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MUSIC IN CASSEL.
tuously recalled. An interesting item in the programme was the Last year, I did not fail to assure you that, up to that time, the lament
charming finale to Così fan Tutte, which was admirably rendered. - I able political condition of Hesse had exercised but small influence upon
must add to my notice of the third concert, that the pleasing chorus our cultivation of the divine art. Our theatre, especially the opera,
from Cherubini's Blanche de Provence was particularly well received. is-apart from certain considerations affecting the composition of the
Indeed, under the direction of Herr Hempel, who now occupies the repertory-very flourishing. The drama, it is true, has a rather limited
post of musical director, in place of Herr Weidt, the chorus has gained field of action, since pieces like Egmont, Wilhelm Tell, Macbeth, Fiesko,
immensely in delicacy and precision, a fact of which the audience Cabale und Liebe, &c., give offence in high quarters for political reasons;
manifested their appreciation at every fitting opportunity. The chorus while other pieces, such as Narciss, Anne Lise, &c., do so from personal
sung, also, two of Schubert's “ Lieder im Volkstone." With regard to ones. With regard to Opera, it has been deemed necessary to banish
the merit of the orchestra, more particularly, it is quite equal to what La Muette from the stage, on account of the affairs in Italy ; but no
it was last year, and high praise is due to Herr Reiss for the pains he one has interfered, up to the present, with Rossini's Tell. In order to
has taken in getting up the concerts. In the way of overtures, we show how good our operatic repertory has been from the commence
have had Mendelssohn's Hebriden, Marschner's overture to Der ment of the season, I will just give you a list of the authors and their
Vampyr, Cherubini's to Les Abencerrages, and a new and original one, in works:
D major, by Herr August Walter. In addition to these, we have had
Schubert's Symphony in C major ; Beethoven's Symphony, No. 8; Mozart: Don Juan (three times), Die Zauberflöte, Figaro's Hochzeit, and Die Entführung (three times).-Beethoven: Fidelio (three times),- Weber: Der Frei
| Niels W. Gade's Symphony, No. 4; and Schumann's Symphony, schütz (twice).-Kreutzer : Nachtlager in Granada.--Méhul: Joseph en Egypte (three No, 2 (C major). The last took very well with the public, though but times). -Cherubini : Les deur Journées.-Maurer, L. : Aloyse (twice).-Marschner:
few of those present could, I should say, have been able to appreciate it Templer und Jüdin (twice).- Lortzing: Czaar und Zimmermann, Undine.-Nicolai : Die 'Lustigen Weiber von Windsor. -- Wagner: Tannhauser.- Flotow: Stradella, fully with only one hearing. At the next concert, we shall hear Herr MarthaHalévy : La Juive (twice).-Meyerbeer : Robert le Diablo (twice), Les Ferdinand Laub for the first time. Mad. Michal-Michaeli, member of Huguenots (three times).-Auber : La Part du Diable (three times). --Adolphe Adam : Le Brasseur de Preston.--Rossini: N Barbiere di Seviglia, Guglielmo Tell (twice).
the Royal Opera, Stockholm, played here twice, selecting the characters Bellini : La Sonnambula. - Donizetti: La Fille du Régiment, Lucrezia (twice), of the Queen of Night, and the Queen of Navarre, in the operas of Belisario, Lucia di Lammermoor.-Reiss; Otto der Schütz, new (three times).Odenbach : Orphée aux Enfers (five times),
the Zauberflöte and Les Huguenots, respectively. She was extremely In a few weeks Spohr's Jessonda, also, will have been performed, after
well received. a rest of nearly three years, and will be immediately followed by a revival of Marschner's Hans Heiling. With regard to the manner in HERR MOLIQUE'S ORATORIO OF “ ABRAHAM," AT STUTTGART. which the operas in the above list were executed generally, it may be (From the Schwäbische Kronik.) The above oratorio, performed designated a careful manner; but some of the works, such, for instance, | yesterday, the 13th April, at the Subscription Concert, produced a deep as Die Zauberflöte, Figaro's Hochzeit, Fidelio, Joseph, and Undine, were and solemn impression upon a most numerous audience, whose curiosity performed with extraordinary excellence. With regard to the company, had been worked up to a high pitch. It was executed by the members I can simply repeat my former assertion, that Herr and Mad. Rübsamen of the Royal Chapel, in a manner on which the composer has good are its two greatest ornaments. Mad. Rübsamen has been kept off the cause to congratulate himself, and which, it was easy to perceive, restage, by certain maternal duties, for the last three months, but will sulted from the respect felt by the executants for their former col. shortly return to it in the character of Susanna. Among our new ac- league. The orchestra and chorus were admirable, and the solo parts quisitions in opera, I must especially mention Mad, Kapp-Young, who well supported, especially the highly grateful part of Abraham, by possesses a voice of great compass ; but it is not, however, invariably Herr Schütky. Mllc. Schröder even undertook, and most successfully sympathetic. The lady, although no longer in the first blush of youth, sang, a second part, besides her own. The gems of the work are the did not commence her dramatic career till last year. In the course of instrumentation, which is invariably excellent, and the admirably writthe season she has studied, and most successfully sung, such parts as ten choruses, among which we would call especial attention to the Donna Anna, Fidelio, Valentine, Elizabeth, &c., in quick succession, majestic final chorus of the First Part “Lobet den Herrn,” the magni- . one after the other. She surprised every one by her Fidelio more espe ficent chorus of destruction, “ Und der Herr streckte aus im Zorn,” the cially. Another no less valuable addition to our operatic company is grand No. 35: “Gross ist der Herr," and the final chorus No. 44. The Herr Baumann, an acting tenor, from Frankfort. He is a perfectly
ann; an acting, tenor, from Frankfort. He is a perfectly women's chorus, “Hör unser Flchen," is also conceived in a noble educated musician, and a pleasing actor, who has already rendered him
has already rendered him- | spirit, and would be still finer, were the second part less artificial. We self indispensable, and become a great favourite. The other members must. moreover, designate as masterly the entire second half of the of the company are the same as they have been for some time past. First Part, from the eminently characteristic recitative of the messen
There have been four subscription concerts given by the Ducal band. ger to the conclusion. All this part, the recitative of Abraham, his At the first of these concerts Herr Hermann Levi, from Mannheim, pro dialogue with the people, the Departure, the Women's Chorus, the duced a highly favourable impression of his talent, both as a composer |
March, and the Return, are extraordinarily dramatic, and full of great and a pianist, by his performance of an original concerto for piano and spirit, except that the trio of the March is too modern in style. Of the orchestra. Although there are evident marks of the influence of Men
solo pieces, those which pleased us most were the nobly simple air of delssohn and Schumann in the said production, the independent talent of | Abraham, “ Leit' mich, o Herr,” the song in which he alternates with the composer cannot be denied. The instrumentation is especially
the chorus No. 7, the touching recitative, “ Vorbei ist die Freude," and worthy of praise, and the structure of the entire work thoroughly good.
the contralto air, No. 26, “ Sie hielten nicht den Bund,” which might, The young violinist, Herr Isidor Lotti, from Warsaw, was also successful
however, especially in the rhythm, be treated with greater sonority, of in the first movement of the concerto in E major, by Vieuxtemps, and
the concerted pieces, the gentle trio, “Freuet alle euch," produced the the “ Perpetuum mobile,” by Paganini. At the second concert Herr Hans
| most favourable impression. What rather detracted from the effect of von Bülow was the chief attraction. The principal works selected by
the work, as a whole, is a certain want of warmth, especially percephim for performance were, Henselt's Concerto in F minor, Beethoven's
tible in some of the solo parts. Thus, for instance, we expected the sonata, Op. 110, and Liszt's “Fantasia on Hungarian Melodies." The third concert introduced to us Herr Alfred Jaell, always a welcome
quarrel-duet with Sarah, and the entire scene with Hagar, would have
been far more effective; in addition to this, there is a monotony in the visitor, who, on this occasion as well as on all previous ones, met with
rhythm, which, with the exception of a single number in s, is nearly a very warm reception. He took part in Spohr's C minor quintet for
always in 4 and 1 time. We do not think we are wrong in asserting piano, flute, clarinet, born and bassoon, and was well supported by the
that, since Elijah, no oratorio has been written bearing the stamp of leading members of the band. At the same concert, Herr Wipplinger
excellence so unmistakeably as this. On a second performance, it performed Mendelssohn's oft-heard but never-tiring Violin-Concerto.
would be desirable to divide, by a pause, the Second Part, which is At the fourth concert, two local artists took the principal part in the instrumental music. They were Herr Graff, leader, and Herr Knoop.
extremely long, after the chorus No. 27, since the action itself here
justifies a separation. The former, a pupil of Vieuxtemps, possesses very respectable powers of execution, and a most elegant style, and has repeatedly gained great applause for his rendering of compositions by his former master, and
Letters to the Editor. by De Beriot. He was less fortunate with Beethoven's Violin-Concerto. The cadences introduced by him were a mixtum compositum from Vieux
COSTA v. BENNETT v. COSTA. temps, Joachim, Laub, etc., and, consequently, were not calculated to throw the audience into rhapsodies. Mlle. Kristinns, a young con
SIR,Is not this a piteous case ?--I am, Sir, yours obediently,
Thomas Duck, Teacher of Music. tralto just engaged at the opera, made her debut at this concert, and at once ingratiated herself with the public, being repeatedly and tumul P.S.--Is there no way of arranging this piteous case ?—T. D.
or timidity that it is difficult to imagine her even comparatively a novice to the stage. True, she has served an apprenticeship in some of the principal theatres of Spain, Germany, and France; but as only a few
years have elapsed since she first trod the boards, her extreme selfHER MAJESTY'S THEATRE.
composure in front of the lamps - whether as a singer or as an actress On Saturday night Semiramide was given a second time, and the success is, to say the least, unusual. The quality of Mlle. Trebelli's voice of the Sisters Marchisio confirmed.
was at once made apparent in the first scene of the opera, where Orsini It was a treat to hear the broad melodies, genuine vocal phrases, and entertains his friends with a story of the supernatural warning against luxuriant orchestration of Rossini's last great Italian opera once again " the Borgia.” The air, “Nella fatal di Rimini " was well and pointedly at this establishment, where it was first introduced to England, and given, and the good impression it created was evinced in bearty plaudits where it has afforded opportunities for all the great singers, from Pasta at the conclusion. The capital test, however, to which every represenand Brambilla down to Titiens and Alboni. The sisters Carlotta and tative of Maffeo Orsini necessarily submits, is the brindisi in the third Barbara Marchisio—for whom the recent gorgeous French version of act_“Il segreto per esser felice.” This was delivered with singular Semiramide at the Académie Impériale de Musique was expressly pre animation by Mlle. Trebelli, and so much to the taste of the audience, pared, and who, at their concerts in St. James's Hall, made so lively an that the dirge from behind the scenes, which interrupts the song at the impresssion in the duets for the Babylonian Queen and Arsace-have | end of the first couplet been judiciously allowed to make their first essay on the London stage
"La gioja de profani in Rossini's fine work, which on Saturday night was presented for the
E un lumo passaggier" second time, and with unquestionable success. What was written about -was, fairly drowned in applause. This possibly caused many of the the singing of these clever ladies at St. James's Hall is fully borne out audience to believe (at the end of the second couplet, “Profittiamo deg! at Her Majesty's Theatre. The Mlles. Marchisio, however, are not anni fiorentini,” which is again interrupted by the dirge) that the " enmerely cut out for duet-singers, but possess such excellent qualities as core” they unquestionably intended had been complied with. What enable each of them to shine independently of the other. Thus while other qualifications Mlle. Trebelli may possess, in addition to those “Serbami ognori ” and “Ebben, a te, ferisci” were the effective coups de we have endeavoured to specify, the future must decide. théâtre which brought down the most overwhelming and long-continued Of Mlle. Titiens' superb Lucrezia ; of the graceful and highly. plaudits, the “Bel raggio" of the soprano (Mlle. Carlotta), the “Eccome finished singing of Signor Giuglini in Gennaro; and of the Alphonso of al fine in Babylonia,” and “In si barbara sciagura,” of the contralto M. Gassier, an impersonation of distinguished merit, it is enough to say (Mlle. Barbara) obtained unanimous approval as solo displays. Both that in the most striking scenes they produced the accustomed powerful ladies are entirely at their ease before the lamps, and while Mlle. Car- | impression. The eminently dramatic trio of the second act ("Guai se lotta Marchisio can hardly be said to boast the personal attributes ti sfugge un meto”), splendidly given, created a marked sensation, and calculated to raise the notion of an ideal Semiramide, no more-as
was unanimously encored. At the end of the opera Mlle. Titiens and many will remember--could Pasta (with whom, be it understood, we Signor Giuglini were summoned before the curtain; and then there was have no intention of comparing her). Arsace is one of those nonde a separate call for Mlle. Trebelli. script parts which depend exclusively on the music and the singing, and Lucrezia Borgia was repeated on Thursday night ; and on this occawhich none of its great representatives, from Marietta Brambilla to sion there was no mistake about the brindisi and “dirge;" so that Marietta Alboni, have at any time striven to render dramatic. Mlle. Mlle. Trebelli obtained (and well deserved) the unanimous " encore" Barbara Marchisio is not, therefore, to be criticised for failing to achieve that is a special privilege of this animated drinking song. what none of her predecessors achieved, or even aimed at achieving. To-night Mlle. Guerrabella makes her first appearance at Her Enough that the two sisters are singers of high accomplishment, with Majesty's Theatre, as Elvira, in the Puritani. powerful voices—the contralto being one of extraordinary compass, the soprano (or, strictly speaking, “mezzo-soprano") possessing the telling quality of tone which dominates invariably in concerted music, and
ROYAL ITALIAN OPERA. never leaves the principal part in obscurity. The joint performance of | As M. Meyerbeer is in London for the International Exhibition, it is fit the new singers is, in short, sufficiently remarkable to revive the popu. that he should be allowed the opportunity of hearing some of his music larity of an opera too crowded with genuine beauties to be laid on the at the great opera-house in Bow Street. Mr. Gye has, therefore, disshelf. In Assur (one of the most famous assumptions of Tamburini) played both judgment and courtesy in bringing forward two of the M. Gassier has proved himself incontestably an artist of capacity very renowned composer's most admirable works-the gloomy and magnifi. far above the average, and shown that he could aspire to a great part cent Prophète, the piquant and captivating Dinorah. These (with the just as well as he could elevate a small one. His grand duet with Semi Favorita on Tuesday) formed the attractions of last week, and would ramide is in all respects admirable ; and every scene in which Assur is have been duly reported at length, but for the engrossing claims of the engaged finds him thoroughly conversant with the peculiarities of the International Exhibition, in which, as every one is aware, M. Meyerbeer music-peculiarities essentially appertaining to a florid school of voca- was also playing a distinguished part. Happily, there is little to say, lisation now almost extinct, which Rossini himself abandoned in Guil.
either of Dinorah or the Prophète, which our readers could not easily laume Tell, and no composer after Rossini has succeeded in restoring. anticipate. The performance of Dinorah restored one of the inost graceThus, in a purely musical sense, the three chief characters in Semiramide ful of Italian tenors to his rightful place before the stage lamps, and in are singularly well sustained ; and, as the histrionic traditions of this
a character, too, his impersonation of which has won hearty and unaniAssyrian lyric drama would seem to have perished, or at all events to be mous approval. Corentin, indeed, is one of Signor Gardoni's very best locked up in the breasts of Grisi and Tamburini (who are not very parts. The music is well suited to his voice ; and although the characlikely to come out from their retirement and reveal the secret to their ter belongs to a class wbich the French would denominate niais, Sit successors), what more can an operatic audience desire ?
has provided him with the means of revealing a capacity not previously The tenor part of Idreno (Sig. Bettini, who was to have undertaken recognised among his artistic qualifications—that, to a certain extent, it, being indisposed) is creditably supported by Mr. Walter (“ Sig. of dramatic humour. Dinorah is the part in which Mad. Miolan Carvalho Gaultiero") Bolton, and that of Oroe, the High Priest, by Sig. Laterza, first earned and has best merited her laurels in this country. It is now, a new bass, of whom we may speak on a future and more auspicious as in 1860, attractive alike as a dramatic conception and as an exhibition occasion. The chorus does its best ; the band, under Sig. Arditi, is of singular vocal facility. M. Faure's Hoel is perfect in every sense ; decidedly efficient.
and Mlle. Nantier Didiée's female goatherd, with its single air, as The opera last night was Lucrezia Borgia, with a cast to which, ex pleasant and unaffected as of yore. This air (an interpolation, by the cept in one instance that of Mlle. Trebelli, a singer new to the way, which the composer was induced to make for the sake of strengthEnglish public, who made her first appearance in the character of ening the cast with her name) and the famous “ Shadow Song" of Di. Maffeo Orsini - the patrons of this theatre have been accustomed. norah were the pieces that, if plaudits and “encores ” are to be accepted A more encouraging reception has seldom been awarded to a débutante. as tokens of comparative worth, stood out prominently from the rest in Mlle. Trebelli's voice is in quality rather “mezzo-soprano" than contralto. the course of a remarkably fine performance. What it wants in richness, however, is fully made up for in power. About Dinorah generally, we need only add that, as given at the Every note tells; and it is quite probable that time and use may modify | Royal Italian Opera, it constitutes a pastoral which for scenic truth and a certain hardness, which at present deteriorates, in a musical sense, from beauty has not been surpassed on our stage, and has only been equalled its genuine effect. Mlle. Trebelli is seemingly a very young artist, and by the memorable representation of Handel's Acis and Galatea—when her singing more remarkable for dash and energy than for refinement Stanfield was the “ Beverley" and the late Tom Cooke the “ Costa" of of expression and execution. There is a vigour in all she does that at the day-under Mr. Macready's management at Drury Lane Theatre. once makes itself understood, and such an entire absence of hesitation 1 The Prophète was repeated on Saturday. The Prophète must always hold a conspicuous place among the grand spectacular operas belonging subsequently assumed, at various intervals, by Mlle. Patti helped more in a certain sense to the French school. Its histrionic interest, scenic | or less to strengthen the first impressions; and, as the experience debeauty, and lyric splendour, play, as it were, into each other's hands, rived from closer familiarity gradually revealed what was wanting to and build up a whole which, in gorgeous and picturesque variety, has make her a thoroughly accomplished artist, and brought her more seldom been paralleled. That to the music, nevertheless, must be traced easily under the microscopic lens of criticism, so were those natural the origin and chief reason of its European popularity, will hardly be qualities to which her genuine attraction may be attributed more and disputed. The music has been principally instrumental in sustaining more clearly defined. That the issue was favourable cannot be denied, with undiminished force the thrilling excitement of scenes at first calcu- nor that the end of the season of 1861 beheld a new operatic “star" lated to impress, on their own account, through the startling nature of shining with undiminished lustre. A new Amina, a new Rosina, and a their incidents, but which, now that the gloss of novelty is worn off, new Zerlina had been discovered; and how much the Royal Italian would be little or nothing, if not musical. A remarkable example is Opera benefited by the discovery it is hardly requisite to add. offered in the scene of the coronation, where the' impostor Jean, by a The brilliant reception of Monday night gives fair reason to believe that pretended miracle, allays the suspicions of the turbulent mob, and out the interest in Mlle. Patti will be maintained this season at its height. wardly feigning to ignore the grief of his deceived and outraged parent, What was written on the occasion of her first performances might be compels her to prostrate herself at his feet and formally deny her rela- repeated almost word for word, and apply just as well. We can detect, tionship. Brilliant, stirring, and expressive in turns, as is nearly all the indeed, but little difference. Her voice seems to have gained in power, rest of the opera, it is with that grand passage that the interest culmi- and her singing in spontaneity. But the peculiarities of her vocalinates; and, side by side with the fourth act of the Huguenots, it ranks sation - its technical defects no less than its undefinable charm, its ocwith universal consent among the triumphs of its composer, and of the casional derelictions from severe purity of style no less than its warmth musical art in its most intimate connection with the drama.
of expression and engaging tenderness, those beauties and those faults, The striking excellence of Mlle. Csillag's impersonation of Fides has in short, which make up a sum total as irresistibly captivating as it is been dwelt on more than once. It is, in our opinion (her Orfeo, in unhackneyed - remain much as they were before. As an actress, Mlle. Gluck's opera alone, perhaps, excepted), her most elaborately-finished Patti has made a decided advance. We can recall nothing more graceperformance, and now even better than formerly. The regret caused by ful, nothing more impassioned, than the scene of the bedchamber, where Sig. Mario's resignation of the part of Jean of Leyden, at first so gene the distracted Amina strives in vain to persuade Elvino of her inno. ral, has been completely dissipated by the very masterly performance of cence. It was difficult to account for the stubborn incredulity of her his successor, Sig. Tamberlik, whose powers this year seem to be en lover, so earnest was her manner, so eloquent her appeal, so heartrenddowed with fresh vigour. Nothing can be more impressive than this | ing her agony of despair. Nor do we remember to have seen an gentleman's entire conception of the Coronation scene; nothing grander audience more thoroughly moved to sympathy. The fall of the curtain than his singing in that of “ The Camp before Münster,” where, after was a complete triumph for Mlle. Patti, who was recalled before the rebuking his followers for insubordination, the Prophet induces them to lamps, to be literally overwhelmed with applause. The mill scene was, join in prayer. In the famous apostrophe, “Ro del cielo,” which (for in another way, quite as impressive. To endow with more exquisite the sake of displaying, with unrivalled power, the highest notes of his sentiment the beautiful slow movement, “ Ah non credea mirarti,” register) he gives in a key not M. Meyerbeer's, Sig. Tamberlik exhibits would be simply impossible. So perfect was it, indeed, that we were an enthusiasm that completely “carries away” his hearers, and brings almost angry with the descending scale — beginning with “ E flat, in down the curtain amid reiterated applause. Mad. Rudersdorff, Bertha, alt” (our readers must pardon the technical allusion)- which, however as in every other part attempted by that zenlous Muscovite songstress, capitally achieved, seemed out of sorts with an exhibition of such deep is careful, energetic, and artistically correct; the three Anabaptists are feeling. The final rondo, “ Ah non giunge," was, of course, a brilliant admirably represented by MM. Neri-Baraldi, Polonini, and Zeiger; and display, and, of course, the second verse was overloaded with ornaments Oberthal is, as usual, a highly-finished sketch in the hands of Sig. (fioriture) and tours de force, in the bravura style ; it told its tale, Tagliafico.
nevertheless, as from time immemorial. Again Mlle, Patti was recalled, The chorus and band are magnificent- the former in the strident and again honoured with such a tribute of applause as can only be eli“All armi” (finale to scene 1), the latter in the pompous “ Coronation cited when an audience has been roused to enthusiasm. March," fully and honourably maintaining their repute. These, the | Sig. Gardoni - probably as excellent an Elvino as the Italian stage skating scene, with all its bustling accessories; the conflagration, at the at present can boast - sang all his music well (the famous scena, end, when the Prophet dooms his enemics and himself to a common “Tutto e sciolto," admirably); Sig. Tagliafico was as gentlemanly a destruction; and the other salient points of the dramatic spectacle excite Count as could be imagined; and Mad. Tagliafico as pert and malithe accustomed interest, being as well and completely done as at any cious a Lisa. The house was crowded, and among the audience were former period.
MM. Meyerbeer and Verdi, whose presence no doubt stimulated the On Saturday, Mad. Csillag being indisposed, the part of Fides (for performers, one and all, to unwonted exertion. At any rate Bellini's the second time) was allotted to Mad. Nantier Didiée, whose very in. delightful pastoral has seldom, on the whole, been better done - even telligent and artistic impersonation of this, one of the most arduous at this theatre. characters in the modern lyric drama, was alluded to in appropriate The first appearance of Signor Mario, always a “ fête” at the Opera, terms last season.
was emphatically so on Tuesday night, when Signor Verdi's Ballo in No long-established favourite of the public was ever re-welcomed Maschera was represented before a crowded and brilliant audience. with greater enthusiasm than Mademoiselle Adelina Patti on Monday | How admirably this work is placed upon the stage at Covent Garden evening, when she made her first appearance for the present season in our musical readers need not be told. It formed one of the chief atthe opera of the Sonnambula. It was in the character of Amina that tractions of last season, with Mad. Penco, Signor Mario, and Signor her earliest laurels were won, and few can have forgotten the extraor- Graziani as Amelia, Riccardo, and Renato ; and now, with two impordinary sensation produced on the occasion of her début. Unheralded | tant changes in the cast, its popularity seems likely to increase rather by preliminary flourish, she took the audience by storm; and a name than diminish. that was previously unknown to this country became in a very brief A very few words must suffice to record the entire success of Tuesperiod familiar as a household word. The extreme youth of the new day evening's performance-a success in no slight degree attributable comer, united to a modest and prepossessing exterior, was at once a to Signor Mario, whose singing was little short of perfection. Never, passport to favour; her opening recitative elicited the heartiest applause, perhaps, has this distinguished artist more incontestably proved himself and long before the termination of the well-known “cavatina" ("Come the king of Italian tenors, never more triumphantly established his claim per me sereno”) her success was established. The faults incidental to to be regarded as the chief of Italian lyric actors. His Duke of Naples inexperience were overlooked or disregarded in the general effect of her is truly a picturesque conception, picturesquely filled up. (Naples, by the performance, which left an impression of something. quite as new as it way, is a far more appropriate canvas for Signor Verdi's musical dewas fascinating. The charm of freshness was felt in every scene; and lineations than Massachusetts, and a “Duke ” an essentially more roan impersonation of Amina which, amid the liveliest dramatic senti- mantic personage, from a theatrical point of view, than a “Governor.”) ment, owed nothing whatever to mere stage conventionality, was unani. The music, too, lies so conveniently for his voice, in every solo and mously recognised. Several of the older amateurs present hinted that, concerted piece, that one might almost have thought the composer had here and there, they were reminded of Malibran, by a certain impuls written it expressly for him. The quaint and tuneful barcarolle (“ Di siveness which they remembered as one of the especial prerogatives of tu se fidele”), the delicious solo and quintet (“E scherzo od è follia "), that highly-gifted artist; others declared that Mlie. Patti was entirely of the second act ; the duet with Amelia (one of Signor Verdi's most original; while all - even those disposed to be critical -- acknowledged impassioned pieces), the strikingly dramatic trio, in which Renato takes the power of the young singer to raise emotions wholly distinct from part with Amelia and Riccardo, of the third ; and the scene with those depending upon ordinary exbibitions of talent. The characters Amelia, terminating in the assassination of Riccardo, of the fourth,
afforded Signor Mario so many opportunities of exhibiting his mastery In the admirable programme Dr. Wylde provides he has always some
Cherubini. and if Signor Mario continues in this yein to the end of the season, both
Grand Duo, "No, Matilda” (Matilda di Shabran)
Rossii. the manager and his patrons will have good cause to rejoice. The first Grand Duo. "Ebben, a te ferisci" (Semiramide) ...
Rossini. Concerto, Violin. E minor
Spohr. appearance at the Royal Italian Opera of Signor Delle Sedie, who
Symphony (Jupiter)... ... .
Mozart. earned such unqualified praises in Renato at the Lyceum Theatre last
PART II. summer (under Mr. Mapleson's direction), was also an event of more Concerto, Pianoforte, C minor ...
Duo Bolero (Les Diamans de la Couronne). than ordinary interest. This gentleman is in every sense an artist ;
Auber. Overture (Ruler of the Spirits) ...
Weber. and, though many baritones have been endowed with voices of greater
conductor—Dř: Wrido. *** power and sweetness, few have been able to turn them to such excellent |
Tho overtures of Cherubini are more frequently heard at the new Philharaccount. The two airs, “ Alla vita che t'arride" (Act I.), and “ E sei
monic Concerts than elsewhere. For this the lovers of genuine music tu che macchiavi,” were specimens of dramatic singing wholly beyond
are deeply indebted to Dr. Wylde The overture to Les Abencerrages is criticism-no less faultless in style than truthful and eloquent in ex
a masterpiece, and will bear hearing many times. (At the next concert, pression. The last moved the whole audience to sympathy, and was
by the way, the overture to Lodoiska will be performed.) The grind redemanded on all sides. Of the Oscar of Mad. Miolan Carvalho, and
symphony of Mozart was nobly played, and thoroughly enjoyed. The the Ulrica of Mad. Nantier Didiée, both extremely meritorious per
violin concerto of Spohr was a magnificent performance on the part of formances, and of MM. Tagliafico and Zelger, graphic and unexcep
Herr Joachim, who filled the audience with mingled astonishment and tionable "conspirators," we spoke last year ; and all we can say just
delight, aud was greeted with overwhelming applause at the end. The now of Mad. Csillag's impersonation of the unfortunate Amelia, is that
pianoforte concerto, by Mr. John Barnett, also, in its way, a remarkable on no former occasion has this zealous and thoughtful artist bestowed
performance, was received with enthusiasm. Both Herr Joachim and more care and intelligence upon a part, or worked it out with more
Mr. John Barnett were recalled. The “ Sisters Marchisio " sang the complete success. Mad. Csillag, in short, fairly divided the honours of
three duets with that extraordinary precision and perfect blending of the the evening with Signors Mario and Delle Sedie. In the scene of the
voices for which they are so justly renowned. The ensemble in “Giorno masquerade (Act IV.)-one of those spectacular displays in which the
d'Orrore" (“ Ebben, a te, ferisci") was the chief point of attraction, and Royal Italian Opera invariably shines, and the diligent hand of Mr.
created the usual sensation. The “ Sisters Marchisio," we understand, Augustus Harris is apparent-the principal danseuse was the grace
are re-engaged for the fourth concert. Herr Joachim is to play Menful and clever Mlle. Salvioni, Mr. Gye's most recent and valuable ac
delssohn's Concerto at the third, when Mlle, Titiens will make her quisition in the ballet department.
second appearance, and Herr Jaell, a German pianist of distinguished On Thursday the Sonnambula was repeated, and drew the most
eminence, who has made the tour of the Old and New World, play crowded house of the season. To-night Il Barbiere for the first time, I Beethoven's Concerto, in E flat. with Patti as Rosina, Mario as Almaviva, and Delle Sedie (where is
PHILHARMONIC CONCERTS.—The fourth concert on Monday night Ronconi ?) in Figaro.
was even more remarkable for two public demonstrations that took place
among the ordinarily quiet audience than for the performance, admiraConcerts.
ble, in almost every respect, as that was. In the first instance, Dr. Sterndale Bennett received such an "ovation" on his first appearance in the orchestra as he will certainly never forget as long as he lives. Dr.
Bennett has received the heartiest sympathy from every unbiassed, rightMONDAY POPULAR CONCERTS.-Mr. Charles Hallé bas contributed in
thinking musician in England to console bim for the persecution to no small degree to the success of these entertainments — pianoforte which he has been snbiected, and his cause has been warmly defended music having played a no less important part than quartets, &c., in the by the press; but all the goodwill of strangers will not be valued by him general scheme. 'On Monday (83rd concert) this gentleman took his 1 so highly as such a demonstration of respect and sympathy as greeted “ benefit,” and notwithstanding the oppressive heat, the counter-attrac- | him on Monday night. The audience were in the humour for applause: tions of the Philharmonic, and the Royal Italian Opera (re-appearance and after Mlle. Titiens's fine performance of “ Va dit elle," from Robert of Mlle. Patti), St. James's Hall was extremely well attended. Mr. le Diable, the composer of that masterpiece, who was hidden in the Hallé had an immense reception. The increasing vogue of the sonatas
gallery of the room, was summoned forward to receive the spontaneous by Beethoven, Mozart, Dussek, &c., says much for the improved taste
tribute to his genius. The programme was as subjoined:-of pianoforte players, and the frequenters of these concerts must have
PART I. observed how numerous are the scores carefully followed by their Sinfonia, in A minor
Gadé. possessors, who appear to consider the Monday Popular Concerts as an Aria, Mlle. Titiens
Adagio and Fugue in D interesting and cheap method of taking lessons in style and expression.
Mozart. Aria, “ Voi che sapete," Mlle. Titiens
Mozart, Mr. Charles Hallé being so soon about to repeat his Beethoven recitals, Concerto, in B minor, pianoforte, Herr Pauer ...
Hummel. did not select one of the great composer's sonatas for his solo, prefer
PART II. ring the “Op. 24" (in C major) of Weber,* and indicating his choice
Sinfonia, in C, No. 1 .
Beethoven, Recit. and Aria, “Non mi dir," Mlle. Titiens
Mozart. by a magnificent performance. Replete with difficulties as with
Concerto, Violin, Mr. Cooper... .
Mendelssohn, beauties, this sonata demands a player of exceptional powers. In Overture (Der Frieschutz) ...
Weber. Beethoven's sonata for pianoforte and violin, C minor (No. 2. Op. 30),
Conductor_Professor STERNDALE Bennett. *** Mr. Hallé enjoyed the invaluable cooperation of Herr Joachim, and we The symphony of Gadé, dry and monotonous, though clever, was not need scarcely add that the execution was perfect. Mendelssohn's trio, well received. Mozart's vigorous adagio and fugue was quite another in D minor, with Signor Piatti at the violoncello, was what might have affair. Herr Pauer, too, by his masterly execution of Hunimel's rarely been expected. A finer performance of that glorious work has rarely been heard concerto, kept up the interest of the concert, and revived the heard. Mozart's quartet in C major was the other instrumental piece.) spirits of the audience. Of the symphony and overture in the second Mr. Tennant and Mr. Santley were the vocalists, the first named sing. | part, what need be said ? Mr. Cooper played Mendelssohn's welling Himmel's song, “Yarico to her lover," and Mendelssohn's “On ) known concerto superbly, and was immensely applauded, Mlle. Titiens music's softest pinion;" the last, Danny Mann's romance from The Lily | sang all three pieces in her best manner (notwithstanding the ill-advised of Killarney, and Schubert's “ Addio;” while the duet from the same and un-Mozartean cudenza at the end of “ Voi che sopete"), and was opera, “ The morn has raised her lamp above," was so well rendered by received with high favour. the two as to elicit an encore. Both gentlemen, indeed, sang their best.
WESTBOURNE HALL, BAYSWATER.--Herr Sprenger, the pianist, gave Mr. Benedict was the accompanist. At the next concert the pianist is
ccompanist. At the next concert the pianist is a Matinée at the above Hall on Thursday, in which he was assisted by to be Herr Ernst Pauer.
Mad. Louisa Vinning, Mlle. Sedlatzek, Mlle. Elvira Behrens, Herr NEW PHILHARMONIC SOCIETY,- At the second concert on Wednes. Reichardt, and Sig. Nappi, as vocalists; and Herren Albert, Otto and day the attendance was not quite so large as at the first, the inclemency Ferdinand Booth, as instrumentalists. There was a large and fashionof the weather no doubt preventing the shilling seats from being filled.
able attendance, mostly ladics, which may account for the want of anyIn other parts of the Hall, however, scarcely a place was found vacant,
thing like enthusiasm in the audience. Herr Reichardt, nevertheless,
pleased so much in his own very charming cradle-song, "Good night," · * Recently played by Mr. Lindsay Sloper, as substitute for Mad. | that he was unanimously encored. He thought proper, however, to sub. Arabella Goddard.
stitute another song instead, which did not seem exactly to meet the
Alagio and Ditiens
wishes of some of the fair auditors, who wanted absolutely to hear “Good full developement but in “ Music.” We have thus seen that the Art of night” again. Herr Sprenger is a skilful pianist, and his taste and feel- | Poetry bears in it both the spirit of “Painting and that of “ Music.” ing may be understood from the music he played, which comprised We have also seen, however, that, unlike cither of those arts, poetry is Mendelssohn's Trio in D minor, with Herren Otto and Ferdinand Booth; one that does not possess any abstract charm, that is, that it is an art Beethoven's “Moonlight Sonata ;" Mendelssohn's Andante e Rondo Ca- | wherein there can be no esthetic design or effect whatsoever, wrought priccioso, besides other pieces by Thalberg, Hellen, Kullak, and himself. out of the pure material of its physical constitution. We have seen that, Of his various performances, Beethoven's sonata seemed to please the whatever intluence it does possess of this abstract nature is reflected upon most. Herr Wilhelm Ganz accompanied all the vocal music.
it by the art of Painting on the one hand, and Music on the other, the HERR A. POLLITZER-one of the most accomplished violinists at
influence derived from the one art being visible in those manifold and present resident in the metropolis--gave an interesting Matinée Musicale
redundant suggestions of colour and form, whether drawn from nature on Tuesday last, at Messrs. Collarils' Rooms. The instrumental |
ental or art, which abound so profusely and extravagantly over the whole artists employed, in addition to Herr Pollitzer, were Messrs. Watson,
surface of poetry; that from the other betraying itself in that regulated Webb, Paque, and Derffel; while the vocal selections were entrusted to
flow of rhythm, that tendency to æsthetic design in the arrangement of Miss Robertine Henderson and Mr. Santley. The two instrumental | phrases, which imparts the distinctive features to the outward surface of features in the programme were Schubert's quartet in D minor (posthu.
poetry. And thus we are led to perceive that not only is the spirit of mous), for violins, viola, and violoncello; and Beethoven's Kreutzer
| painting and music present in the poetic impulse, but that the manifestsonata, both of which were rendered in a masterly manner by the above
ing signs and outward forms of both these arts is visible in poetic effect. instrumentalists, who showed themselves fully capable of appreciating
We have seen that the poetic impulse, partaking so deeply of the inner their spirit and text. Ernst's “Elegie," and a fantasia of Herr Pollitzer's
spirit both of painting and music, and springing out of a primitive and own composition, abundantly proved that gentleman's possession of a
preparatory condition common to all the three arts, may be regarded as large amount of manual dexterity and artistic finish. Miss Robertine being similarly morally constituted as the impulse preceding the display Henderson sang two songs by Schubert, and a gondoliera by Herr Pauer,
of either painting or music in particular; and that in cases where these besides joining Mr. Santley in M. Benedict's charming duct "I Mon
latter arts are severally displayed, the reason why the general Arttanari." Mr. Wilhelm Ganz conducted.
impulse exudes in the particular direction of one or the other, lies in tho presence (in the nature of the exponent of an exceptional and more
external faculty of wielding that abstract material for effect which both THE MENTAL HISTORY OF POETRY.
these arts possess, such as a faculty for developing pure cffects of
“ Colour" on the one hand, and “ Sound" on the other - there existing, BY JOSEPH GODDARD.
as has been before remarked, in both these materials of Art-effect, an " To search through all I felt or saw,
impressional influence of a totally abstract character, like the influence The springs of life, the depths of awe,
of “ Colour" un-humanised by “Form," or that of “ Sound" unAnd reach the law within the law.".
gathered into “ Measure.” Continued from page 247.
For it will be observed that the possession by these two Arts of Paint. We have now arrived at a point in the course of this inquiry
ing and Music of resources for effect (beyond any accruing to Poetry), whence we can directly proceed towards the heart of the subject, and,
which lie in the influence of the pure physical material of their constituretiring from the investigation of its subordinate constituent properties,
tion, involves in the case of their positive exhibition, the demanding consider what is the specific attribute of the Art of Poetry.
of a condition which the Art of Poetry in being displayed does not It has been submitted that previous to the visible advent of Art
exact. They demand in their exponent an exceptional and rather exgenerally, there exists a peculiar preparatory internal condition, a "vast
ternal faculty, immediately relating to this inherently expressive abyss,” pregnant with Art-life, and the source of all Art-impulse in
material, such as a faculty of developing pure and abstract effects of wliatsoever channel that impulse may be subsequently destined to run,
“Colour” on the one hand, “Sound” on the other. The possession It has been explained that this condition consists,-of a general sensi
by these two Arts of a purely material form of influence of an tiveness, in the nature of the man whom it invests, to the great princi.
abstract species of effect, attaches to the conditions of their display the ple of Beanty-of a broad and keen mental appreciation, and of a deep
necessity of an appropriately unique and exceptional demonstrative moral sympathy,- both magnified and extended through a bright en.
faculty in the personal endowment of their exponent; a faculty which, dowment of the faculty of Imagination, which internal circumstances
in the cases of these Arts, depends to a great extent upon extraordinary being breathed upon by the vivid influences of surrounding Creation
natural fineness and perfection, conjoined to cultivation, in the physical the Charm, the Power, the Wisdom, the Beauty and the Majesty
organs respectively of eye or ear. causes the above nature to be absolutely flooded with a comprehensive,
It may be observed in passing that the extent to which a particular permanent, and exhaustless emotion of " Admiration."
nature is endowed with demonstrative faculties of the character just
alluded to, bears no direct proportion to that degree in which those “ He felt them he was moved - then forth they broke
general and internal Art-conditions previously described exist in the In stormy song. He found a form divine For his deep-fixed devotion, and awoke
same natures; for although it is only where this relationship does exist His adorations, on Art's sacred shrine
whence the phenomenon of important Art-effect ensues, still, somewhat There hath an o'ercharged spirit often spoke Where elements celestial did combine.""
in disaccordance with our general ideas of the spirit of propriety, it is
to a great extent, accident which brings this momentous relationship to We have seen that out of this preparatory inward condition arises the pass. The presence of the deep internal faculties of imbibing Art-indesire to wreak this state upon expression, and that in the consummation spiration depends upon that difference in native moral endowment, the of this expression a grand principle is visible—that of " Imitation" causes of which, though without doubt precise and clear in their hidden the principle of imparting and relieving an emotion of admiration by existence, still lie enshrouded in that mystery which ever envelopes the Te-producing more or less directly, and in æsthetic medium, the original ioner motions of man's nature. But the presence of the externally intidence of that emotion. We have seen that the action of this prin demonstrative faculties of Art depends mostly upon those more palpable ciple is directly visible in Poetry, in those imperishablc portraits of natural laws and outward circumstances to which can be visibly tracer great heroes, virtues and charms,- of shining deeds" that shall not pass all differences of physical conformation. The moral faculties of Art away," and of striking and grand events,—which illumine and sublime may therefore be said to proceed from an inward and inscrutable scource, the vista of Poetie Art.
the material faculties of Art from an external and physical origin. And We have seen again that out of that primitive inward condition just thus as there exists no direct connection between the separate origin of described in its motion towards expression is seen exhibited another these two divisions, in the complete range of faculties constituting pergrand principle in the laws of human demonstration, exemplified when fect Art-endowment, there is no law regulating the relative proportion ever Language, Poctry, or Music is appealed to as an instrument of ex. in which they themselves meet togсther in particular natures. Consepression—the principle of tone and phrase. We have scen that as quently the prevailing of that due proportion betwixt them essential for the principle of “Imitation," though directly visible in poetry, is not the one grand result of important Art-effect is only immediately traccliterally and repletely exemplified save in the art of painting ; so in the able to that incalculable combination and progression of circunstances same way have we obserred that, although the principle of tone and denominated “Chancc.” phrase the principle of conveying emotion through a pure cffect
(To be continued.) wrought out of change in modulation and variety in accentuation of the human voice-that although this principle is distinctly exemplified throughout all the stages of language, and so much so in poetry as to involve a visible system, it still does not attain unfettered scope and