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HER MAJESTY'S THEATRE.

Sigxor Giuglini continning indisposed, his place in the Troeatore has been filled up by Sig. Naudin, who was so favourably received at the concert of Mrs. Anderson. This gentleman has made considerable progress since he was last in England, and the fame of his late Continental successes is substantially borne out. His voice is powerful and of agreeable quality, his singing earnest, careful, and effective — the expression (as was formerly the case) somewhat overdrawn, but not to such an extent as to constitute an ineradicable defect of style. Sig. Naudin is young, and will doubtless learn to tone down what is excessive, to prune what is redundant, and to discard what is artificial, both in his singing and acting. At present we shall add no more than that he received such flattering tokens of encouragement as should doubly incite him to persevere. There was another novelty in the cast—Mr. Santley acting as substitute for Sig. Giraldoni in the part of Conte di Luna. Whether this clever English artist belongs indiscriminately to both Italian Operahouses, or has abandoned one for the other, we have no means of knowing; but it may be safely affirmed that a more valuable acquisition to either establishment could hardly be made, inasmuch as, without exception, he is the best singing barrytone the actual stage can boast. There are barytones who sing well, but have not good voices; and there arc barytones who have good voices, but do not sing well. Mr. Santley, however, must be credited with both qualifications, having trained up a naturally beautiful voice to the most legitimate purposes of art. Of his Conte di Luna we have recently spoken. It is only necessary, therefore, to add, that he was just as warmly greeted at Her Majesty's Theatre as at the Royal Italian Opera; that he was unanimously encored in "11 balen del suo sorriso;" and that his success was unequivocal. Mile. Trebelli's Azuccna justified in all respects the very encouraging criticisms it elicited on the first occasion of her assuming that unamiable character; and the Leonora of Mile. Xiticns was more than ever superb—her impassioned delivery of "Tacea la notte," with its lively and brilliant "cabaletta" (so happily opposed to the first movement), being, as usual, enthusiastically applauded. M. Gasser was the Ferrando.

In the course of the evening, Signor Verdi's "Exhibition Cantata" was given for the fourth time with the same success—Mile. Titiens undertaking the solos, and the principal singers in the company evincing their respect for the popular Italian composer by lending their powerful aid to the chorus.

On Tuesday the Trovatore and the "Exhibition Cantata" were repeated. On Thursday Semiramide was given, with the Sisters Marchisio. To-night the Huguenots, for the rent of Sig. Giuglini, happily recovered from his illness.

ROYAL ITALIAN OPERA. The Huguenots has been an unfailing attraction at this theatre ever since it was first produced in 1848; and no wonder, for, to say nothing of its absorbing interest as it drama and its picturesque variety as a mere spectacle, it contains, perhaps, the grandest and most original music which Meyerbeer has written. The fourth act (the third as presented at Covent Garden, where the first and second are not, as in Paris, separated by the descent of the curtain) will always rank, not only among the masterpieces of its composer, but among the triumphs of the lyric art in its most intimate connection with the theatre. A great deal has been talked and written about Spontini, still more about Gluck; but in the Huguenots and one or two other operas, Meyerbeer has combined the systems of these remarkable men, and carried them out with an elaborate perfection of detail of which the originators can hardly have entertained a conception. That Meyerbeer, in shuffling up Gluck with Spontini to answer his purpose, has added rich materials exclusively of his own invention, is unquestionable. The declamatory recitative and changeful orchestral under-current of the Bohemian of the 18th century and the elaborate pomp and studied magniloquence of the Roman of the 19th —characteristics to which we are indebted on the one hand for Alctste Orphee, Armide and the two Ipbigenies, and on the other for the Vtstak, Olympie and Fernand Cortez—were not enough, even united, to satisfy the eager longing for " effect," or to realise the vast and comprehensive ideas of this man of universal means and appliances, this polyglot to whom nil the varieties of musical speech are indispensable. After successively studying with Volgcr, competing with Weber, and imitating (the Italian, not the French) Rossini, Meyerbeer terminated the first important stage of his career with It Crociato in Egitto, the Europeau fame of which, instead of urging him to proceed in the same direction,

I seems, for a time, to have arrested his progress. From 1825, when it Crociato was produced at Venice, to 1831, when Robert le Diable was

'brought out in Paris, he gave nothing to the world. During the interim, however, he had adopted the conclusion that to rival Rossini in Rossini's own inimitable manner was a vain hope; and, moreover, had learned to believe himself capable of something better than slavishly following in the footprints of another. While his previous operas had been composed with singular rapidity, his first grand work for the French "Academie" was the result of years of unremitting labour. To this new impulse in Meyerbeer, and to tho wholly opposite view he now took of his mission as an artist, we owe Robert le Diable, which, while his Italian operas (// Crociato excepted) are comparatively worn, has retained its primitive freshness for thirty years — a sure sign that what is artificial cannot outlive the hour, while what is genuine and natural is imperishable. Five years after Robert came the Huguenots (March, 1836); and thirteen years after the Huguenots (April 1849), the Prophite. In these the genius of the composer may be said to have culminated. After the extraordinary success of the Prophete (satiated, perhaps, with the splendour of the "Academie"), he devoted his attention to the Opera Comique, where, within three years of each other, he produced L'Etuile duNord and Le Pardon de Ploermel {Dinorah). The Africaine has yet to tell its tale. Meanwhile, up to the present moment, in the general opinion of those most capable of judging, the Huguenots, taken as a whole, is undoubtedly the masterpiece of Meyerbeer; and that it stands highest in favour with the patrons of the Royal Italian Opera may be concluded from the frequency of its appearance in the bills and from the crowded audiences that invariably attend its performance.

On Saturday night the house was thronged in every part. There was a new Valentine, but in every other important instance the cast was identical with that of 1861. With such a .Raoul de Nangis as Sig. Mario—who, on one occasion at the Royal Italian Opera, is said to have extorted from Meyerbeer the involuntary confession that then, for the first time, he had witnessed the realisation of his " dream" of a chivalric Huguenot—one of the first conditions of an ideal performance is fulfilled. True, that on Saturday night the admirablo tenor was not (to employ the conventional language) "in such good voice" as could have been desired, which chiefly made itself apparent in the septet of the duel-scene and at the termination of the grand duet with Valentine after the " Benediction of the Swords," but everywhere else Sig. Mario was irreproachable; and in this very duet his acting was as natural, forcible, and picturesque as his singing was eloquent and expressive. Nothing could be more graceful, nothing more unaffected, than his delivery of the romance where Raoul describes his first meeting with Valentine — in which, by the way, the difficult obbligato accompaniment for the viola woi played to perfection by Mr. Doyle, first tenor in Mr. Costa's magnificent orchestra. The new Valentine must not be summarily judged. Mile. Antoinctta Fricci (of whom we never heard till now) is by no means an ordinary singer, by no means an ordinary actress; nor, on the other hand, did her performance justify the assumption that in either capacity her merit is entitled to rank under the denomination of extraordinary. For a romantic impersonation of Valentine (one of the most romantic of heroines) her physical conformation in some measure disqualifies her. She has, nevertheless, a voice of agreeable quality and considerable power; and her singing, always earnest, if occasionally exaggerated in style and faulty in execution, would be still more expressive if she could divest herself of that fatal vibrato, which is the Nemesis of so many dramatic vocalists of the present era. To state that in the great scenes Mile. Fricci came up to what the patrons of the Royal Italian Opera have been taught by her predecessors to anticipate, would be to exceed the truth. Nevertheless, the duet with Marcel (in the scene of the Pri aux Clercs), and that with Raoul/when the plot against the Huguenots has been overheard, revealed a talent so much above the average, that the audience (always "considerately indulgent towards new aspirants) applauded her with warmth and unanimity. ^How much was due to the intense interest of the dramatic situation, to the superlative acting of Sig. Mario, and last, not least, to the music of M. Meyerbeer, in the last and noblest of these ducts, wo leave to the imagination of our readers, content to record the fact that the fall of the curtain was the signal for enthusiastic and long-continued plaudits, and that both Valentine and Raoul were compelled to reappear before the footlights. The Marcel of M. Zelger, the St. Bris of M. Faure, the Nevers of Sig. Tagliafico, the Urbain of Mad. Nantier-Didiec, and the Marguerite of Mad. Miolan-Carvalho (in some respects another Cinti Damorcaa), are so well known to the musical public, that in stating they were all they have ever been—finished individual portraitures in the making-np of a varied and imposing tableau—we have said enough. The orchestra was admirable throughout; and so — with the single exception of the quarrel between the Catholics and Huguenots, in the scene of the Pri aux Clercs (which would lose nothing by a " special" rehearsal) —was the cliorus. The performance, indeed, on the whole, was worthy the reputation of a theatre which, in the getting-up of such gorgeous operatic "spectacles," is unrivalled in Europe.

On Monday the Traviata was played for the first time this season — Violetta, Mile. Patti; Alfredo, Sig. Gardoni; and Germont, Sig. Uellc Scdie. Mile. Patti achieved a brilliant triumph ; and (as is invariably the case when she performs) the house was cr.unmed to the ceiling. On Tuesday the Huguenots (second time); on Thursday Guillaume Tell; and on Friday (Inst night) Don Giovanni. To-night Lucia — for Mile. Patti and Hcrr Wachtel, a new German tenor.

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SACRED HARMONIC SOCIETY. Handel's oratorio of Samson was given on jFriday night in Exeter Hall before a crowded audience. The performance was one of the very grandest we remember j the choruses — more especially " Fixed in His everlasting seat," and "Let their celestial concerts"—were throughout splendid ; tho solo recitatives, airs, &c. (the singers being Miss Parepa, Mad. Sainton-Dolby, Messrs. Evans, L.W. Thomas,Weiss, and Sims Reeves), were never more carefully and admirably given ; and two pieces — the duet, "Go, baffled coward!" (Messes. Sims Reeves and Weiss), and the air, "Let the bright Seraphin" (Miss Parepa — trumpet, Mr. T. Harper) — being encored witb rapture, were repeated. Mr. Costa conducted. As a selection from this oratorio is to form part of the programme on the second day of the Handel Festival (which will also include a new and interesting feature, in tho shape of some secular pieces from Acis and Galatea, Sic), the advantage of its having been recently practised, and to such good purpose, by the members of the Sacred Harmonic Society, whose cooperation is of the utmost importance to the general effect, must be evident.

Mas. Anderson's Concert.— The " Farewell" of one who during a long succession of years has held an eminent position, and maintained it with credit alike to herself and to her art, is naturally an event of interest. No wonder, therefore, that a brilliant audience was attracted yesterday (Friday) afternoon to Her Majesty's Theatre, at the last public concert of Mrs. Anderson, pianist to Her Majesty and instructress to the Royal Princesses. An accomplished pianist at a time when /breign players almost exclusively bore away the palm, Mrs. Anderson at the actual moment is in the full enjoyment of her powers, and, indeed, plays so well that it cannot be otherwise than a pleasure to listen to her. The classical taste for which she has ever been distinguished was shown on the present occasion in the selection of music for the final exhibition of her talent. No happier choice could have been made than the first movement of Mozart's Concerto and the brilliant Rondo of Hummel. Although in the works of other great masters — Beethoven, Mendelssohn, and the rest — Mrs. Anderson has repeatedly earned laurels, Mozart and Hummel have been her especial favourites, Hummel, perhaps, the chicfest favourite of all She enters thoroughly into the spirit of their compositions, and executes them with a purity that, even apart from the vigour that accompanies it, would be a strong attraction. In both performances yesterday her success was as gratifying as her warmest friends and admirers could have wished. After Mozart's Concerto she was recalled once, after the Hondo of Hummel twice, in both eliciting hearty and unanimous applause.

Mrs. Anderson's concerts have been always rich in excellence and variety, and at her "Farewell " this agreeable rule was not likely to be infringed. In a word, the programme was more than usually comprehensive — so much so, indeed, that to give a detailed description of it is out of the question. There were upwards of thirty pieces, even allowing for one or two omitted. Most of the principal singers of Her Majesty's Theatre were engaged, together with the band and chorus, under the direction of Signor Arditi. Among tho most remarkable features were Signor Verdi's Cantata for the International Exhibition, in which Mile. Titiens sang the solo, and a chorus, nearly 250 in number, took part; a selection from Rossini's Stabat Mater, the most striking points being the duet, "Quis est homo" (Miles. Titiens and Trcbelli), and the "Inflammatus" solo (Mile. Titiens); one of Beethoven's two "Romances," for violin, with accompaniments, performed as no other than Hcrr Joachim could have performed it; a fantasia for violoncello, the violoncellist being Signor Piatti, whose equal is yet to be found; and the capital "brindisi" from Signor Verdi's Macbeth (an opera which both our Italian Theatres persist in ignoring), sung with such spirit by Mile. Gucrabella as to elicit an encore. The

only other encore was obtained in "La donna e mobile," by Signor Naudin, the new tenor — or rather not exactly new, inasmuch as he was one of the countless importations of Mr. E. T. Smith when Drnry Lane was an Italian Opera-house under his management. If Signor Naudin succeeds as well to-night in the Trovatnre as he did yesterday in the romanza from Luisa Milter and the well-known air from Iiigolelto, ho may prove a valuable addition to tho strength of Mr. Mapleson's "troop." Mile. Trebelli gave a polka and variations (Alarz) with delightful fluency; Signors Bettini, Zucchini, and Gassier, the comic trio, "Pappataci" (Italiana in Algieri), which afforded considerable diversion; one of Bishop's finest glees was allotted to Miss A. Thomson, Mrs. Merest (late Miss Maria B. Hawes), and Mr. Bealc; Signor Armandi sang"Fra poco;" Signor Giraldoni a romance from Maria di Budens (Donizetti); Signors Bettini and Gassier "AH' idea di qual metallo;" Signor Zucchini a buffo air from La Cenerentola; Mr. Tennant a graceful song from Mr. Howard Glover's Once too Often ("A'young and artless maiden"); Mr. Santley a romance from the Puritan's Daughter ("Bliss for ever past"); and Miss Parepa an air from the Amber Witch. Mile. Michal, Signor Bettini, Mad. Lcmaire, also, each contributed something, solo or concerted; and—,butjust now we pleaded tho impracticability of describing so long and varied an entertainment in detail, and so must end by saying that the concert was to conclude with the overture composed by M. Auber for the International Exhibition, which we cannot but think should have been awarded a more conspicuous place.—Times, Saturday, May 31.

Mad. Goldschmidt-lind's Concerts. — The third and last of Mad. Goldschmidt-Lind's concerts took place on Wednesday evening, when (in spite of tho "Derby ") Exeter Hall, as on the previous occasions, was crammed to suffocation. The oratorio was Elijah. About Mad. Goldschmidt's singing in this grand work of the most illustrious composer of sacred music since the period of Handel and Bach, there is nothing to add to or retract from what was advanced on a recent occasion. It is, in a word, a performance in which intelligent perception and artistic delivery go hand in hand ; and even where — as in "Hear ye, Israel," and most especially its trying sequel, ■* Be not afraid "—the physical means are scarcely equal to the perfect embodiment of the intellectual idea, the earnest aspiration of the gifted songstress enlists in so powerful a manner the sympathies of her hearers that the more or less vigorous enunciation of the notes sot down becomes altogether a secondary consideration. This time, as before, Mad. Goldschmidt's most striking display was in the solo part of "Holy, Holy !" which has certainly found no such declamation as hers since the, oratorio was originally produced. Miss Palmer was intrusted with the contralto recitatives and airs; Misses Susannah Cole and Eylcs (to whom fell the dnet " Zion spreadcth her hands for aid"), Messrs. Walker, Distiii, and Lawler, with subordinate passages. Mr. Weiss, who brings a weight and gravity to tho music of Elijah which have long identified him in the public mind with the part, and Mr. Sims Reeves, whose "If with all your hearts," and "Then shall the righteous shine forth," would have delighted Mendelssohn himself, could ho have heard them, were the other principal singers. The unaccompanied trio, " Lift thine eyes " (Mad. Goldschmidt, Misses S. Cole and Palmer), was encored, and the unanimous plaudits that followed "Then shall tho righteous," might have been construed by Mr. Reeves into a similar compliment. From this point to the end the performance was heard under singular disadvantage. At the concerts of the Sacred Harmonic Society the audience does not begin to retreat until the last chorus ; but on the present occasion, had it not been for tho powerful attraction of "Then shall the righteous," the hall would, in all probability, have been comparatively deserted very shortly after " Holy, Holy!" Hcrr Otto Goldschmidt directed the performance with his accustomed discretion. The orchestra and chorus were both numerous and efficient — on a scale of completeness, indeed, worthy so interesting an occasion. The profits of the concert arc destined for the funds of the Royal Society of Musicians and the Society of Female Musicians.

Mb. W. G. Cusins pave a really "grand" concert on Thursday evening at St. James's Hall. A strong and thoroughly efficient instrumental force was selected from the Philharmonic and Crystal Palace bands and Her Majesty's private band, and the chorus numbered about one hundred. The programme was at once rich and varied, and comprised, besides vocal pieces, Professor Bennett's "Exhibition Ode," Aubcr's "Exhibition Overture," Beethoven's Overture to King Stephen, the same composer's Grand Concerto Concertantc in C major (Op. 56), for pianoforte, violin, nnd.violonccllo, with orchestral accompaniments, Weber's Pianoforte Concerto in E Hat, a Violoncello Sonata by Boccherini, solos on the violin, and MS. Overture to King Lear, by Mr. W. G. Cusins. The Ode of Professor Bennett was conducted by the composer, who was received with acclamations on his taking his position at the desk. The performance was good, if not perfect, and sccmcil at any rate to satisfy all present,— the enthusiasm with which it was greeted being as unanimous as it was genuine. The Concerto Concertante was quite a novelty. Mr. Cusins is entitled to unqualified praise for his revival of this fresh and vigorous work. It is in every respect worthy the giant of the orchestra. The execution of the solo parts by Mr. Cusins, Herr Joachim, and Sig. Piatti, was irreproachable. Mr. Cusins played Weber's concerto with great facility and neatness, and was applauded "to the echo." Bocchcrini's Sonata was wonderfully played by Sig. Piatti, and Bach's Prelude (with orchestra), prefaced by one of Krcutzer's Andantes, was another triumph for Herr Joachim. Both created a veritable enthusiasm. Mr. Cusins's Overture, a work full of thought, gives real promise, and will no doubt lead to even greater achievements. Mr. Cusins also contributed two part-songs. With these we were thoroughly pleased, more especially with the second, " When twilight dews are falling soft," which has a slightly Mendelssohnian flavour about it. Both were capitally sung by the Orpheus Glee Union. The vocalists were Mad. Lcmmens-Sherrington, Mad. Guerrabella, Mr. Sims Reeves and Mr. Santley. The first-named lady sang an air from Gounod's Faust, and the "Shadow Song" from Dinorah, winning tumultuous applause in both, and singing them in her most brilliant manner. Mad. Guerrabella was encored in the brindisi "Si colni il calice," from Verdi's Macbeth, which may be termed the fair artist's cheval de bataUle, as she is singing it everywhere with unequivocal success. Mad. Guerrabella also sang the duet (or a part of the duct) "Deh non parlare," from Itigoletto, with Mr. Santley. Mr. Sims Reeves gave the scena from the Frcischutz magnificently, and was cheered by the whole audience and recalled to the platform. After Mr. George Lake's quaint and beautiful ballad, "Summer is sweet," the audience would not be content with a return to the orchestra, but made the great tenor repeat it. Mr. Santley sang "A lowly Peasant girl," from the Lily of Killarney, and a new song composed by Mr. W. G. Cusins, called " The Angel Guide," both like a thorough artist, who kuows how to husband his means as well as exhibit them. Mr. Cusins shared the post of conductor with Professor Bennett. The last piece in the programmo was Auber's "Exhibition Overture," which every time we hear it we like better, and which, late as it came on tho present occasion, was played with the utmost precision under the direction of Mr. Cusins, and applauded by the whole audience. We should have added that the duties of pianoforte accompanist fell to Mr. Harold Thomas, who fulfilled them admirably.

Monday Popular Concerts. — At the concert on Monday the opening quartet — Beethoven's in A major, Op. 18 (No. 5)—introduced, as first violin, Herr Laub, a player who long since achieved a reputation in England, and, although some ten years-have elapsed since his appearance among us, is likely to retain a foremost place among virtuosi. Apparently somewhat nervous over the first movement, Herr Laub gradually warmed to his work, and the Andante cantabile, with its charming variations, fairly set at rest any question that might have arisen in the minds of those who listened to him for the first time. The applause which followed the final movement was as unanimous as it was well deserved. Subsequently, iu the Sonata-duet by Beethoven in A minor (given for tho first time here), Herr Laub incontestably asserted his position, and, in conjunction with Herr Pauer, again earned a most legitimate success. A lengthy pianoforte fantasia by Hummel, in E flat (Op. 18), containing some charming features (to wit, the allegro con fuoco and larglwtto with presto ,/mafe),was listened to attentively throughout, and Herr Pauer recalled. The Boccherini Sonata (in E flat), for violoncello, was a treat of tho highest order, and never did Sig. Piatti more triumphantly vindicate his claim as first of living violoncellists than upon this occasion. All that wonderful command of the instrument, perfect manipulation, power and sweetness of tone — in short, everything that has been so often averred of Sig. Piatti — was exhibited to the utmost perfection, producing a commensurate effect upon the audience, upon whom tho delicate accompaniment-playing of Mr. Benedict was not lost. Mr. Sims Reeves's singing of Beethoven's "Adelaida" was marked by all tho tenderness and variety of expression which invariably distinguishes his performance of that most exquisite of love-songs, and a strong desire to hear it again was met by the great tenor's reappearing to bow his acknowledgments. A new song by Mr. George Lake, "Summer is sweet" (with which Mr. Reeves has made a great success in tho provinces), was heard for the first time, and elicited a spontaneous encore not to be resisted — a compliment quite as much due to the really intrinsic beauty of ^the song as to the thoroughly artistic and expressive manner in which it was sung. Miss Banks's sympathetic voice did good service in Mr. Henry Smart's "Dawn, gentle flower," and Mr. Sulliv/m's " Where the bee sucks.

Miss Louisa Barnabd's Concert.—Miss Louisa Barnard, a pupil of Henri Herz, and Laureate of the Conservatoire of Paris, gave an

evening concert at Willis's Rooms, on Saturday, the 31st nit., and, by her correct and elegant playing, achieved a flattering success. Miss Barnard has not been idle since her debut last year, which was favourably noticed in our columns ; she has gained in tone and confidence, and her» rendering of Mozart's trio in E major, in conjunction with Herren Deichmann and Lidel, introduced her again, with great credit, to an English audience. The solos selected by the fair bfnificiaire for the display of her powers of execution and characteristic expression were Ravina's L1 Invocation, a mazurka by Georges Pfeiffer, and the more welcome Spinnlied of Mendelssohn, in which last she was encored. Her performance of the variations by Herz on airs from La Favorita might have gained a similar distinction, had it not terminated the programme. Herr Deichmann and Herr Lidel contributed solos, and Mad. Lemmens-Sherrington's charming singing of Adam's " Ah! vous dirai-je ?" demanded and obtained a unanimous encore. Miss Robertine Henderson was also called upon to repent " Sombre foret," but bowed to the audience instead. In Arditi's " II Bacio," however, this promising young vocalist accepted tho encore which followed by substituting the "Skylark" of Benedict. The other singers were Miss Augusta Thomson and Mr. Allan Irving, who were much applauded. Tho ontire concert was conducted by Herr Wilhelm Ganz with his accustomed care and skill.

Mrs. Merest's Third Soiree took place at the lady's residence, Adelphi Terrace, Strand, on Friday, the 30th ult. With the exceptiou of a fantasia on the flute played by Herr Behm, and a solo on the concertina by Mr. R. Blagrove, the selection was entirely vocal. Mrs. Merest's contributions comprised the air from Mehul's Joseph, " Ere infancy's bud ;" her own ballads, "I'll speak of thee," and " The chain is broke that bound me j" duet, also her own composition, "When we two parted," with Mad.Weiss; duet, " Si la stauchczza," from the Trovatorc, withllerr Reichardt; Handel'ssong, "Lascioch 'io pianza;" besides taking part in glees, &c. Mrs. Merest has a legitimate contralto voice, and few singers can give greater effect to songs which requirS depth and volume of tone. Her best achievements were the fine song of Handel and the hardly less fine air from Joseph, both of which were given with irreproachable taste and expression. The other vocalists were Mad. Weiss, Miss Millar, Messrs. Seymour, Smith, Dyson, Carter, Whitchouse, Distin, and Herr Reichardt. Herr Reichardt was encored in his own already very popular " Cradle Song." Mr. Turle and Herr Emile Berger conducted.

Mr. James Lea Summers, the well-known blind pianist, gave a second evening concert on Friday, May 30, at St. James's HalL The " Sisters Marchisio" had been announced, but Mile. Carlotta was unable to appear from indisposition, and so the contralto had to do duty for the two. The instrumental selection was unimpeachable. Mr. Summers played Woclfl's Ne plus Ultra sonata, Beethoven's sonata for pianoforte and violin, in F (Op. 23), and andante and rondo for piano and violin, from his own pen, both with Herr Joachim. The sonata of Woelft was an ambitious attempt, but was successfully accomplished despite its great difficulties. With such a cooperator as Herr Joachim, it will readily be concluded that the two duets for pianoforte and violin were masterly performances, and received with distinguished favour. Herr Joachim played Ernst's "Elegic," and it would bo difficult to say whether he surprised or delighted his hearers most. Besides Mile. Barbara Marchisio, |who gave two of her favourite solos with marked effect, Herr Reichardt and Sig. Coselli sang, the German tenor being encored in two songs, his own "Cradle Song " aud a new ballad by Mr. Summers, called " Come, dear one, back to me," a charming and well-written composition. Conductors—Sig. Li Calsi and Mr. George Lake.

Mlle. Valentin's Concert. — The annual concert of Mile. Caroline Valentin took' place on Monday afternoon in the Hanover Square Rooms, which were crowded with a brilliant and fashionable company. As usual, the lady's own contributions to her programme embraced a variety of styles. A trio by Haydn (No. 1, G) for pianoforte, violin, and violoncello, a solo sonata by Beethoven, an impromptu by Chopin, a movement (presto} from the Harpsichord Lessons of Scarlatti, a caprice (La Vansc des Sylphes) by Fumagalli, and a Tarantella (the last movement of the Sonata in E minor — Op. 70) by Weber, in different degrees tested her executive powers j and in each particular instance she enlisted the sympathies and satisfied tho taste of her audience. To attempt the performance in public of such a sonata as that of Beethoven in E major, Op. 109, augured no common ambition. We are nevertheless of opinion that Mile. Valentin would cause herself less anxiety and afford her admirers more gratification in pieces of a less elaborate complexion. The succes d'estime which she achieved in this, compared with tho sensation she created in the other specimens of her skill, was scarcely an adequato recompense for the vast amount of labour she must have spent in accommodating her fingers to so difficult a sonata- la the trio — which "went" with great spirit — Mile. Valentin enjoyed tho invaluable cooperation of those eminent performers, MM Sainton (violin) and Paqne (violoncello), each of whom subsequently enriched the concert with a solo. The vocal music was wealthy in attractions. The fine contralto voice of Miss Lascclles was heard to advantage in an air by Mozart, and a duet by Mcrcadante, in which last she was associated with Miss Banks, who, later in the concert, obtained a well-merited encore for her artistic rendering of Mr. Arthur Sullivan's "Where the bee sucks," from the music of Shakspearc's Tempest. Mad. Nita Norrie gave a ballad by Vincent Wallace with charmingly unaffected expression; and Mlle. Elvira Behrens was much admired in two of the Lieder of her country (by Dessauer and Schubert). Best of all, however, was the incomparable " Love in her eyes sits playing," from Handel's Acts and Galatea, to which Mr. Perrcn imparted a warmth of sentiment that showed how thoroughly he entered into the spirit of this exquisite music. In M. Ascher's graceful and popular romance called "Alice" Mr. Perren was not less successful. The accompanists were Herr Wilhelm Ganz and Mr. George Lake. Mr. Lake, by the bye, is a "Benedict" in his way — which means that he carries the art of accompaniment to a high degree of perfection.

Hanover Square Rooms.—A concert in aid of the Band Fund of tho 48th Middlesex Rifle Volunteers (the Havelock) was given on Thursday evening, the 29th ma under distinguished patronage. The vocalists were Mile. Parepa, Mile. Gcorgi, Mad. Laura Baxter, Mr. George Perren, Mr. Lawler, Mr. Ramsdcn, and Mr. George Buckhind; instrumentalists, Mr. H. Cooper (violin), Mr. Grattan Cooke (oboe), and Mr. Kinllmark (pianoforte). The room was very full, and the audience more than usually excited, as may be surmised. There were two encores— more might have been accepted — Mr. George Buckland in Mr. Lover's quaint song, " Fatherland," and Mlle. Parepa in the " Laughing Song " from Manon Lescaut. The duet, "Quis est homo," from Rossini's Slabat Mater, sung by Mile. Parepa and Mad. Laura Baxter, and M. Ascher's pretty romance, "Alice, where art thou t" were vociferously applauded, as was a new waltz, called "Contcntezza," sung by Mile, Georgi, and written expressly for her by Signor Fiori. Mr. Kiallmark performed Thalberg's fantasia on "God save the Queen " and "Rule Britannia.

Royal Academy Of Music.—The second concert of the season by the students was given in the Hanover Square Rooms on Saturday, May 24, and attracted a large concourse of the friends of the Institution. The first part consisted of a selection from Mozart's Idomeneo, the solid parts by Misses Robertino Henderson, Armytagc, Taylor, Flewitt, and Mr. Wallace Wells. Miss Henderson especially distinguished herself. The overture was well played by the band under the direction of Mr. Lucas, and the Marcia Funelre still better. The second part included three MS. contributions from the students, viz. Overturo by Mr. S. Weckes; song, "The Daisy," by Mr. H. R.Eyres; and song, "Spring,"by Miss A. Zimmermanu (King's Scholar). Mr. Eyrcs's song, given with good voice and excellent taste by Miss Robertinc Henderson, was liberally applauded. The other vocal performances, more or less praiseworthy, were the scene, "Si lo scnto," from Spohr's Faust; the aria, "Colla stagion novella," from Mr. Henry Leslie's Holyrood, by Mr. Wallace Wells; the grand aria, "Posscntinumi,"from the Zauberjtvte, by Mr. Rudkin; the cavatina from the Huguenots, "Nobil Signor," by Miss E. B. Hall; the air, "Though clouds by tempests maybe driven;" and chorus, "Now tramp o'er moss and fell," solo by Miss Henderson. An instrumental performance varied the second part, Moschclcs's pianoforte fantasia, "Recollections of Ireland," executed with neatness and correctness by Miss Isabella Thomson.

A Chamber Concert took place at the Rooms of the Institution, in Tenterdcn Street, on Saturday evening, the vocalists being Misses Armytagc and Flewitt and Mr. Wallnec Wells; instrumentalists, Mr. J. R. Radcliff (flute), Misses Augusta Ball and Madnlena Cronin, Messrs. J. Hill (King's Scholar) and'T. W. Walstciu (pianoforte). Mozart's Sonata in F, for two performers on one pianoforte, was tho gem of the conceit, and was capitally played by Miss Madalcna Cronin and Mr. Walstein. Mendelssohn's caprice in F sharp minor, for the pianoforte, was also a creditable performance by Mr. J. Hill.

Society For The Encouragement Of The Fine Arts.—The first conversazione of the season took place at the Gallery of the Society of British Artists, Suffolk Street, on Wednesday evening, May 21. A large assembly was present, who seemed thoroughly to enjoy the very admirable" musical feast prepared for them. The vocalists were Mile. Titiens, Miss Susanna Cole, Mad. Gilbert, Mad. Lemairc, Miss Anna Whitty, Miss Bcllingham, Miss Louisa van Noorden, Mr. Sweeting, and Hcrr Reichardt ; the instrumentalists, Miss Cecilia Summerbayes (pianoforte), Mr. Svensdcn (flute), and Messrs. Alfred and Henry Holmes (violin). In " Casta Diva," Mile. Titiens enraptured her hearers, and

was compelled to return to the platform; and Miss Anna Whitty obtained a decided his (not hiss) in "Non piu mcsta." Hcrr Reichardt, too, was made to repeat his " Cradle Song," which has now become one of the popularities of the day. Mr. Benedict and Mr. Alfred Gilbert accompanied on the pianoforte.

Mr. W. H. Warren, organist of Carlisle Chapel (pupil of Mr. F. Scotson Clark), gave an evening concert recently at the Assembly Rooms, Kcnnington, at which a number of madrigals, part-songs, glees and solos were executed by Mrs. Harriette Lee, Miss Rose Hcrsee, the Misses Jennie Cox, Annie Melville, Rosina Houghton and Catherine A. Thomson ; Messrs. George Tedder, Conway Cox, Viotti Cooper, and a choir selected from the London Societies. Mr. F. Scotson Clark performed several pieces on the pianoforte and harmonium, and M. Emile Berger accompanied the vocal music.

BACH'S PASSIONS-MUSIK.
(From the Saturday Review.)

Professor Bennett was fortunate in securing so able a set of pro fcssionnl performers to aid his enthusiastic band of volunteers ; but it is chiefly to Mr. Sims Reeves that the success of the performance was owing. It is not, indeed, too much to say that, in the opinion of all the connoisseurs who were present, the great tenor added more to his reputation by his wonderful declamation of the narrative than by any other single achievement within our recollection. Tho difficulty of the intervals and the variety and frequency of the recitatives, all of which were sung with the greatest correctness, cannot but have occasioned Mr. Sims Reeves a vast amount of study; and it is in the highest degree creditable to a great public singer, who can command such large sums for singing three or four simple songs in one evening, to devote himself to what most artists would think the ungrateful and unremunerative task of interpreting a long string of cramp recitatives. Wo have seldom, if ever, heard anything finer than his delivery of many portions of the text of St. Matthew. In the account of St. Peter's dcninl of Christ he infused such expression into the words "And he went out and wept bitterly," that it was only his own good sense which stood in the way of an encore. The accompanied recitative, "O grief! now pants his agonising heart," followed by the song, "With Jesus I will watch and pray," in which the chorus takes up the refrain, "Then fare thee well, each darling sin," was admirable.

Of the accompanied airs and recitatives the greatest share falls to the contralto, on this occasion Mad. Sainton-Dolby, who sang throughout the evening with a musician-like feeling and a devotional expressiveness which cannot be too highly admired. The soprano has ivsong and recitative in each part, which Miss Banks gave in a way which left nothing whatever to be desired. Mr. Weiss was the bass, and sang his difficult and responsible part with a breadth and dignity which showed how fully he appreciated his task.

A few words must be devoted to the solo instrumentalists, for they play it very prominent part in the work. Two flutes and two violas are called into frequent requisition in the accompaniments of the airs, in which they havo parts of considerable complexity, requiring both care and skill for their effective performance. Seeing that both our great orchestras were engaged at the Opera-houses, Professor Bennett was lucky"to bo able to get such efficient soloists as Messrs. Rockstro and Card (flutes), and Messrs. R. Blagrove and Baetens (violas). M. Lavignc, whose splendid oboe-playing is so well known, also distinguished himself frequently during the evening, and particularly in the soprano air, "Jesus, Saviour, I am thine," which Miss Banks gave with admirable taste and purity. Mr. Cooper played the violin obbligato to the bass air, " Have mercy upon me, O Lord." Mr. E. J. Hopkins presided at the organ—a very important feature in the performance—and in such hands it is almost needless to state that it was throughout most effective. The pianoforte accompaniments to the narrative recitatives * were played by Mr. Lindsay Sloper.as only a genuine and conscientious musician like him could play them.

Altogether, the performance was one of the most interesting and important musical events which have taken place in London for some time.

Stuttgart.—Hcrr Abert's new opera, Konig Enzio, has been produced and favourably received. The composer was called on after the second£uct, and at the fall of the curtain.

* A very judicious innovation.—Ed, M.W.

ST. JAMES'S HALL.

MONDAY POPULAR CONCERTS,

EIGHTY-SEVENTH CONCERT, ON MONDAY K veiling, June 1G, 1H62.

PROGRAMME.

Part I Quartet, In B flat major, Op. 131, fnr Two Violins, Viola, and Violoncello.

MM. LaCB, Ribs, Schrguiis, and Dwidoff (Beethoven). Song, "The mighty trees bend," Mile. Florence Lancia (Schubert). Son*. Mr. Sims Rceves. Soiiata,.in D in.ijor, Tor Pianoforte solo (No.21 of Mr. Haiic's edition).Mr. Charles Halle (Mozart).

Part II.—Violin Solo, Herr Law. Song.Mr. Sims Reeve*. S*ng, Mile. Flokkncb Lancia. Tema con Variazione, in D major, Mr. Charles Halle and M. Da vi Doff (Mendelssohn).

Conductor, Mr. Benedict. To commeucc at Eight o'clock preciieljr.

Notice.—It is respectfully suggested that such persons ai are not desirous of remaining till the etid of the performance cati leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

Between the last vocal piece and the Sonata for \ Violoncello and Pianoforte, an interval of Fire Minutes will be allowed. The Concert will finish before Halfpast Ten o'clock.

N.B. The Programme of every Concert will henceforward includes detailed analysis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Part I.

Stalls, 6s.; Balcony, 3s.: Admission, Is. A few Sofa Stalls, near the Piano, lUs. Gd. Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Messrs. Chap Pell & Co., 50 New Bond Street; and the principal Muslc-selleri.

MR. CHARLES HALLE'S BEETHOVEN RECITAL?, »t St. James's Hall.-The FOURTH RECITAL will take place on Friday, Juno 13, at Three o'clock.

Mr. Hallk will play the Sonatas, op. 27, Nos. 1 and 2; Grand Sonata, op. 28 (Pas* toral), and the Grand Sonata inlG major.op. 31. Accompanyist—Mr. Habold Thomas.

Sofa Stalls, 10s. fid.; Balcony, 7s.; Unreserred Scats, 3a. Tickets at Chappell & Co.'s, 50 New Bond Street; Cramer & Co.'s, Regent Street; Keith, Prowse, «r Co.'s, 48 Cheapside; and at Austin's, 28 Piccadilly.

BIRTH.

On Monday, the 2nd inst., at No. 26 Upper Wimpolc Street, Cavendish Square, Mrs. J. \V. Davison, of a son.

NOTICES. , To Advertisers.—Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magasine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Tfirec o'Clock P.m., on Fridaysbut not later. Payment on delivery.

~ f Two lines and under 2s. Gd.

(trims | Evenj additional 10 words Gd.

To Publishers And Composers.All Music for Review in TnE Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following m The Musical World.

To Concert Givers.No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.

LONDON: SATURDAY, JUNE 7, 1862.

ONE of the oldest musicians in the Prussian capital died on the 10th ultimo —Friedrich Wilhelm Telle. He was born on September 9, 1798, at Berlin, where his father, Constantin Telle, Royal Ballet-master, resided. At a very early age he manifested a great partiality for music, and was placed, in consequence, under the most celebrated masters j Herr Franz Lauskd, who taught no less a person than Meyerbeer, giving him lessons on the piano, and Herr Augustin Giirrlich being his instructor in the theory of the art. As far back as 1816 he made his public appearance as a pianist, in the city of his birth. He proceeded, the same year, to Paris, for the purpose of completing his musical education

under Cherubini. In the year 1820, two of his works were produced at the Royal Opera House, Berlin, namely, a comic one-act ballet, entitled Die Miiller, on January 12, and the two-act musical piece, Das Schutzerpest, on August 15. In the year 1823 he entered the Berlin Singakademie, Zelter inserting his name in the list of the Society as "Wilhelm Tell," either by mistake, or as a joke—we cannot say which. On the completion of the Konigstiidtisches Theatre, in 1824, Telle was appointed second musical director, but accepted a similar post at the Stadttheater, Magdeburg, in 1825. Thence he proceeded, still in the same capacity, to the theatre in Aix-la-Chapelle, then under the management of Herr Bethtnann. The latter was succeeded by Herr Rockel, the first person who ever took a German operatic company to Paris, where Telle conducted Der Freischiilz. The tenor on the occasion was Herr Haitzinger, who, thinking, doubtless, that Weber had not done enough for Max, introduced an air by Bellini into the last act. Verily, Herr Haitzinger must have been an artist of exceedingly delicate taste and nice appreciation! In 1843, Telle accepted the situation of musical director at the Stadttheater, Kiel. He remained in that town till 1845, when he returned to his native place, Berlin, and resided there till his death.

Telle composed several masses; psalms a capellu; a Requiem; operas; ballets; music for plays; songs ; and pianoforte pieces. The following is a list of his operas, in addition to the one already mentioned: Rafael Zambulas— three acts, produced, in 1831, at Aix-la-Chapelle, then at Munich, and, on December 16, 1852, at the FriedrichWilhelmstadtisches Theatre, Berlin; Sarah, oder die Waiso von Glencoe—three acts, produced on July 26, 1844, at Kiel, and on February 7,1852, at the Friedrich-Wilhelmstiidtisches Theatre, Berlin; Lebende Blumen—three acts, produced at the same theatre in Berlin, on October 24, 1853; Die Miirchen meiner Amme—a comico-fantastic fairy burlesque, produced on December 25, 1861, at Kroll's Theatre; and, lastly, Guten Abend, Herr Fischer, oder Der Vampyr—a broad musical farce, which was played at four Berlin theatres, and at some forty others in various provincial towns of Prussia.

j^PROPOS of Bach's Malthdus-Passion, we are glad to learn that the performances of this grand and impressive work in Passion-Week, on the Continent, were not confined to Berlin and Vienna. It was given, also, at Munich, Leipsic, Bremen, Hamburgh, Frankfort-on-the-Maiue, Cologne, Stuttgart, and, indeed, at most of the great centres of musical intelligence throughout Germany. Thirty years ago, only a very insignificant portion of the general public know anything about it. When Mendelssohn first proposed to perform it, he was regarded as a madman. Truly may it be said, that the cause of grand classical music^ is progressing, despite every obstacle which prejudice, or, what is the same thing, ignorance, may strive to fling in its way. This should, and doubtless will, be an encouragement to Professor Sterndale Bennett and the Bach Society to proceed with more and more vigour in the honourable task they have set themselves.

To the Editor of the Musical World.

SIR,—By the way, and entirely a, propos de bottes, I read a few observations, yesterday, on the subject of encores that agreed so completely with my own ideas, that I could not refrain from translating them, and forwarding them for your inspection. The original author is Alphonse Karr,

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