money by the Government, as is the case in many other countries; and Sig. Verdi, however much we may admire his music, could never hope to receive in London anything like the myriads of roubles which the Emperor of Russia gives him, simply as an honorarium, for having written La Forza del Destino for the Opera of St. Petersburgh. Nor do we imagine that Sig. Verdi attaches any undue importance to such pecuniary trifles. But he probably expected to find the Commissioners of the "Great Exhibition" endowed by Providence with sense, and with some capacity for appreciating art and the intentions of artists. We are sorry for his sake, as the most popular composer in Europe, and for our own as Englishmen, and the compatriots of those disreputable Commissioners, to find that in both these very natural expectations he has been entirely deceived.

FRENCH RENCH audiences have emphatically more faith, or more endurance, than English audiences. No opera or drama is too long for them, provided it is good. They seem never to grow weary of what they like, and are as eager to applaud at the end of the most interminable performance as at the commencement. The British public, on the other hand, are soon wearied with even what they most admire; the most excellent entertainment can only please them for a certain time, and the stimulant of novelty is necessitated. This remarkable difference in the susceptibilities of the two nations was in all probability understood by Rossini, Meyerbeer, and other composers for the Grand Opéra of Paris. Undoubtedly an acquaintance with English feelings and English tastes would have prevented the authors of Guillaume Tell and the Huguenots, had they projected these great works for the London instead of the Parisian stage, from being so profuse and exuberant. But they knew for whom they were writing, and perhaps never dreamt of concentrating their ideas or employing the pruning knife. The worst of this, to the real admirer of Rossini and Meyerbeer, is that the masterpieces of these composers can never be heard in their integrity in this country. It is simply impossible. No English audience would sit out an opera, under any condition, if it lasted five hours; and Guillaume Tell, the Prophete, or the Huguenots, if executed according to the score, would consume that time at least in the representation. It therefore follows, strictly speaking, that the amateurs of London are unable to judge of any one of these works as an effort of art. The management of the theatre where it is produced is obliged to cut down each opera to four hours' performance, and even then it is considered by the public too long. No care or reverential feeling can hinder the director from committing, what the composer no doubt would call, an act of Vandalism or a sacrilege. Something must be curtailed, something omitted; and in every act of interference, and in every modification, an injury is inflicted. A great work of art like Guillaume Tell cannot be meddled with with impunity. As abridgement is imperatively demanded, and as abridgement implies injustice, it seems difficult, if not impossible, to reconcile the wishes of the public with the respect due to the chef-d'œuvre of a master.

In the production of Guillaume Tell at the Royal Italian Opera it was found necessary to leave out some of the music. We cannot say the nicest judgment has been exhibited in the omissions and curtailments. We think, for instance, that the ballet music, both in the first and third acts, has been too unscrupulously dealt with, and that the necessity for such wholesale excision might have been avoided by not having recourse to repetitions. The cuts made in the finale to the first act are perhaps more objectionable, inasmuch as

they destroy the symmetry and form of a great and perfect work of art. It has been more than once suggested that, as some sacrifice was called for in presenting Rossini's magnificent opera to the English public, it would be better to omit the entire of the fourth act, and preserve the music of the first three acts intact. This proposition, we are aware, would be utterly scouted by the audiences of the Grand Opéra of Paris, who cannot dissociate Guillaume Tell from the air of Arnold, "Suivez moi," and the "ut de poitrine" of the reigning tenor of the theatre. In England, we think, our audiences would willingly dispense with the tenor display, however exciting and energetic, and the high chest C, even though Signor Tamberlik himself were the exponent, provided all the omitted ballet-music was restored and the first finale given without curtailing. We have an idea, too, that the opera would be heard with far greater pleasure and satisfaction if the second and third acts were made to change places, and the performance to finish with the swearing of the Cantons. As the libretto is of the slightest consequence, no harm would be done by this arrangement, and the story would not suffer in the least. In fact, after the conflict between the soldiers and peasantry in the scene in the market-place, in the third act, the whole of the second act would follow naturally and consistent; there would be no difficulty in supposing Tell to have escaped from his guards, when the meeting of the Cantons and the swearing of the oath would be events of course. The best of all reasons for this arrangement, however, is, that after the tremendous musical sensation. From such an Alpine height of trans"Oath of Liberty" the mind is left no room for further port it must needs descend.

MR. WM. VINCENT WALLACE.-Our musical friends will learn with much pleasure that Mr. Wallace is recovering from his late dangerous and severe illness. His medical advisers having recommended change of air, he left London on Saturday for Brighton, to remain a few weeks.

M. ASCHER, whose pianoforte compositions are so well known, will make his debut in London as a pianist at Mad. Puzzi's concert.

MUSICAL CHAT FROM PARIS." We have now arrived at that season of the year when the artistic world, including dancers, singers, and pianoforte players, are taking flight. We have, however, a few arrivals, amongst whom is an American young lady, Miss Philipi, who, as a contralto, has been creating a considerable sensation in Madrid. We have also amongst us the composer and pianoforte player, Mr. Brinley Richards, whose compositions, as a rare exception, are being published in Paris by a musical establishment, which has been led to introduce Mr. Richard's compositions to the monde musicale here in consequence of their popularity in Germany."-Paris Cor. of the Morning Post.

MRS. MEREST'S MUSICAL SOIREES.-The first of a series of three Soirées given by Mrs. Merest, formerly so well known as Miss Maria B. Hawes, came off on Wednesday, at her residence, under the patronage of Her Royal Highness the Duchess of Cambridge, Her Royal Highness the Princess Mary, &c. Mrs. Merest was assisted by Miss Eleanora Wilkinson, Mad. Weiss, Herr Reichardt, Messrs. Carter, Dyson, and Whitehouse, vocalists; and Miss Cecilia Summerhayes (pianoforte) and Mad. R. S. Pratten (guitar), instrumentalists. Mrs. Merest sang "He was despised," "O rest in the Lord," and a ballad of her own composition "I heard thy fate without a tear,"-besides the trio "Lift thine eyes," taking part in "When the winds breathe soft," "By Celia's Arbour," and "Blow, gentle gales," the quartet, "Cast thy burden," from Elijah, and Winter's trio, "Mi lasic, O Madic." Mrs. Merest sang most artistically, and in all her efforts, especially in the air from Elijah, was warmly applauded. Mad. Weiss, who had but just recovered from an attack of illness, sang "Hear ye, Israel," from Elijah, in addition to her share in the concerted picces, and appeared in complete possession of her fine voice. Herr Reichardt gave Mrs. Merest's ballad to Lord Byron's words, "There be none of beauty's daughters," with so much grace and expression as to obtain a unanimous and wellmerited "encore." The ballad and the singing were alike admired. Miss Cecilia Summerhayes played Beethoven's Sonata Pathetique extremely well, and Mad. Pratten proved herself an accomplished mistress of the guitar in two pieces arranged by herself. The room was very full.

As

The ceremonial-music on Thursday was a triumphant success. was expected, the enormous crowd of people exercised a salutary influence in checking and concentrating the body of sound. In the verses of the National Anthem, which should have preceded the address delivered by Lord Granville (but were really sung while he was delivering it at the other end of the building), and the procession up the nave to the eastern dome, the women's voices came upon the ear with a clear and silvery tone that was eminently musical and delightful. In the responses with full chorus and orchestra, it is true, the reverberation might be described as excessive, if placed in comparison with what it would be in an ordinary concert hall, on however large a scale; but this drawback, which all musicians knew to be inevitable, was condoned in a great measure by a peculiar mellowness, softening the asperity of the louder instruments, and by a certain indefinable grandeur to which it were vain to seek a parallel, except at the Handel Festival in the Crystal Palace. But the National Anthem to English ears sounds gratefully and well under any conditions, always accepting those to which it is occasionally submitted at our Italian Opera Houses. The real test, both of chorus and orchestra, was to come.

The "special musical performances" commenced with the magnificent piece which, under the name of " Ouverture en forme de marche," the most celebrated composer now living, and still incessantly and busily engaged in the pursuit of fame, has contributed to our great industrial festival. Though perhaps, on the whole, not more carefully executed, or with more precision, than at the rehearsal on Wednesday, the effect of the overture was, for obvious reasons, at least thrice as great; and this must have been admitted by M. Meyerbeer himself, not the least remarkable personage among the brilliant assemblage near the eastern dome. The "Triumphal March," with which it opens, played as it was by the giant-orchestra of picked musicians and first-class amateurs, would have roused the ardour of ever so phlegmatic and unwilling a hero. The elang" of the wind instruments, imposing and superb, nevertheless, allowed the "strings" high and low, to speak out and be heard. The richly developed melody of the "trio "where the army of violins sounded as a single fiddle, with such close precision were they handled, while the bright touches which the master has laid on so delicately in the "wind" parts brought out the leading theme in all the stronger prominence-was felt as an exquisite relief, the war-marche on its re-appearance seeming to have gathered two-fold pomp and splendour. The Marche Religieuse was played to absolute perfection. At the end-where the sounds die away into "pianissimo,' the violins dwelling upon the highest notes of the register had an effect quite novel and delicious. Notwithstanding the rapid pace at which Mr. Costa took the last movement-the 'Quick March" (or "Pas Redouble")-its crisp and lively theme assailed the ear with marked and singular distinctness. In the exciting passage of "crescendo "—which accumulates force at every step, until the proudly defiant air of "Rule Britannia" proclaims the triumphant climax, the shrill tones of the piccolo, the serried roll of the kettle drums, and the penetrating notes of the clarion deciding the martial character of the ensemble-the happy device by which the composer gradually announces the advent of our naval Song of Victory came out almost as emphatically, and with as much point, as at the first rehearsal in Exeter Hall. Such, at least, was our own impression from the south-eastern gallery. The fugue, too, of which "Rule Britannia" constitutes the leading subject-amid all its elaborate contrivances (of counterpoint, ingeniously distributed among the various instruments-was just as clear; and the coda, where the host of fiddles, screaming, as it were, for predominance, strive with continually augmenting power to drown the familiar phrases of that noble melody-but vainly, inasmuch as it is heard in all sorts of unexpected places, vigorous and invincible as when it first bursts forthwound up with brilliancy a performance that, even regardless of the exceptional conditions under which it took place, was one of the grandest we remember, and which must assuredly have satisfied M. Meyerbeer.

Mr. Costa now yielded the baton to M. Sainton, but remained in the orchestra near the conductor's place, while that gentleman directed the performance of the Ode which our Poet Laureate and our Cambridge Professor of Music conjointly furnished for this memorable occasion. The new composition of Professor Sterndale Bennett loses nothing by closer familiarity. The admirable verses of Mr. Tennyson could hardly have been wedded to music in a more kindred spirit. The execution of the work was happily all that could have been wished. The opening corale

"Uplift a thousand voices full and sweet,

In this wide hall with earth's inventions stored,
And praise the invisible, universal Lord,"

-the appropriate thank-offering at this important festival was sung with remarkable decision, and a justness of intonation that never

Had

-must have made its way to the hearts of all the vast assembly. an illustrious lady, whose gentle rule is one of the dearest privileges of this great country, been present at this performance, she could hardly fail to have been moved by a passage in which poet and musician have vied with each other in giving forcible expression to a sentiment that is unanimous among us. We know of nothing more pathetic than the treatment of the last line, where the words "We weep" are reiterated, in touching and plaintive harmony, as though the asseveration could not be made too often. Here the power of embodying deep feeling possessed by music is strikingly exemplified. Mr. Tennyson was happy in being associated with a musician able to appreciate a thought which in delicacy he himself has rarely surpassed, and, moreover, to give it ample and sympathetic expression. The members of the chorus, too, seemed to enter into the sentiment both of poetry and music, and delivered the passage from beginning to end as if they thoroughly felt its significance. The enumeration of the wonders of the Palace, which comes next, was not quite so satisfactory, although one part of it (and that the most melodious and graceful)

"And shapes and hues of Art divina," &c. -was irreproachable. The choral recitative à la Mendelssohn (“And is the goal so far away ?"); the reference to the opening corale"Oh ye, the wise who think, the wise who reign,"

and the whole of the final chorus-in which the composer borrows the theme of the corale, to extend and develope it into a movement of sustained beauty and interest, as melodiously flowing as it is full of sentiment-offered no point for criticism. A marked impression was created by the passage in unison to the words

"Breaking their mailed fleets and armed towers,
And ruling by obeying nature's powers."

-one of the most original and impressive in the Ode. The orchestral
accompaniments were beyond reproach; and indeed the general execu-
tion of Professor Bennett's unaffectedly beautiful work was creditable to
all concerned-in an equal degree to singers, players, and conductors.
The overture of M. Auber wound up the " special music" with ex-
traordinary spirit. Mr. Costa (who after the Ode resumed his position
at the head of the orchestra) directed the performance with his wonted
energy; and certainly had the renowned French musician been present
he would have found little to complain of. The slow movement, for
cornets and trombones, was almost as clear in its details as if the per-
formance had taken place in the Hanover Square Rooms or St. James's
Hall. The tones of the brass instruments, softened and mellowed, in-
deed, by the vastness of the arena over which they were compelled to
travel, had a peculiarly charming effect. The March, so broad, vigor-
ous, and inspiriting; the beautiful phrase of melody for the violins, which
contrasts with it so gracefully; the stirring ritornelle, with its trills in
the acute register of the first fiddles, and its quaint "pizzicato" for the
rest of the stringed instruments; and, lastly, the gay and animated coda,
which officiates as 66
pus redoublé "—in a work not only brilliant as a
whole, but piquant and lively in every part, the composition of which
by one something more than an octogenarian is a feat without parallel
-were, one and all, brought out with remarkable point and clearness.
Nothing could have been written better calculated to occupy the place
assigned to this very capital overture, or to leave that sense of unalloyed
and pleasurable enjoyment which it is so frequent a privilege of M.
Auber's music to create. "To him, as to M. Meyerbeer and Professor
Sterndale Bennett "-says the Times-" the thanks of Her Majesty's
Commissioners in particular and of the public generally are due. Never
were tasks gratuitously undertaken accomplished more worthily, or with
a more evident desire to show that the labour, though gratuitous, was
one of love. From Professor Bennett, as an Englishman, this was to
be expected as a matter of course; but from the distinguished foreigners
with whom he had the honour to be associated, although it was pretty
sure we should get nothing indifferent, we had scarcely a right to look
for compositions so far above the ordinary mark as to encourage a be-
lief that they may be destined to a place among the lasting products of
genius."

How Handel's mighty choral hymns-the "Hallelujah" and "Amen" from the Messiah which coming directly after the prayer of the Bishop of London, formed a portion of the religious ceremony, towered above everything else in sublimity, it is almost superfluous to relate. The multitudinous shouts of praise and glorification; the tremendous declarations of faith, in those most impressive and wonderful of choral

unisons-"For the Lord God omnipotent reigneth," and "He shall reign for ever and ever," the reiteration of the attributes and dignities of the "Almighty," where the voices, soaring upwards, scale by scale, convey an idea of limitless aspiration, in the "Hallelujah ;" and the astonishing grandeur of the "Amen,"'-an instance of power accummulating and advancing through successive stages up to an overwhelming climax, unparalleled in choral music - made their accustomed impression, edifying and delighting all hearers in an equal measure. That they were superbly delivered will be at once believed. With an orchestra and chorus of such unusual magnitude and unprecedented efficiency, this could hardly fail to be the case. Why, however, they should be joined together at the expense of the "Hallelujah," upon which imperishable masterpiece profane hands have been laid, to fit it to the emergency, it is difficult to say. The two choruses, which belong to different parts of the oratorio, have nothing in common but their sublimity. Moreover, being bothg both in the same key of D, they could have followed each other in due course, without either being cut and maimed; or if this was found impracticable, one of the two should have been dispensed with.

After the " Amen" the National Anthem was again sung, and with this the music to the religious part of the ceremony came to a conclusion. The Duke of Cambridge then rose, and in a loud voice said, by command of the Queen, I now declare the Exhibition open." The trumpets of the Life Guards saluted the announcement with a prolonged fanfare, and the crowd echoed it back with a cheer, which was taken up and speedily spread from one end of the building to the other. The Sacred Harmonic Sociey, with Mr. Bowley as presiding chief, have done their work admirably. A more striking example of what may be effected in a short space of time by well-planned measures, strict discipline, and unwearied industry could hardly be cited. How much of the general result is due to the skill and energy of Mr. Costa may be well imagined, and for him and Mr. Sainton, who aided him so efficiently, no praise could be excessive. The arrangements for the orchestra were perfect. The mere task of bringing so many singers and players together without the slightest disturbance was one of no small difficulty; but all this was achieved with military exactitude; while the labours of the 150 stewards, under the able and diligent superintendence of Mr. Simms, were performed with a regularity, promptitude, and courtesy which can hardly be over-estimated. Thus, and thus only-as the directors of the Sacred Harmonic Society and the managers of the Handel Festival are well aware-can such colossal schemes be undertaken with any chance of success. In Mr. Costa, happily, they have a musical conductor whose instinct of order is as lively as their own.

HER MAJESTY'S THEATRE.

THE season was inaugurated on Saturday night with complete success. Mr. J. H. Mapleson, the new lessee, did well to open his campaign with the opera which he was last year the first to introduce to the English public, during his brief season at the Lyceum.

The general performance of Saturday night we can praise with little reserve. In the first place, however, we must pay a tribute to the appearance of the house, the famous amber curtains to each tier of boxes investing the theatre with a rich and handsome appearance, while the approaches are carpeted. The cast was almost the same as at the Lyceum. It would be impossible to find more capable representatives of Amalia and Riccardo than Mllc. Tietjens and Sig. Giuglini. The prima donna does not appear in the first act; but when she first walked on the stage, in the scene of the sorceress's cave, she was received with loud applause; and her voice, her singing, and her dramatic energy, completely enraptured the audience. The singing of Mlle. Tietjens in the duet with Riccardo on the place of Execution, as well as in the succeeding trio, contributed even more to the success of the third act than her version of the less interesting solo. Sig. Giuglini, who does not give the least intimation of his recent illness, sang the tenor solo of the charming quintet, "E scherzo ed è folli"-one of the best concerted pieces written by Verdi-with such spirit and entrain as to win an enthusiastic encore. Sig. Giuglini shows unmistakeable signs of improvement as an actor. Of the new barytone, Sig. Giraldoni, we can only report at present that his voice is rather powerful than clear or musical, and that his style of singing is more remarkable for expression than for delicacy or finish. He was not encored in the favourite ballad “Sei tu che macchiar. The part of Oscar, the page, was entrusted to Mlle. Dario, a new comer, of whom we may speak another time. M. Gassier and Sig. Bossi were both singularly effective as the two conspirators; and Mad. Lemaire was careful as ever in her part of the sorceress. The orchestra, consisting of at least seventy performers, was remarkably efficient, under the direction of Sig. Arditi, and we may name the

chorus without animadversion. The scenery and mise-en-scène were effective, if not magnificent-one scene, that in the third act, where the moon is shown under a cloud, mirabile dictu, being new and beautiful— and the general performance augurs well for the success of the new venture. At the conclusion of the opera, the National Anthem was sung, the solos by Mlle. Tietjens and Mad. Lemaire, the house, with its rows of clustering beauties, presenting a truly imposing aspect.

On Tuesday the Ballo in Maschera was repeated; and on Thursday Rossini's Semiramide was produced for the Sisters Marchisio, who made their first appearance on the stage in England. A new bass, Signor Laterza, also made his first appearance, and M. Gassier sustained the part of Assur. Of this performance we have not room to speak at length in this number, and must therefore reserve particulars, We may, however, state in advance, that the "Sisters Marchisio" achieved a bril liant success; that they were recalled after each act, and fêted, at the M. Gassier's Assur, too, may end, with bouquets, laurel-wreaths, &c. be named as admirable, both in acting and singing.

ROYAL ITALIAN OPERA.

The cast is

THE Prophète was repeated on Saturday and Tuesday.
the same as last season, comprising Mad. Csillag, as Fides; Mad.
Rudersdorff, Bertha; Jean of Leyden, Signor Tamberlik; Oberthal,
Signor Tagliafico; and three anabaptists, Signors Neri-Baraldi and
Polonini and M. Zelger.

M. Meyerbeer, who has arrived in London for the purpose of hearing his new march-overture, written for the Exhibition, must surely be gratified to find his operas in such favour with the fastidious audiences of Covent Garden. Four consecutive evenings, indeed, have been occupied with two works, Le Prophète and Dinorah, by the greatest of now living and active composers, and the very contrast between these two operas, each a perfect masterpiece in its way, testifies to the wide scope of English appreciation of music, as well as to the extraordinary versatility of the gifted composer. But the characteristic beauties both of the grand historical tragedy and of the elegant idyll that we have named, are so thoroughly well known that we need attempt no new parallel between them.

Meyerbeer's Dinorah, was given on Monday night for the first time this season, and introduced Sig. Gardoni in his original character of Corentino. The cast was, we believe, identical with that when the opera was first produced, and included Mad. Miolan-Carvalho, as Dinorah; M. Faure, as Hoel; Mad. Nantier-Didiee, as the female, and Sig. Neri-Baraldi, as the male goatherd. Sig. Gardoni made his first appearance these two years, and received the welcome due to his abili ties. Sig. Gardoni made his first appearance in England in 1847-the Jenny Lind epoch-at Her Majesty's Theatre, and was then very young. His voice now appears in as good condition as when first we heard him. This is to be attributed to an excellent method the true Italian method and to the fact that he has never sung in any of the grand French operas. That Sig. Gardoni sings the part of the halfwitted piper in Dinorah to perfection no one will deny, nor that he shows greater vocal skill in the music of Meyerbeer than in that of Rossini. His forte lies in the sentimental line, and his voice, in its sympathetic quality, seems to have been intended by nature for love essays. Mad. Miolan-Carvalho has made her reputation in England in the character of Dinorah. Dinorah, in fact, is her cheval de bataille. M. Faure's Hoel was as masterly as ever, nor did he ever sing the music more admirably. The house was not full, but it was an "extra" night, and the Easter holidays were not quite over.

Letters to the Editor.

THE ENGLISH OPERA ASSOCIATION (LIMITED). SIR,-In reply to the letter which appeared in the MUSICAL WORLD last Saturday, signed JOHN BULL, I beg to inform the writer and the public that the English Opera Association is increasing in wealth and strength daily, and that the prospectus will be shortly issued. The shares already taken amount to some thousands of pounds. The list of shareholders embraces the names of a great many of the most eminent composers and artists in the United Kingdom, and may be seen at their office daily. The directors have been anxious not to appear before the public without first being assured of success. They do not feel themselves justified in taking Drury Lane or any other theatre for only three or four months, and then having to relinquish it; their great anxiety is to establish a permanent house for English Opera. — I am, Sir, yours faithfully, MARTIN CAWOOD (Secretary).

April 24, 69 Regent Street.

BRINLEY

Price 4s.

Major, performed by CHARLES HALLE. Price Is. 6d.
Sarabande in E Minor, Passapied in E Major, and Gavotte in
G Major, performed by CHARLES HALLE. Price 2s. 6d.

OURY, MADA ME.

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Fantaisie (Robin Hood).

DANCE MUSIC.

BROWNE T. Tam o' Shanter Galop (Illustrated).

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MONTGOMERY, W. H.

Ye Whittington Polka

(Illustrated). Price 38.

BUCALOSSI, P.

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CROAL, G.

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RISSA C.-DIXEY'S

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SMART, H. "Thro' every Chance and Change,” Sung

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38.

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EDOUARD

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by Madame Laura Baxter. Price 2s. 6d.

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HA

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