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STEPHEN HELLER'S PIANOFORTE WORKS.

Op. 7. Declaration. Morceau caract6ristlque

Op. 7. Adieu. Ditto

Op. 7. Amour fans Repos. Ditto

Op. 10. The Art of Phrasing. Studies. 3 books, each ...

Op. 24. Romance de POpcra, " La Cliaste Suzanne"

Op. 2*. La Kermesse. Danse Neerlandaise

Op. 29. La Chaise

Op. 30. Lta Uagb D'amitib. I Penaees fugitives (d'aprei Krast et Heller) :—

1. Pas-6. Dedicated to Dr. Roth ~

2. SnuTenlr. Dedicated to Mad. Montgolfler

;' a. Romance. Dedicated to Mad. C. Halle

4. Lied. Dedicated to Mr. Rakemann 4

6. Agitato. Dedicated to Mile. Moschcles

& Adieu. Dedicated to Mr. C. Halle ...

7. Reverie. Dedicated to Mr. Moscheles

9. Caprice. Dedicated to Mile. Smith

9. Inquietude. Dedicated to Mile. Raupp

10. Intermezzo. Dedicated to Mad. Moschelci

Op 31. La Juive. Fantalsle sur l'Opera de Halevy

Op. 33. LaTniitc. Brilliant caprice on I hi song of Schubert

Op. 31. Schubert's Erl-king

Op. 3fi. Schubert's Elosn des Larmes. Morceau de salon

Op. 36. Schubert's La Poite. Improvisata

Op. 37. FautaUic sur l'Opera de Halevy, " Charles VI."

Op. 38. Caprice brillmt sur la Romance, "Avec la douce chansonnette,** de rone>a Charles VI. de Halevy

Op. 41. M Dcserteur. Caprice

Op. 42. Valse elesante in E flat

Op. 43. Valse sentimentale in E

Op. 44. Valse Tillageoise In F

Op. 43. Studies, Introduction to the Art of Phrasing. r books, each

Op. -v>. 30 Studies. Mclodiques et progressives. 3 books, each

Op. 47. 2.*> Etudes pour former ail sentiment du Rhythme et it l'exprcssiou 3 books, each

Op. S3. Tarentelle, in E

Op. M. La Fontaine de F. Schubert. Caprice briliant

Op. M I in C sharp minor

Op. IB. Valse brilfante, In ditto

Op. CO. Canzonetta

Op. 61. Deuxie^no Tarentelle, In E flat minor

Op. 62. No. I. Valse, in D flat

No. 2. Ditto A flat

Op. 63. Capricclo, in C ... ■

Op. 66. Troislime Tarentelle, In F minor

Op. 67. Auf Flugeln des Gesanges. "On song's .bright pinions.** improvisata on Mendelssohn's melody

Op. 68. Hark 1 the lark. Serenade by Tie Caprice briliant

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Fantalste-Sonate on the Volkslied |of Mendelssohn,." *T1» thru decreed *

Promenades d'un Solitaire. 6 Morceaux caracteristlques, in 2 books,

each • i ■••

Or In separate Numbers, as follows :—«

Allegro vivo, in F sharp major ... ...

Allegretto-quasl allegro, In F • •

Allegro, in Ira q minor » M ...

Andante, in B flat ... ... ».

Allegretto con mnto/ln G... •

Assal vivace, in G minor

Op. 82. Rkstlbss Nights (Nuits blanches). IS Morceaux lyrlques. In 4 book*. Op. 82

1. Qu it re Morceaux"'

2. Cinq

3. Cinq „

4. Quatre „

Or in separate Numbers, as follows:—

1. Vivace, in C

Impetuoso, in A minor

Lento con tenerezza, in G ■ .. ...

Mollo animato, in E minor ..

Andante quasi Allegretto, in D >

Allegro a in b minor

Pin Lento, in A ...

Allegro appassionato, in F sharp minor; ~

Allegretto con grazia, in B

Allegro caratteristlco, in C sharp minor

Andante con moto. In G flat

Molto agitato, in B flat minor «

Allegretto grazioso. In D flat

Piti moderato e plintivo, in F minor ...

Andante plactdo, in F ...

Allegro risoluto, in D minor

Allegretto pastorale, in B flat ... ...

Allegro non troppo, in G minor

No. 1. Tarentelle in A minor *

No. 2. Tarentelle In A flat

In Wald und Flur. Troisidme suite de Promenades d'un Solitaire, in 6 numbers :—

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2.
3.
4.
S.
fi.

r.

8. P. 10.

II.

12. 13. II. 15. 16. 17. 18.

In B flat
In D minor
In D

In G minor
In F
In A

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TRANSCRIPTIONS OF MENDELSSOHN'S SONGS.

Echo answers thro' the forest 2 0 1 Of all the pretty darlings in the world ..

O winter, cruel winter „ 1 0! Then thro' the plazzatta

O what means thia'strong emotion, Zuleika 3 0 | Floating rides a soft and balmy breeze ,.

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IN THE PRESS.

A New Edition of the STUDIES, thoroughly revised and partly re-written, published under the immediate

superintendence of the Composer. Fifteen Books, oach 6a.

LONDON: ASHDOWN & PARRY, 18 HANOVER SQUARE.

Printed by Gloaos Andrew Spottiswoodx, of No. 12 James Street, Buckingham Gate, In the Parish of St. Margaret, in the City of Westminster, at No. 6 New-street Square, Id the parish of St. Bride, In the City of London. Published by John Boos, at the Office of Boosiv & Sons, 28 Holies Street—Saturday, May 24,1862.

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SUBSCRIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by cash or Post-Office Order to B00SEY & SONS, 28 Holies Street, Cavendish Square, London, W.

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

The Programme will include Meyerbeer's "Grand Exhibition Overture," Amber's *' Grand Triumphal March," and Professor Sterndale Bennett's " Inauguration Ode" (the Poetry by Alfred Tennyson), in addition to a Miscellaneous Concert of a very attractive character, in which Mad. Lkmmb.xb-sukbkinqton, Mr. Sims Reeves*, and Mr. Aschrr will appear.

Further particulars will be duly announced.

Stalls, Js,: Reserved Seats, 3s. Gd.; Tickets, 2s. and li.

To be had of Booset & Sons, Holies Street, and the principal Mustcsellers.

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MR. CHORLEY'S NEW WORK.
Now Ready, In Two Vols., with Portraits, 21s.,

THIRTY YEARS' MUSICAL RECOLLECTIONS,

BY

HENRY F. CHORLEY.

HURST & BLACKETT, PUBLISHERS, 13 GREAT MARLBOROUOHST.

will sing his New

"SHE MAY SMILE ON MANY, SHE WILL LOVE BUT ONE."

Composed expressly for him by Mr. Howard Glover, at St. James Hall, June 7; Exeter Hall, June 9; Her Majesty's Theatre, June 20.

MR. HENRY LESLIE'S CHOIR. — Hanover Square Rnomi.-Thli celebmted Choir « ill give an EXTRA CONCERT on Friday Evening, June 6. To which subscribers' privileges will be extended. Several works of interest will be performed, Including, "In Exitn Israel," Wesley; "Ave Verum," Mozart -, "March of the men of Harlech," and " II Owen," "The Chough and Crow," &c.

Stalls, It.; Area, 2s. 6d. at the Rooms and the principal musiciellers.

HARP MUSIC, BY B0LEYNE BEEVES.

SONATA DRAMATICA 9 0

CONCERT SOLO, '• Der Freischtstl" 7 0

RONDO A LA VALSE 6 0

STUDIES. No. 1 in F, No. 2 in E flat, each , 2 6

PASTORALS. No. 1. E flat „. ... S 0

2. B flat ... « 0

n 3. B flat minor ... .. M 3 0

,, 4. F minor ... 3 0

Addison, Hollier & Lucas, 210 Regent Street, W.

WELSH NATIONAL MUSIC,

SUNG BY 400 VOICES,
ACCOMPANIED BY A BAND OF HARPS.

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"A/TRS. MEREST (late Miss Maria B. Hawes) has the

MX. 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 Strelits, and H. R. H. the Princess Mary Adelaide.

Tickets, One Guinea each. To be had or 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 Nonius, Miss Lasceli.e9 and Mr. George PerRen; M. Sainton, and M. Paque. Conductors: Herr Wilhelm Ganz and Mr. George Lake.

Tickets, Ioj. 6<l ; Reserved Seats 15s. Of Messrs. Ashdown tc Parry, 18 Hanover Square; Duncan Davison & Co., U\ Regent Street; of Mile. Valentin, 6 Duke Street, Manchester Square; and af the Rooms.

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UEEN'S CONCERT ROOMS, Hanover Square.—

8. THALBERG has the honour to announce that, alter 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 MA TINEES. They will take place as follows :-Monday, June 9; Monday, June 16; Saturdav, June 28 ; and Monday, July 7.

The Matinees to commence at Half-past Two o'clock. & Thalbbrg will present his last Works, entitled "The Art of Singing applied to the Piano," and "Les Soirees de Pausellppe," consisting of Twenty-four Pensecs Musicales.

Several unpublished Manuscript Pieces, composed for the Piano by Rossini, will be executed on these occasions, among which " Tarantella," "Le Prelude Pretcnticux," Le Preludeyie ,'ancien Regime.*'

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

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

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THE MUSICAL SOCIETY OF LONDON.—Fourth Season. 18C2._The FOURTH ORCHESTRAL CONCERT, at St. James's Hall, on Wednesday Evening, June 11, at eight o'clock.

Conductor, Mr. Alprbd Mellon. Programme: Overture Ath.iii ). Mendelssohn; Air,M Dies Bildncss " (Die ZauberBote), Moiart; Concerto In D, Violin, Beethoven; Air des Bijoux (Faust), Gounod: Overture (Don Quixote), first time of performance 111 London, Silas; Symphony in C minor. No. 3, Op. 78, Spohr; Duo, " ltasserena o caro " (Guillaume Tell), Rossini; Overture (Oberor,). Weber.

Violin, Herr Joachim. Vocalists: Mad, Lemmbni-shbbbinoton and Herr TheoDor Wachtbl (from Vienna).

Tickets for the Gallcrv. at is. 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. Slnfonia, In E flat, No. 8, Haydn; Concerto, in D minor. Pianoforte, M. Halle, M cndelssohn; Overture," Ruler of the Spirit*," Weber; Sinfonta in C Minor, Beethoven; Concerto, Violin, M. Blauhovr, Sphor; Overture, Prometheuf, Beethoven. Vocal Performer, Mile. Titiens.

Conductor, Professor Sterndalb Bennett.

Tickets, 15s. each, to be bad of Messrs, AddliOD, Hollier * Lucas, 310 Regent Street.

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R. APTOMMAS'S HARP RECITALS on the follow

ing Tuesdays, June 10, 24, and July 8. The following eminent Artists will assist:—

Vocalists: Mile. Parepa, Mad. Florence Lancia. Mad. L.wra Baxter, Miss Mbsurnt, Miss Ranspord; Mr. Swift, Slg. Fortuna, Mr. Allan Irving, Mr. Leonard

Walker.

Piano: Herr Kuhe, Mr. Charles Salaman, Mr. G. A. Osborne, Mr. Arthur Napoleon; Organ, HerrEnoel; Violoncello, Mr. George Collins; Violin, Mr.H. Weist Hill; Harp, Mr. John Thomas, Herr Oberthitr. Mr. Aptommas.

Conductors: M. Benedict, Herr Wilhelm Ganz, M. Emilc Bbrger, M. FsuirCesco Bergeb, and Sig. Campana.

At the recital of Tuesday, June 10, Mr. Aptommas will play Bochsa's 1 with several Morceaux by Zanettl, Labarre, Alvars, &c.; and a . Pianowith Mr. G. A. Osborne.

To commence, on each occasion,at 3 o'clock. Tickets, 10s. fid. and 5s.

MASCHER will Play his popular Solos, " ALICE"— • "DANSE NEGRE," Morceau CaractGristiquo — and Fantasia on "DINORAH," at the Grand Exhibition Concert, Exeter Hall, (Monday Lrcning, June 9. *

Deo for Harp and

THE MISSES HILES will Sing the duet "A young and artless Maiden," from Howabd Gloria's popular operetta " ONCE TOO OFTEN " at Mad. Dryden's Concert, June 19.

MADAME TONNELIER (Prima Donna) will be happy to accept Engagements for Oratorios, Concerts, Ac. Ac. For further particulars and terms, apply at Mr. Sui man's Musical Repository, 9 Exeter Hall, Strand.

MISS ALICE DODDisin Tpwn for the Season.

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

SIGNOR AND SIGNORA BADIA have ARRIVED
in London for the Season.
For Singing Lessons, or Engagements, address Sig. Luigl Badia, 9 Markam Square,
King's Road, Chelsea, S.W.

MR. ASHTON (Barytone) is now at liberty to accept
Engagements for Concerts, Oratorios, Ac, In London or the Provinces.
Applications to be made to Mr. Jarrett, Musical and Concert Agent, at
Davison & Co.'s Foreign Music Warehouse, 241 Regent Street, W.

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HER MAJESTY'S THEATRE. On Saturday night, after the Barbiere di Siuiglia (in which the success of Mad He. 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 // 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 cicli 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,—

i 11 Gloria pei deli altiiiimi,

Pei culrainoii monti,
Pei limpidi oriziontl,
Gemmati dl 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 Mile. Titiens) then delivers a sort of rhapsody about peace, intermingled with reflections on a wholly supposititious " Fast," when war and universal misery were rampant. Hero many striking points elicit attention, but none more beautiful than that in which allusion is made to the horrors of war:—

■ "E fuffi un giorno

Che paisb furlando quel bieco
Fanuuma delta guerra," Ac.

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 lulla terra
Rugiade tpargi e Sort,
E nembi di fuigori
E balsanii d'amor I " &c—•

allotted to a solo, with choral responses, the orchestral accompaniments 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 nazumale d"Italia" (one of the inspirations caught from the struggle for independence at Rome in 1848—to words beginning "Fratelli d'ltalia") are introduced—first alternately, then treated in the fugucd style (of which Signor Verdi had already afforded an inkling in the introduction to Un Ballo in Maschera), and lastly brought together with felicitous ingennity, "Salve, Ingh'lterra, Regina aeimari;" "E Francia, tu, che spargesti U generoso tongue;" "Italia ma, cheil 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.

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 Mile. 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 Mile. 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. Trebclli'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. Vialetti— whose 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 Mile. Louise Michal—whose debut 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 protlgee 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 Mile. 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 "Pre 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."

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 tho same melancholy cast as the remainder of his music. Nevertheless, Signor Mario, by his broad and manly style of phrasing, his exquisite "chiaroscuro" 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. Didiee was as piquant, bustling, and vivacious as could be wished; Signore Delle Sedie's Flumket, 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 trots is danced to perfection by Mile. Salvioni, Mile. Espcr, 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 senses. 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 irrcsistable. To say nothing of Mad. Fenco's "Qui sola, vergin rosa," of Sig. Mario's "Marta, Marta," of thequartctat 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 Didiee, Signors Mario and Delle Sedie.

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

Concerts.

New Philharmonic Concerts.—The programme of the fourth concert, given on Wednesday, if not marked by any special novelty, which Dr. Wylde has taught us to look for in his selections, was marked by special excellence. Let the reader judge for himself.

Fast I.

Overture (Flneal's Cave) ... • Mendelssohn.

Concertante Duet, in A major, for two Violins and Orchestra ... Spohr.

Duo, " Qui* est homo" Rossini.

Duo, " Serbaml ognor" (Semlramlde) Rossini.

Symphony, in C minor Beethoven.

Part II.

Concerto, in G Minor, for Pianoforte and Orchestra Mendelssohn.

Grand Duo, " m quai soave lagrlme " (SatTo) Pacini.

Overture (Der Freischtiti) Weber.

Conductor: Dr. Wylde.

The glorious symphony of Beethoven (No. 5) was magnificently played—as magnificently, indeed, as the Jupiter at the third concert; yet, strange to say, the first three movements were received with comparative indifference. The finale, however, literally carried away (" enlevie," as the French say.) the audience, and the applause was vehement and continuous when the conductor laid down his baton. We do not

think that Dr. Wylde and his cohort ever achieved it 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 B few instances, seemed to have wafted itself to Exeter Hall, to wait upon Mad. Lind-Goldschmidt.

Herr Jnell 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 recalled after each.

Mrs. John Macfarren gave her annual Matinee, 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. Santleyas rocalists. 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 Stcmdalc Bennett's Romance "Genevieve," Meyer's Etude "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 Sccna "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 Blnmenthal's Aria, "Non mi guardar cosi." The ballad from Robin Hood, splendidly sung by Mr. Santley, had a great effect.

Mr. Aptomhas'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 piece de resistance of the programme. Another striking performance was the Marche Beligieuse, "L'Annonciation," for harp and organ, written by Adolph Adam, and played by tho bentficiaire and Herr Engel, a thorough proficient on the organ as well as the harmonium, the instrument of his predilection. Other 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 mici Rampoli," with extreme gusto and animation.

Madame Pdzzi's Concert.—This is invariably one of the most brilliant and attractive morning reunions 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-Shcrrington, Mad. Guerrabella, Mile. Parepa, Miss Augusta Thomson, Mile. Marie Cruvclli, Mad. Lemaire, Herr Reichardt, M. Gassier, Mr. Henry Murland, Mr. Pen nant, 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, Bilctta, Pilotti, and Mr. Benedict were the conductors.

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