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A New Edition of the STUDIES, thoroughly revised and partly re-written, published under the immediate superintendence of the Composer. Fifteen Books, each 6s.

LONDON: ASHDOWN ASHDOWN & PARRY, & PARRY, 18 HANOVER SQUARE,

Printed by GEORGE ANDREW SPOTTISWOODE, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No. 5 New-street Square, in the Parish of St. Bride, in the City of London. Published by JOHN BOOSKY, at the Office of BOOSEY & SONS, 28 Holles Street.-Saturday, May 24, 1862.

“THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT 18 WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES”— Göthe.

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

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ON

EVENING CONCERT at Exeter Hall, when the whole of the Music performed at the Opening of the International Exhibition will be reproduced on a scale of great magnificence, under the direction of Mr. BENEDICT.

The Orchestra and Chorus will comprise 400 Performers, selected from the Band of the Royal Italian Opera and the Members of the Vocal Association.

The Programme will include Meyerbeer's "Grand Exhibition Overture," Auber's "Grand Triumphal March," and Professor Sterndale Bennett's “ Inauguration Ođe" (the Poetry by Alfred Tennyson), in addition to a Miscellaneous Concert of a very attractive character, in which Mad. LEMMENS-Sherrington, Mr. SIMS REEVES, and Mr. ASCHER will appear.

Further particulars will be duly announced.

Stalis, 5s.: Reserved Seats, 3s. 6d.; Tickets, 2s. and 1s.

To be had of BOOSEY & SONS, Holles Street, and the principal Musicsellers.

HERR REICHARDT will Sing his Popular

"CRADLE SONG"

(Good Night),

AT

MR. HOWARD GLOVER'S CONCERT, ST. JAMES'S HALL; MISS STATON'S CONCERT, MYDDELTON HALL;

MISS LIZZIE WILSON'S CONCERT, HANOVER SQUARE ROOMS; HERR KUHE'S GRAND CONCERT, ST. JAMES'S HALL.

AND

HERR GANZ'S CONCERT, HANOVER SQUARE ROOMS.

ADDISON, HOLLIER & LUCAS, 210 Regent Street, W.

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LARGE ROOMS.-Miss LOUISA BAR

ISS STEELE has the honour to announce that her WILLIS's the honour to announce that her GRAND EVENING CONMISS

Hanover Square, on Friday, June 13, 1862, at eight o'clock.

Vocalists: Mad. LEMMENS-SHERRINGTON, Miss STEELE, MISS MARTIN, Mrs. MEREST, Mr. TENNANT, Mr. TRELAWNY COBHAM, and Mr. SANTLEY.

Pianoforte Mr. KUHE.

Violin Herr JOACHIM,
Clarionet: Mr. LAZARUS.
Violoncello: Herr LIDel.

Conductors: Mr. KUHE and Mr. HENRY BAUMER.

Stalls, Half-a Guinea; Tickets, 7s. To be obtained of all the Musicsellers; and of Miss Steele, 28 Upper Gloucester Place, Dorset Square, N.W.

CERT will take place at the above Rooms on Saturday evening, May 31. To commence at 8 o'clock.

Vocalists: Mad. LEMMENS-SHERRINGTON, Miss ROBERTINE HENDERSON, Miss AUGUSTA THOMSON, Mr. ALLAN IRVING. Instrumentalists; Pianoforte, Miss L. Barnard; Violin, Herr Carl Deichmann; Violoncello, Herr LIDEL.

Conductor, Herr WILHELM GANZ.

Stalls, 10s. 6d. ; Unreserved Seats, 5s.; Back Seats, 2s. 6d. Tickets to be had of all the principal musicsellers; and of Miss L. BARNARD, 35 Great Pulteney Street, Golden Square.

RS. JOHN HOLMAN ANDREW'S MATINEE of MASTER ARLIDGE begs to announce that his

MRS.

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Vocalists: Miss LOUISA PYNE and Miss SUSAN PYNE.
Accompanyist: Mr. AGUILAR.

MRS. ANDREW'S SOIREE MUSICALE on Wednesday, July 2nd.
Tickets, 10s. 6d. each, may be obtained, at the Music Warehouses, and of Mrs.
Holman Andrews.

EVENING CONCERT at Myddelton Hall, Islington, will take place on Monday, June 9. Vocalists: Miles. PAREPA and FLORENCE LANCIA, Miss STABBACH, Miss LEPPLER, Mr. MONTEM SMITH, Mr. FINLAYSON, Mr. GEORGE BUCKLAND, and M. DE HUGATE, the new barytone. Instrumentalists: Pianoforte, Mr. W. B. HARRISON; Flute, Master J. CHURCHILL Conductor: Mr. FRANK MORI.

ARLIDGE.

HARR

MRS. MEREST (late Miss Maria B. Hawes) has the MR. APTOMMAS'S HARP RECITALS on the follow

honour to announce that she will give a GRAND MORNING CONCERT, on Thursday, June 24, 1862, at Dudley House, Park Lane, the Earl of Dudley having in the kindest manner offered her his Picture Gallery for the occasion.

The Concert will be under the immediate patronage of H. R. H. the Duchess of Cambridge, H. R. H. the Grand Duchess of Mecklenburg Strelitz, and H. R. H. the Princess Mary Adelaide.

Tickets, One Guinea each. To be had of Mrs. Merest, 7 Adelphi Terrace, Strand.

MLLE. CAROLINE VALENTIN has the honour to

announce her MATINEE MUSICALE on MONDAY, June 2, at the Hanover Square Rooms, at 3 o'clock precisely.

Artists: Miss BANKS, Mad. NITA NORRIE, Miss LASCELLES and Mr. GEORGE PERREN; M. SAINTON, and M. PAQUE.

Conductors: Herr WILHELM GANZ and Mr. GEORGE LAKE.

Tickets, 10s. 6d; Reserved Seats, 15s. Of Messrs. Ashdown & Parry, 18 Hanover Square; Duncan Davison & Co., 244 Regent Street; of Mlle. Valentin, & Duke Street, Manchester Square; and at the Rooms.

UEEN'S CONCERT ROOMS, Hanover Square.

Qu

S. THALBERG has the honour to announce that, after a long absence, he will give a MATINEE at the above Rooms, on Monday, June 9.

The only occasions on which S. THALBERG can possibly appear in London this Season are limited to FOUR MATINEES. They will take place as follows:-Monday, June 9; Monday, June 16; Saturday, June 28; and Monday, July 7.

The Matinées to commence at Half-past Two o'clock.

S. THALBERG will present his last Works, entitled "The Art of Singing applied to the Piano," and "Les Soirées de Pauselippe," consisting of Twenty-four Pensées Musicales.

Several unpublished Manuscript Pieces, composed for the Piano by ROSSINI, will be executed on these occasions, among which "Tarantella," "Le Prélude Prétentieux," "Le Prélude de l'ancien Régime.'

Stall Subscription for the Series, 37. 3s.; Stall Tickets, 21s.; Unreserved Tickets, 10s. 6s.

Prospectuses and Tickets may be had at all the principal Musicsellers and Librarians; and on application to S. Thalberg's Secretary, Hanover Square Rooms.

The following eminent Artists will assist :Vocalists: Mlle. PAREPA, Mad. FLORENCE LANCIA, Mad. LAURA BAXTER, Miss MESSENT, Miss RANSFORD; Mr. SWIFT, Sig. FORTUNA, Mr. ALLAN IRVING, Mr. LEONARD WALKER.

Piano: Herr KUBE, Mr. CHARLES SALAMAN, Mr. G. A. OSBORNE, Mr. ARTHUR NAPOLEON; Organ, Herr ENGEL; Violoncello, Mr. GEORGE COLLINS; Violin, Mr. H. WEIST HILL; Harp, Mr. JOHN THOMAS, Herr OBERTHUR, Mr. APTOMMAS.

Conductors: M. BENEDICT, Herr WILHELM GANZ, M. EMILE Berger, M. FRANCESCO BERGER, and Sig. CAMPANA.

At the recital of Tuesday, June 10, Mr. APTOMMAS will play BOCHSA'S GRAND TRIO with several Morceaux by Zanetti, Labarre, Alvars, &c.; "and a Duo for Harp and Pianowith Mr. G. A. OSBORNE. To commence, on each occasion, at 3 o'clock. Tickets, 10s. 6d. and 5s.

M. ASCHER Will Play his popular Solos, “ALICE"

"DANSE NEGRE," Morceau Caractéristique. and Fantasia on "DINORAH," at the Grand Exhibition Concert, Exeter Hall, Monday Evening, June 9.

THE MISSES HILES will Sing the duet "A young

OFTEN" at Mad. Dryden's Concert, June 19.

ADAME TONNELIER (Prima Donna) will be happy

M2

to accept Engagements for Oratorios, Concerts, &c. &c. For further particulars and terms, apply at Mr. Surman's Musical Repository, 9 Exeter Hall, Strand.

MISS ALICE DODD is in Town for

Season.

For engagements and pupils, apply to R. W. Ollivier, 19 Old Bond Street, Piccadilly, W.

T. JAMES'S HALL.—Mr. W. G. CUSINS' GRAND SIGNOR Ar the Season. ST.

Artists: Mad. LEMMENS-SHERRINGTON, Messrs. SIMS REEVES and SANTLEY, and the ORPHEUS GLEE UNION; Messrs. JOACHIM and PIATTI, Professor STERNDALE BENNETT, Messrs. HAROLD THOMAS and W. G. CUSINS.

Professor Sterndale Bennett's Exhibition Ode, under the Composer's direction, and Auber's Grand Exhibition March will be performed; also a new MS. Overture, by Mr. W. G. Cusins, and Beethoven's Grand Concerto, Concertante, for Pianoforte, Violin, and Violoncello, with Orchestra.

Stalls, 10s. 6d.; Tickets, 5s., 3., Is. At the Hall, and the Music Warehouses. Stalls may be had of Mr. W. G. Cusins, 2A Cavendish Street, Portland Place, W.

THE MUSICAL SOCIETY OF LONDON.-Fourth Hall, on Wednesday Evening, June 11, at eight o'clock.

Conductor, Mr. ALFRED MELLON.

Programme: Overture (Athalie), Mendelssohn; Air," Dies Bildness" (Die Zauber. flote), Mozart; Concerto in D, Violin, Beethoven; Air des Bijoux (Faust), Gounod; Overture (Don Quixote), first time of performance in London, Silas; Symphony in C minor, No. 3, Op. 78, Spohr; Duo, "Rasserena o caro" (Guillaume Tell), Rossini ; Overture (Oberon), Weber.

Violin, Herr JOACHIM. Vocalists: Mad, LEMMENS-SHERRINGTON and Herr THEODOR WACHTEL (from Vienna).

Tickets for the Gallery, at 3s. 6d., may be obtained of Messrs. Cramer & Co., 201 Regent Street; and of Mr. Austin, St. James's Hall.

CHARLES SALAMAN, Hon. Sec., 36 Baker Street, W.

PHILHARMONIC SOCIETY-SIXTH CONCERT,

on Monday, June 2. Sinfonia, in E flat, No. 8, Haydn; Concerto, in D minor, Pianoforte, M. HALLE, Mendelssohn; Overture," Ruler of the Spirits," Weber; Sinfonia in C Minor, Beethoven; Concerto, Violin, M. BLAGROVE, Sphor; Overture, Prometheus, Beethoven. Vocal Performer, Mlle. TITIENS.

Conductor, Professor STERNDALE BENNETT.

Tickets, 15s. each, to be had of Messrs. Addison, Hollier & Lucas, 210 Regent Street.

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Engagements for Concerts, Oratorios, &c., in London or the Provinces. Applications to be made to Mr. Jarrett, Musical and Concert Agent, at Messrs.Duncan Davison & Co.'s Foreign Music Warehouse, 244 Regent Street, W.

M. JULES DE GLIMES begs to announce that he

will ARRIVE in London on June 1, when he will resume his Lessons in Singing and Harmony (Fêtis' system). Letters to be addressed to the care of Messrs. BOOSEY & SONS, Holles Street.

HERR MOLIQUE begs to announce that his CON

CERT will take place at the Hanover Square Rooms, FRIDAY MORNING, June 13. Full particulars will shortly appear,

W

ANTED, at Midsummer, an Organist at all Saints' Church, Dalston. Salary £30 per annum. Applications with testimonials to be sent to Rev. A. M. MYERS, All Saints, Dalston, N.E.

ASSISTANT WANTED in a Music and Pianoforte

Warehouse; must have a good knowledge of the general catalogues, and be of gentlemanly address. Direct Y. Z., 2 Castle Square, Brighton. Stating salary required, qualifications, &c.

VIOLONCELLO for SALE. A first-class Violoncello

to be disposed of. To be seen at 13 Silver Street, Notting Hill, Bayswater,

The Operas.

HER MAJESTY'S THEATRE.

"

On Saturday night, after the Barbiere di Siviglia (in which the success of Madlle. Trebelli was thoroughly established), Signor Verdi's Cantata-or, as he himself entitles it, "Cantica"-composed, at the request of Her Majesty's Commissioners, for the International Exhibition, was heard for the first time. A more flattering reception was never accorded to a new work. The Cantata, by unanimous desire, was given twice from beginning to end, and the composer summoned no less than three times after the first, and twice after the second performance. That there was a large amount of feeling (national and otherwise) mixed up with the appreciation of Signor Verdi's music on this occasion can hardly be denied; but that the popular composer of Il Trovatore, Rigoletto, and so many other operas which have elicited universal favour in England and elsewhere, achieved a legitimate and brilliant triumph is incontestable. His work is not merely effective, but in every sense good. Regarded from a certain point of view, it lays itself open to criticism, inasmuch as while its second (English) title is, "Chorus of People of all Nations-a voice among them-place, the interior of the International Exhibition-epoch, 1862," "all nations' are exclusively represented, both in the words and in the music, by England, France, and Italy-the national hymn of France, moreover, being ingeniously put forward under the familiar guise of the revolutionary "Marseillaise." This was probably the true reason why Her Majesty's Commissioners, after having solicited the Cantata from Signor Verdi, were virtually disabled from including it in the musical performances at the opening of the Exhibition. We cannot help saying that had they owned as much they would have screened themselves from no small share of obloquy. But considerations of this kind have nothing to do with Signor Verdi's Cantata as an artistic production-in which respect it is eminently happy, and may lay claim to unqualified praise. It opens with the "coro di popolo " alluded to in the second title-" Gloria pei cieli altissimi"-in sentiment, at least, having something in common with the Ode of our Poet Laureate, set to music so admirably by Professor Sterndale Bennett. Signor Verdi has conceived this in the right spirit. After an orchestral prelude of remarkable interest, the somewhat bombastic stanzas of the poetaster whom it has been the fortune of the popular Italian composer to immortalize are wedded to a broad and simple melody, voiced and harmonized with becoming dignity. The task of setting such words as the following,

"Gloria pei cieli altissimi,

Pei culminosi monti,
Pei limpidi orizzonti,
Gemmati di splendor," &c.—

was one of no small difficulty; but Signor Verdi has redeemed their bathos by music calculated to charm (like the Lieder of Mendelssohn) "without words." One of the people ("Una del popolo ". -a woman, translated, with extraordinary address, from Signor Tamberlik into Mlle. Titiens) then delivers a sort of rhapsody about peace, intermingled with reflections on a wholly supposititious "Past," when war and universal misery were rampant. Here many striking points elicit attention, but none more beautiful than that in which allusion is made to the horrors of war :

"E fuvvi un giorno
Che passò furiando quel bieco
Fantasma della guerra," &c.

The sentiment of this is expressed with touching plaintiveness, and reveals a spirit of genuine poetry. It is followed by an apostrophe to the Deity,

"Signor che sulla terra Rugiade spargi e fiori, E nembi di fulgori

E balsami d'amor!" &c.

allotted to a solo, with choral responses, the orchestra laccompaniments enriched by the addition of harps "obbligati." The melody here is thoroughly devotional-large, pure, and unaffected; the choral responses, in full harmony, nobly echoing the theme. In the finale (solo and chorus) "God save the Queen," the "Marseillaise," and a vigorous air entitled "Inno nazionale d'Italia" (one of the inspirations caught from the struggle for independence at Rome in 1848-to words beginning "Fratelli d'Italia ") are introduced-first alternately, then treated in the fugued style (of which Signor Verdi had already afforded an inkling in the introduction to Un Ballo in Maschera), and lastly brought together with felicitous ingenuity, "Salve, Inghilterra, Regina dei mari;""E Francia, tu, che spargesti il generoso sangue;' "" Italia mia, che il cielo vegli," &c.-these are the successive exclamations for

which Signor Verdi had to invent appropriate strains, and for which he could find no more emphatic musical illustration than in what he thought fit to accept as the national hymn of each particular country. That he should have arranged and combined them so effectively is greatly to his credit as a musician. The termination of the Cantata, in which, among other noticeable points, the opening theme is given in “unison" with that pomp and splendour for which Sig. Verdi has been long renowned, is as telling and effective as the rest—a climax, in short, which fully answers expectation.

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The execution of the new work, under the direction of Sig. Arditi, aided by the excellent chorus of the Vocal Association (the society which Mr. Benedict conducts so admirably) was first-rate. In the solos Mlle. Titiens was magnificent; and it was difficult to believe that they had been composed for any other voice than that of a soprano." To add to the strength of the chorus, the entire company of Her Majesty's Theatre (including Mlle. Trebelli, the Sisters Marchisio, Sig. Giuglini, M. Gassier, Mr. Santley, &c.) lent their assistance. That the Cantata was enthusiastically received we have already said, and that it will enhance the reputation of its composer we sincerely believe.

On Tuesday Semiramide was repeated, the Marchisios as Semiramide and Arsace, M. Gassier as Assur, and Sig. Coselli (Sig. Laterza having made his "exit") as Oroe. Sig. Verdi's Cantata was repeated with renewed success.

The Huguenots was presented on Thursday night, with a new Raoul, in place of Sig. Giuglini, to whom the public has so long been accustomed at this establishment, and who, still labouring under indisposition, was unable to appear. Sig. Armandi-Sig. Giuglini's substitute-did all in his power to rise to the height of so great a part, but in his best moments only revealed a sort of earnest mediocrity. It would be useless to criticise his performance, or, indeed, to say more than that, beyond a certain strenuous vigour, he has no evident qualification to fit him for so conspicuous a post as that of first "serious" tenor at Her Majesty's Theatre. That in a less responsible position his talents might be turned to account, there is no reason to doubt.

In other respects there was much to praise in Thursday night's performance. Mad. Trebelli's Urbain, for example, was really admirable. She looked the character right well, and acted it with no little spirit and vivacity; while her two airs were sung to perfection-the last, "No, no, no, no" (composed by Meyerbeer expressly for Alboni, when the Huguenots was first produced at the Royal Italian Opera), being unanimously encored. In the acquisition of Mad. Trebelli, Mr. Mapleson has been remarkably fortunate. Her talent seems as versatile as it is distinguished. M. Gassier, too (another happy instance of versatile acquirement), is decidedly the St. Bris who has been able to approach more nearly than any other the memorable impersonation of Tamburini. In the scene of the plot for the massacre of the Huguenots, M. Gassier fills the stage like one long accustomed to tread the boards with confidence, and exhibits both vocal and dramatic capabilities of a more than common order. The rugged and at the same time thoroughly picturesque Marcel of Sig. Vialettiwhose reappearance, under the guise of the hard and unequivocating Puritan, was generally welcome-has often been described. It retains all its peculiar characteristics. A more voluble and brilliant executant of the music of Margaret of Valois than Mlle. Louise Michal-whose début in the same part, under the management of Mr. E. T. Smith, may be still unforgotten-has rarely been heard. An occasional slight uncertainty of intonation is the only fault that can be laid to the charge of this extremely clever singer said to be (and assuredly meriting the distinction) a protégée of Mad. Goldschmidt-Lind. Then the subordinate personages were all in more or less competent hands; the band and chorus, under Sig. Arditi, gave further signs of progress (the worthier notice in so elaborate and difficult an opera); and the concerted music-not excepting the immortal "Benediction of the poniards"-was, with a reservation here and there, more than averagely delivered. Last and best, the Valentine of Mlle. Titiens remains what it has long been accounted-the finest embodiment of Meyerbeer's most romantic, if not most perfect, heroine which the actual stage can boast. Often as she has astonished and charmed her audience in the splendid duet with Marcel, at the rendezvous of the "Prè aux Clercs," she never did so more effectually than on the present occasion. The long-sustained "high C," and the brilliant descending scale, in the allegro, were as triumphant and imposing as ever, and elicited the same rapturous applause. Sig. Giraldoni played Nevers, and Sig. Soldi gave the solo-couplets in the Rataplan."

66

Mrs. Anderson's Farewell Concert (of which full particulars in our next) took place yesterday morning. To-night the Trovatore, for the first appearance of Mr. Naudin and Mr. Santley.

ROYAL ITALIAN OPERA. ON Saturday the Barbiere, and on Monday the Sonnambula, were repeated.

The performance of M. Flotow's Martha on Tuesday night, though excellent in most respects, was chiefly remarkable for the manner in which the part of Lionel was played and sung by Signor Mario. This accomplished artist-to employ a common phrase would seem to have taken a new lease of youth and vigour." A less interesting personage in the super-sentimental line than Martha's woe begone inamorato could hardly be cited. After the escape of the feigned servant and her companion, Nancy, he has little to do but whine; for even the pretty romance, "M' appari- tutt' amor," is of the same melancholy cast as the remainder of his music. Nevertheless, Signor Mario, by his broad - and manly style of phrasing, his exquisite "chiar-oscuro," his graceful, impulsive, and natural acting, redeems the part from insipidity, and enlists unanimous sympathy for the woes of a thoroughly unsympathetic hero. On Wednesday night he more than once roused the feelings of a somewhat apathetic audience, and for the romance in question-with its plaintive burden, "Marta, Marta, tu sparisti"- obtained an enthusiastic encore. The part of Martha is, perhaps, not so well suited to Mad. Penco as several others that might be named. She played it, however, as she does everything she undertakes, with the utmost intelligence; sang the music uniformly well; and gave the gem of the opera "Qui sola, vergin rosa"("The Last Rose of Summer")-with such true expression that it was cordially redemanded. The Nancy of Mad. Didiée was as piquant, bustling, and vivacious as could be wished; Signor Delle Sedie's Plumket, though a trifle sombre, irreproachable in a musical sense; M. Tagliafico's Lord Tristan dry and quaint; and the Sheriff of M. Zelger a graphic embodiment of a comparatively insignificant character. How admirably, and with what studied completeness of scenic effect, M. Flotow's opera is put upon the stage at this house, we need hardly say. The varied and appropriate costumes, the beautiful scenery, the excellence of the ballet-in which the pas de trois is danced to perfection by Mlle. Salvioni, Mlle. Esper, and M. Desplaces-and the busy animation of the statute fair, which recalls with vivid reality some of the most picturesque of our old English customs, are calculated in an equal measure to rivet the attention and delight the sense. In short, despite the epigrammatic verdict which (perhaps not altogether irreverently) has likened M. Flotow's music to something for which the English equivalent would be "Brummagem French," there is a charm about it, when performed at the Royal Italian Opera, which is irresistable. To say nothing of Mad. Penco's " Qui sola, vergin rosa," of Sig. Mario's "Marta, Marta," of the quartet at the spinning wheel (which on Tuesday night, by the way, passed almost unregarded), and of other favourite passages, it would be worth sitting out the whole of Martha if merely for the sake of the quartet, "Dormi pur, ma il mio riposo," when the two young farmers bid good night to the two young ladies, who, in a frolicsome spirit of adventure, have trusted themselves in their domicile under the guise of servant-maids. Nothing could be more faultless than the execution of this quartet by Mesdames Penco and Nantier Didiée, Signors Mario and Delle Sedie.

On Thursday Don Giovanni was given for the third time this season. To-night the new singer, Mlle. Antonietta Fricci, makes her first appearance, as Valentine in the Huguenots. Next week there are to be five performances.

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think that Dr. Wylde and his cohort ever achieved a more decided victory. The want of applause at the beginning was by no means owing to want of attention, nor to want of appreciation. But the allegro, andante, and scherzo do not excite so much as they absorb, and the jubilant finale, coming after so much gloom and pathos, has a sudden and overpowering effect on the dullest hearers-as, indeed, was the case on Wednesday evening, when, although St. James's Hall was very crowded, enthusiasm, except in a few instances, seemed to have wafted itself to Exeter Hall, to wait upon Mad. Lind-Goldschmidt.

Herr Jaell played Mendelssohn's Concerto very finely, and was received with thunders of applause. Such applause, indeed, would have warranted him in repeating the last movement, instead of returning to the platform and making his salaam. The Messrs. Holmes, if not solo performers of the first rank, play together with extraordinary precision and neatness, and are always listened to with interest. In so long a piece, however, as that of Spohr's Concertante Duet, so much double playing is apt to become monotonous, notwithstanding all the art of the composer, and the performance was found too long.

The "Sisters Marchisio" made their second appearance at Dr. Wylde's concerts, and again chose duos only for performance. Of the three duets in the programme, that from Semiramide was most applauded, but all were marvellously given, and the "Sisters" were re called after each.

MRS. JOHN MACFARREN gave her annual Matinée, at the Queen's Concert Rooms, on Saturday the 17th instant. The fair pianist was assisted by Herr Joachim, Mr. Lazarus, Signor Piatti, and Mr. Walter Macfarren as instrumentalists, and Mad. Guerrabella and Mr. Santley as vocalists. Beethoven's Trio in B flat (No. 4, op. 11), for pianoforte, clarinet, and violoncello, and Mendelssohn's Sonata Duo in B flat (op. 45), for pianoforte and violoncello - two B flat pieces - the pianoforte part in both performed by Mrs. John Macfarren, with Mr. Lazarus and Signor Piatti at their respective instruments, were specially noteworthy. The play was excellent play on all hands, and met with loud applause. Still more excellent, and still more loudly applauded, was Beethoven's Sonata in E flat (No. 3. op. 12), for pianoforte and violin, by Mrs. John Macfarren and Herr Joachim. The "sensation" of the concert, however, was Herr Joachim's performance of Tartini's violin Sonata "Trille du Diable," accompanied on the pianoforte by Mr. Walter Macfarren. Mrs. Macfarren's solo essays were, a Toccata by Paradies, Professor Sterndale Bennett's Romance "Genevieve," Meyer's Etúde "Triolino," and Caprice de Concert, "Irish Melody," the composition of the lady herself, in all of which she was eminently successful. Mad. Guerrabella sang the Scena "Hail, happy morn." from Robin Hood, and the Aria "Parto" from the Clemenza di Tito; and Mr. Santley, the ballad from Robin Hood, "From Childhood's Dawn," and Blumenthal's Aria, "Non mi guardar cosi." The ballad from Robin Hood, splendidly sung by Mr. Santley, had a great effect.

MR. APTOMMAS'S THIRD HARP RECITAL came off on Tuesday last. Spohr's Sonata Concertante for violin and harp, executed in an irreproachable manner by Messrs. Weist Hill and Aptommas, was the pièce de resistance of the programme. Another striking performance was the Marche Religieuse, "L'Annonciation," for harp and organ, written by Adolph Adam, and played by the benéficiaire and Herr Engel, a thorough proficient on the organ as well as the harmonium, the instrument of his predilection. Öther performances, too, were entitled to favourable notice, of which we may cite that on two harps, by Messrs. John Thomas and Aptommas, entitled "Souvenir du Nord," the composition of the former. The singers were Mad. Laura Baxter, Signor Fortuna, and Mr. Leonard Walker. The last-named artist, who has a capital bass voice and knows how to use it, sang the great comic air from Cenerentola, "I miei Rampoli," with extreme gusto and anima

tion.

MADAME PUZZI'S CONCERT.-This is invariably one of the most brilliant and attractive morning réunions of the season. The Queen's Concert Rooms, Hanover Square, were as crowded on Monday last as at any former anniversary, the singers as numerous, and the selection as excellent and well varied. As the pieces numbered twenty-five and the artists reckoned above thirty, we can afford room for little more than a bare chronicle of the entertainment. The singers comprised the "Sisters Marchisio," Mad. Lemmens-Sherrington, Mad. Guerrabella, Mlle. Parepa, Miss Augusta Thomson, Mlle. Marie Cruvelli, Mad. Lemaire, Herr Reichardt, M. Gassier, Mr. Henry Murland, Mr. Tennant, Sig. Solieri, Fortuna, and Ciabatta; the instrumentalists, Sig. Andreoli (pianoforte), M. Ascher (ditto), and Sig. Pezze (violoncello). In consequence of the predominance of the fair sex, there was no boisterous demonstration in any instance. Herr Reichardt, nevertheless, was called on to repeat his "Cradle Song," with which the ladies seemed fairly enchanted. Sig. Schira, Biletta, Pilotti, and Mr. Benedict were the conductors.

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