. Best, Henry Smart, Ac, have testified to the extraordinary merits of Evans's Harmoniums.
See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis of the Manufacturers,
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EVANS'S ENGLISH MODEL HARMONIUM, with two rows of keys, price GG guineas in oak case, or 70 guineas in rosewood caw, comlttaes every modern improvement. The most beautiful and varied orchestral effects can be produced upon this instrument, which possesses every gradation of tone from the greatest power to the most delicate piano pieces. The Knglish Model Harmonium is managed with that facility which characterises all Kvmu's Harmonium*, and is equally effective both in the drawing room and church.
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AIRS, BALLADS, &c. IN THE OPERETTA
"ONCE TOO OFTEN."
COMPOSED BY HOWARD GLOVER.
"OH! GLORIOUS AGE OF CHIVALRY," Duet.
Sung by Mile. Jennt Bath and Miss Emma Heywood... 4s. M. "THE SOLEMN WORDS HIS LIPS HAVE SPOKEN."
Grand Air. Sung by Mile. Jenny Baur 4s. 6d.
*' THE LOVE YOU'VE SLIGHTED." Ballad, Sung by
Mile. Jenny Baur 2s. M.
« STRATAGEM IS WOMAN'S POWER." Ballad. Sung
by Miss Emma Heywood 2s. 6d.
"LOVE IS A GENTLE THING." Ballad. Sung by
Miss Emma Heywood 2s. 6d.
'« A YOUNG AND ARTLESS MAIDEN." Romance.
Sung by Herr Reicrardt 2s. 6d.
"THERE'S TRUTH IN WOMAN STILL" Romance.
Sung by Herr Reiciiardt '.. ... 2s. M.
- THE MONK'S WERE JOLLY BOYS." Ballad. Sang
by Herr Formes 3s. Od.
"IN MY CHATEAU OF POMPERNIK" Aria Buffs
Sung by Herr Formes 3s. Od.
FANTASIAS, QUADRILLES AND WALTZES.
Brinley Richards' Fantasia, on "Once too Often" 4s. Od.
Emile Berger's Fantasia, on "Once too Often" 3s. Od.
Quadrille," Fontainblean," by Strauss. (Handsomely Illustrated) 4s. Od. Waltz, "La Belle Blanche," ditto ditto ... 4s. Od.
"Mr. Glover's operetta is a decided, and, what U better, a legitimate, 1 hit.' The tongs before us hare already attained a well.merited popularity. 'The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Former 1 The love you've slighted still is true 1 (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is 1 A young and artless maiden 1 (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing1 (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel eutirely fulfils."—Musical World, London: Di M is Davison ft Co., 244 Regent Street, W.
I NAVTGANTI (The Mariners).
BY ALBERTO RANDEGGER.
nVTEW TRIO, for Soprano, Tenor, and Bass, Price 4s.
AN (With English and Italian Words.)
London: Duncan Davison ft Co., 244 Regent Street, W.
Just published, price 3s.,
NEW ITALIAN SONG, "Parvemi il volo Scioglere."
Just published, price 3s.
Br E W SONG, "When thou and I last parted."
AN Poetry by JESSICA RANKIN. Music by W. VINCENT WALLACE. London: Duncan Davison ft Co., 241 Regent Street, W.
Just published, price 3s.
MISS STABBACH'S NEW SONG,
London : Duncan Davison & Co., 244 Regent Street, W.
« TTTHEN THE WIND BLOWS IN FROM THE
VV SEA." Duet for Soprano and Barytone. The Music by HENRY SMART.
London: Duncan Davison ft Co., 244 Regent Street, W.
"TITTLE BERTHA." Music by W. Guernsey.
I -i London: Duncan Davison & Co., 244 Regent Street, W.
Just published, Price 3i.,
"fiOOD NIGHT" (Cradle Song). Composed and Sung
U by ALEXANDRE REICHARDT.
"Herr Reichardt was encored in a ' Cradle Song' of his own composition, one of the most charming bagatelles we ever heard, and sung with irresistible sweetness and expression."—Edinburgh CouranL
London: Duncan Davison ft Co., 244 Regent Street, W. \
NEW AND REVISED EDITION.
THE VOICE AND SINGING.
"'The Formation and CultEratlon of the Voice for Singing.' By Adolfo Fmrari London: Duncan Daviion & Co., 244 Regent Street
"The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises which greatly Increase its value.
"Since its first publication this book has met with general acceptance, and is now used as a vade-mecum by many of the most eminent and intelligent vocal instructors both in the metropolis and the provinces. We say vocal instructors, because it is only to instructors that works of this class can be of material use. Singing is not an art which can be learned by solitary study with the help of books, and those who are self-taught (as it is called) are always badly taught. But a good treatise, in which the principles and rules of the art, founded on reason and experience, are clearly expressed, is of infinite value, first to instructors, in assisting them to adopt a rational and efficient method of teaching, and next to pupils themselves, in constantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work has been found pre-eminently useful."—Illustrated News.
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THE OPERA, COMPLETE, BOUND IN CLOTH, 258.
and Danny Mann) - .
- 3 6
THE OVERTURE. Arranged by the Author -
THE FAVOURITE Airs. In two Books. W. H. Callcott FAREWELL, BUT WHENEVER. Transcription
Ditto. As Duets. In two Books. W. H. Callcott . GIORNO D'ORRORE. Semiramide ...
THE FAVOURITE AIRs. In two Books. Franz Naya LASS O' GOWRIE. Transcription ...
DITTO. As Duets. In two Books. Franz Nava L'HEUREUX GONDOLIER. Impromptu ... ...
SET OF QUADRILLES. Charles Coote - MEETING OF THE WATERS. Transcription.
DITTO. As Duets - MERAN. Styrienne ... ...
SET OF QUADRILLES. “The Cruiskeen Lawn." Pierre Laroche.
Illustrated by Brandard -
WALTZ. " Eily Mavourneen.” Chas. Coote. Illus. by Brandard LA BELLA MARIA. Polka de Salon ...
SET OF WALTZES. Pierre Laroche. Illustrated by Brandard
I GALOP. Pierre Laroche -
“I'm alone" METZLER & CO.'S New Vocal Catalogue is now Ready, and may
“ It is a charming girl I love”
“ The Cruiskeen Lawn
Kune. Fantasia on favourite Airs ..
G. A. OSBORNE. Fantasia on favourite Airs.
MADAME Oury. Fantasia on favourite Airs -
LINDSAY SLOPER. Fantasia on favourite Airs -
“It is a charining girl I love”
5. “I'm alone". 37, 38 & 35 GREAT MARLBOROUGH STREET, W., 6. “The Colleen Bawn”