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MUSIC AND THEATRES IN PARIS. trick is discovered, and all is set right again. And the emperor

keeps his word, marrying his daughter to a “great swell,” in one, (From our own Correspondent.)

Jan, 10, 1862.

if not in every sense of the term. Sillier stuff than this could

hardly be invented; but French authorship is in so fair a way of Art of all descriptions shivers in comparative neglect at this

sinking that we must not despair of its reaching even a deeper season, when the social and domestic relations are being almost ex

bathos. clusively cultivated by a strenuous interchange of new year's

At the Italian Opera, Mlle. Trebelli has been replacing Mad. gifts. Were some convulsion of the earth during the first week of

Alboni, who I regret to say has been suddenly seized with illness. the year to break the crust upon which Paris reposes, and bury it

The incident has proved the wisdom of the ukase lately issued by suddenly in its own catacombs, what a strange idea would be

the Czar of the “Beaux Arts,” Count Walewski, ordering all pringiven of the habits and customs of its inhabitants when at some

cipal singers to be provided with doubles, and their parts to be distant period it came to be exhumed like another Herculaneum.

understudied. The unexpected indisposition of Mad. Alboni did The grinning skeletons would all be found hugging in their fleshless

not thus interfere with the regular performance of the opera of arms the mouldering remains of boxes of bonbons, and every

| Rigoletto, according to announcement, as Mlle. Trebelli was ready variety of toys, puppets, and ingenious nicknacks, and the anti

at her post to sing the part of the absent vocalist. Mlle. Trebelli quary would infallibly conclude that Lutetia was once inhabited

bas since appeared as Arsace in Semiramide, in which she made by a population of children of a larger growth, very much spoiled

a favourable impression last year, and it is generally considered and indulged by their papas and mammas, and allowed to have a

that she has manifestly improved. Approaching, in the character great deal too many playthings and lollypops. And I am not at

| of her voice and her style of singing, to the accomplished artist all sure that such a sweeping deduction from one petrified phase

whom she is called upon to replace, though wanting in that lightof Parisian life would not apply pretty faithfully to the whole

ness and agility and perfect cvenness of tone which belong so re. tenor of the national existence. With all their apparent severity,

| markably to Mad. Alboni, Mlle. Trebelli is yet an acquisition of Papa Louis Napoleon and Mamma Eugénie would have a difficult

I great value to the French Italian opera. time of it, if they did not present the boys and girls over whom

It is announced that Donizetti's Il Furioso is in rehearsal. This they exercise paternal and maternal sway with a constant succes

opera has not been played in Paris for many years. Cast as it will sion of fresh gewgaws and newfangled fi ncies. Gilt gingerbread

be with Signor Delle Sedie in the principal part, Signor Zucchini in ever novel shapes France will and must have, even though the

as the gloomy character of the opera, and Mlle. Battu as the madgilding is ever and anon violently rubbed off by such a formidable

man's wife, a brilliant performance may be anticipated. There is squaring of accounts as M. Fould is charged with superintending.

some talk of Saffo, the master-work of Pacini, being revived also. By the way Papa Louis and Mamma Eugénie came into the play

This has not been played here since 1842, and it is longer still since ground the other day at the Bois de Boulogne and immensely | Mad. Clara Novello made her first appearance as an operatic singer amused their young charges by skating an hour or two for them in it in London. and wheeling some of them in truineaux. Wasn't it kind of duar. Before quitting the subject. I must mention amore important papa and mamma! And do you know, if little Frenchmen and

fact with respect to the Italian opera than any above recordedlittle Frenchwomen are good, and will save up their pocket money,

namely, its speedy removal to the splendid edifice preparing for it papa will give them some day a handsome present! What is it to

on the Boulevard Malesherbes. It is expected that the final be? A new ship, another box of soldiers, a bowl of Swiss cream

ménagement into its new mansion will take place by the 1st of of the valley, some more Italian jumbles. Papa shakes his head,

October next. When the Imperial will — than which no other is holds up his finger, and says “Hush! Little boys should not ask

| extant within the elastic confines of France — has pronounced its questions.” But a truce to "alligators," and mine has been one with

fiat, buildings of any dimensions, and to any number, spring up a very long jaw. Come we to facts. Yes, agreed, but where are like the spontaneous growth of vast freestone quarries beneath they? Echo, this time, does not answer with its stereotyped im- | the surface; and of als these annual harvests of masonry – these pertinence, but I am politely replied to by the human voice,

yearly stone crops- none will have brought forth a finer specimen al gallice" La Voir Humaine, which is the title of a little opera in two

of architecture than the new Italian Opera House. It is to be acts recently produced at the Grand Opera as a lever de rideau.

entirely on the plan of the vast theatres of Italy, and will contain It is curious how unsuccessful the principal lyrical stage of France

fit accommodation for the lovers of Italian opera, which, if the has ever been in such minor productions. Of all that have been,

public avail itself of to the fullest extent, must secure immense within the last thirty years, ushered into existence under auspices that should have been so favourable, only twc have survived,- Le will thus command should dictate a more liberal outlay in the en

receipts. The resources which the manager of this establishment Comte Ory* and Le Philtre ; but both these are, however, it must be

gagement of artists of talent, and the production of a more rapid amitted, chefs a quvre: . The present production is not destined to succession of novelties. From a theatrical paper I gather a note increase the number of these glorious exceptions to a general rule. or two respecting this new edifice. The plans are already comIt is a poor affair, both as regards the libretto, though this be by pletely and finațly settled. The breadth of the building in its M. Melesville, the author of Masaniello, and as regards the music,

of Masaniello, and as regards the music, principal frontage, which is to face the boulevard, will be fifty-six which need not excite surprise, proceeding, as it does, from the unblessed crow quill of M. G. Alary, the same who afflicted the the intersection of as many streets, one of which will be the Rue

metres, and it will stand alone, its four corners being formed by melodious ghost of Mozart by tampering with the music of Don Malesherbes. The names of the architects to whom the works Giovanni. The conviction should now have reached the dull soul have been confided are Messrs. Charpentier, père et fils. The of this gentleman that never could the band which had committed senior Charpentier constructed the present Italian Theatre and such a sacrilege produce anything but of sinister presage. If his also the present Opéra Comique. skin is impenetrable to the lash of the furies of remorse, he must new theatre will issue from its scaffolding to commence its practical

The period of gestation ere the perish of the slow poison of envy, for the smallest musical sprout existence will be exactly nine months. is destined to flourish before him, while he must wither and decay The Opéra Comique, apparently in despair at the inefficacy of in the wilderness of neglect. Such is the fate of the presumptuous. novelties of any sort in filling its coffers again, resorts to the “Old T'he tale of this opera outpasses the common order of trumpery to Man Melodious," and announces the Domino Noir with MM. which the stage seems now doomed. There is in it an organ- Couderc and Roger. The Parisian public very properly prefer to builder, who has invented a new pipe, or stop, imitating the human voice, and who, on the strength of it, claims the band of the which its pure water is bemudded with the dull oozings of sterile

go to the fountain at once to swallowing the mawkish messes in daughter of an emperor whose love of music has induced him to brains. offer this somewhat eccentric prize for the best organ that can be musiques je préfère de l'Auber.

À toutes les eaux je préfère de l'eau pure, et à toutes les built. A jealous knight, on the day of trial, slips his gauntlet into I suppose you have already heard—as the fact is more political the tube and spoils the aspiring organ-builder's piping ; but the that artistical-of M. About's new play Gaëtana, and its reception,

| or rather rejection, by the students, who form the chief support of the • Le Comte Ory is the very untithesis to a minor production.--ED. Odéon, where the luckless production was brought out. This sort

of thing is of course not to be commended. Lynch law in art is von Kaminski would make a very good Lionel in Flotow's as bad as in politics or ethics. Yet the thing is natural too, and Martha. Such a part is more adapted to his powers. The best shows a still healthy feeling in the youth of France, which bodes bit in the performance was, undoubtedly, the Valentine of Mlle. well for her future history. Despotism may have stifled the voice Lucca, who displayed great spirit and energy, and sang, -as the of honest indignation at the base trucklers to successful violence, | boatswain says William, in Douglas Jerrold's Black-eyed Susan, but it has not killed the sentiments which gave it breath. If the played the fiddle" Like an angel." Her grand scene in the press were not gagged as it is, the contempt which M. About's fourth act was magnificent, and might fairly be ranked with Grisi's private and personal characteristics excited among some of the in- efforts in her best days. In a word, it is evident that Mlle. Lucca genuous youths of France would not have been unjustly vented has bestowed the greatest pains and attention on the part, and the on his dramatic works, which may he entirely free from the con- enthusiastic applause of the audience must have told her how well tamination of their source. As it is, the public mind, forced to she has succeeded in making Valentine one of the brightest gems in impotence by bonds, is, like all impotence, spiteful and unjust, and her repertory. Mad. Braunhofer was Marguerite de Valois, but hangs M. About in effigy by bissing M. About's play, and refusing - in a word, I have seen other ladies sustain the character more it even a hearing. A man must have fallen very low in the effectively. The same is true of Mlle Münster as the Page. Tbe opinion of Frenchmen when they will not even allow him the other principal personages were represented by Herren Salomon, privilege of amusing them. Even the assassin Lacenaire was al- | Fricke and Betz in their usual manner. As for the chorus, it was lowed to edify his fellow-countrymen with poetical speculations anything but satisfactory. In fact, for some time-past, it has on the future he was about to creep into through the neck-hole of been gradually growing more and more carul ss and slovenly in the guillotine, and while his crimes caused a shudder his verses its execution of the music intrusted to it. This state of things is were nevertheless quoted with admiration. Had the police for- not very creditable to the management. A far better performbidden all expressions of horror at the crimes of this wretch, it is ance than the one I have just noticed was that of Spontini's doubtful whether the offspring of his blood-bedabbled muse would Vestalin, with the foliowing cast: Mad. Köster, Julia ; Mlle, de have met with the same impartial criticism.

Abna, the High Priestess; Herr Carl Formes, Licinius; Herr The whole state of the law regarding literary and art property is Krause, Cinna; and Herr Fricke, the High Priest. The house about to be revised, and an attempt made to reduce the intel. was very full, and the applause, hearty and spontaneous - I lectual estates of his Imperial Majesty's subjects to orderly regu had almost said Spontinious — but, knowing your antipathy, in lation and just government by a special code. The committee common with Dr. Johnson, of a bad pun, I will not say so, and, who are to deliberate and report on this important subject com- | therefore, I beg you will consider unsaid what I have said.prises an immense number of illustrious names in literature, | La Señoritilla Adelina Patti still pursues her triumphant career, science, art, as well as several eminent in the publishing trade. I gathering fresh laurels and picking up more and more bouquets The result of their labours must prove of the highest interest to every evening she appears. She will make her farewell curtsey, all civilised nations, and we may, no doubt, derive many a useful for the present, as Zerlina, in Don Giovanni, but it is to be hint from it to modify our own most imperfect legislation on this devoutly hoped she will speedily favour us with another visit. matter.

Herr Lorini's Italian Operatic Company are to open their season The tenth popular concert, under the direction of M. Pasdeloup, very shortly at the Victoria Theatre. As you are, no doubt, took place last Sunday week, and went off as brilliantly as its aware — for I fancy that I informed you of the fact in one of my predecessors, and with equal justice be it said. Too much praise former letters — Sig. Lorini promised us Mlle. Titiens and M. cannot be given to the completeness with which the orginal idea Naudin, but the of these concerts has been carried out, or the energy shown by

“Want of pence that vexes public men ” the Director in maintaining the standard of excellence in the performance at the bighest point. Il a bien merité de son pays et the “res angustæ theatri," to alter an old expression so as to suit my du monde civilisé. I am forced to leave off, though before me lies, present purpose, interfered with his plans. He could not give temptingly extended, the person of an offending French critic, and Mr. Lumley sufficiently satisfactory guarantees, I believe, and so within reach is a rod which has lain in the brine of the British the matter was broken off, and we shall not have the pleasure of channel till it is saturated with pungency enough to make the hearing the celebrated artists I have just named. Another Italian victim smart-a year at least. But I must forego the salutary impresurio, Sig. Merelli, has gone with his company to Brussels. exercise for a week. Remember, Monsieur, you are only respited, A report has just been published by the management of the not reprieved. Go to your Anglo-French dictionary and study theatres royal, containing an account of the pieces produced at the these two words and tremble.

Royal Opera House during the ten years, commencing on the 1st

July, 1851, and ending on the 1st July, 1861. During this period, MUSIC IN BERLIN.

the management brought out 28 new operas, 17 of which were by

German composers. There were 155 performances of works by (From our own Correspondent.)

Mozart; 109 of works by Weber; 108 of works by Meyerbeer; I HAVE not sent you much information lately, anent musical 62 of works by Gluck - and not Glück, as English writers, who matters here. The fault, however, is not mine, but that of the do not know the difference between the German “u” and “ü,” Berliners, who have been too busy making merry at Christmas will persist in miscalling him, — and 47 of works by Beethoven. too earnestly occupied in decking out Christmas-trees—to devote 17 operas were revived with new scenery, dresses and appointmuch attention to music. During a protracted residence in Berlin, ments, and 15 with the old ones. There were 24 novelties by I never knew so long a period elapse when music was so neg Taglioni, and other Terpsichorean authors, in the way of ballets. lected as it has been at the commencement of this year of grace, In addition to this, 16 ballets were produced with a new misé1862. To adopt the language of Jack Rag, " There is nothing en-scène, and 15 with the old one. These figures speak trumpetmoving but stagnation," or, at any rate, very little more. The tongued in favour of the activity displayed by the Intendantonly noticeable facts may be related in a very small compass. General Herr von Hülsen. First and foremost on the meagre list is the performance of The Prince of Hohenzollern has just conferred the HohenzolMeyerbeer's Huguenots, in which a gentleman yclept Herr von lern House Order upon Herr Hans von Bülow. After all, music Kaminski, from Warsaw, undertook the part of Raoul, the other is more honoured by princes, at least in Germany, and, indeed, evening, at the Royal Opera House. I heard him two years ago, I on the continent generally, than in England. If Miss Arabella when he impersonated the hero of R. Wagner's Tannhäuser. He Goddard were a German lady, she would long since have been bas certainly improved since then, and makes better use of his covered with orders. However, the English public, thank natural resources, which, though not great, are respectable. His Heaven, indemnify her, as well as other distinguished artists, for style, however, is far too namby-pamby, too effeminate, too defi- | the apathy displayed by those in high places. cient in vigour and intensity, in a word, too lyrical, for such In the way of chit-chat relating to musical and managerial operas as Les Huguenots. A more languishing, blasé Raoul it has notabilities, I beg to inform you that Herr Salvi, the manager of never been my fate to hear and see, and yet I should say Herr the Imperial Opera House, Vienna, has lately paid us a visit, on business matters, and will proceed, viâ Dresden, to Vienna, where chestral pitch customary at Vienna, during Mozart's life-time. All M Gounod's Faust will be produced immediately after his return; musical authorities here have long acknowledged and advocated, as that Herr Joseph Gung) has gone to Brünn; Herr Stiehl to St. absolutely indispensable, the necessity of lowering the present orchestral Petersburg, and Mlle. Artot to Leipsic; and that Mad. Roll. | pitch, and their wishes have been realised with the most gratifying reMayerhöfer will fulfil an engagement at the Royal Opera House

sults, the experiment having proved a decided success. The new pitch

is about half a tone lower than that previously in use. in the month of May next.

LEIPSIC.-A young lady of the name of Busster, a pupil of Herr I have now exhausted my budget of news, which, I must con

Mantius, of Berlin, has made a successful début in the character of fess, is not very voluminous. But, Que voulez-vous ? In humble

Orpheus in Gluck's opera. She was called on alone at the conclusion imitation of the young gentleman who has expressed, in a well

of the first act, and, in company with Mlle. Brenken, Eurydice, at the known song, his strong attachment to the lass of Richmond Hill,

end of the opera. “I give thee all, I can no more ;" but I cannot manufacture cor

CASSEL.Great activity has been exhibited at the theatre since the respondence, as French cooks make dishes, out of nothing, and, opening of the present season, as will be seen by the subjoined list of therefore, till next week, I say

operas represented : Don Juan (twice); Figaro's Hochzeit, and Die VALE. Entführung aus dem Serail (revivals, twice); Fidelio (revived); Der

Freischütz" (twice); Nachtlayer in Granda, Czur und Zimmermann,

Undine, Martha, Stradella, Robert le Diable, Les Huguenots (twice); Foreign.

La Part du Diable (revival); Wilhelm Tell, Il Barbiere, Nachtwandlerinn, La Juive (twice), La Fille du Régiment, Lucrezia Borgia, Lucia

di Lammermoor, Joseph in Aegypten, Tannhäuser (three times), Die BERLIN. — (From the National Zeitung.)- At Radecke's second lustigen Weiber von Windsor, Otto, der Schütz (new, three times), Orconcert, the performance began with a suite of movements by J. S. pheus in der Unterwelt (new, four times). To these will shortly be added Bach, for stringed instruments and flutes. The execution struck us Aloise, by Maurer, Templer und Jüdin, and Jessonda. The new prima as being the result of great care and love of tlic task to be donnu, Mad. Kapp-Young, has already become a great favourite. She fulfilled. Somewhat less power in the stringed instruments, the has made a most favourable impression as Fidelio, Valentine, Donna weight of which bore down the flute, that, by the way, soared a Anna and Elizabeth. little too high in its pitch, would have been desirable in a work belong. ZITTAY.-On Marschner's birthday, the following message of condoing, we think, more to the class of chamber than of orchestral music. | lence was telegraphed from this place to his widow in Hanover: “The • The suite was followed by Joachim's Violin Concerto (D minor), in undersigned beg to assure Mad. Marschner of their deep sympathy for the Hungarian style. Many years ago, we came across an overture of her heavy loss; the town council and municipal officers of Zittau.” the composer to Henry IV., which, by the contrast in it between the MUNICH.--The third Subscription Concert given by the members of creative and reproductive artist, surprised us in anything but a pleasing the Musical Academy commenced with Mendelssohn's C minor Symmanner. In the Violin Concerto there is nothing of this chasm to be phony. Mad. Diez then sang the air, with harp accompaniment, perceived. The work belongs, by the poetry of its sentiment, the ripe from Gluck's Orpheus und Eurydice. She was greatly applauded, and and earnest feeling of its expression, as well as by the purity, steadiness, presented, by the hands of Herr Lachner, Music Director-General, with ind symmetry of its forms, to the most important instrumental creations a crown of laurels. Herr Venzl performed the adagio and rondo of modern times. The composer set about his task with symphonic | from Molique's A minor Concerto, very admirably, and, although some. veneration. Every idea of displaying anything like virtuosity was | what nervous, proved himself a young artist who bids fair to become a quite foreign to his intention ; he flew to his violin, on the contrary, as distinguished violinist. The concert wound up with a highly satisfactory his most faithful friend and companion, to clothe in outward form what performance of Méhul's “ Hunting Overture.”—The programme of the resounded and vibrated in his soul, combining with the violin, however, fourth concert of the series opened with Ilaydn's Military Symphony, the orchestra, on at least a footing of perfect equality. In this way, he performed with great fire by the orchestra, comprising some ninety completed a concerto, which, in a purely mechanical sense, is of the members. The concert terminated with F. Lachner's “Sturmesmythe," most unthankful description, but which, on the other hand, contains, the Munich Sängergenossenschaft, an association consisting of about from beginning to end, a perfect treasure of true and noble music. At 300 male voices, lending their assistance. The composer was loudly the first hearing, what most strikes the audience is the finale, withfits and enthusiastically applauded.-A vocal entertainment was recently sharply marked themes, bursting forth into free, wide space, and given by the Männergesangverein, “ Neu Bavaria” in the Westendhalle. . breathing somewhat of Schubert's genius. The second movement is Among the pieces sung was Gumbert's “Ständchen," in which Herr steeped in the profoundest ecstacy. In the first allegro, also, extended Benof greatly distinguished himself by his execution of the tenor solo far beyond the usual limits, but treated with the greatest certainty — and “ Der Sturm," by Lachner.-At the theatre, Herr R. Wagner's there is an individuality which generally flees from the wild turmoil of Tannhäuser has been produced with tolerable success. The representalife into the most secret recesses of the heart. The work, as far as wetion of M. Gounod's Faust has been postponed, in consequence of the can judge, is one of the most difficult in the whole range of violin hoarseness of one of the principal singers. literature. Since its object, just like that of Schumann's pianoforte SCHWERIN. - Christmas was celebrated at the theatre by a fairy twocompositions, is, in no instance, a merely technical display of the act ballet, entitled Der Tannkönig, the principal attraction being that it instrument, but the exhibition of the tenderest and most secret flights is Herr von Flotow who has composed the music, which proved very of the soul, a full confession, as it were, out of the fullness of the heart, successful, and was loudly applauded. it requires an executant who refuses his violin nothing. Such a one it! LIMBERG. – Meyerbeer's Dinorah has made a great hit, and is enhas found in Ferdinand Laub. The most elevated tone, the warmest joying a regular run. feeling, and the most wonderful energy in grasping the intellectual PRAGUE. — A new opera by a local composer is a novelty here, and, portion of the task ran through his performance from the first bar to therefore, it was not extraordinary that the theatre should be full to the last. The hearer, completely carried away by the overpowering overflowing on the production of Der Liebesring, by Herr Skraup, who richness of the expression, had no time or capability left to pay atten is Capellmeister at the cathedral. The opera was not, however, a suction to the boundless excellence of all the merely manual details. May cess, despite the strenuous efforts of the composer's friends to force it we soon meet in one or other of our concert-rooms an artist equally down the public throat. Neither the book nor the music riscs above gifted. The second part of the concert was taken up by Perfall's mediocrity. Undine, a legend for soloists, chorus, and orchestra, - a smooth, easy Rome. — Liszt has been here for the last month, engaged upon an work, which, by the quality, so common now-a-days, and, as a rule, oratorio entitled: Die heilige Elisabeth. A German correspondent of the euphoniously designated pleasing popularity, may obtain many admirers. Neue Berliner Musik-Zeitung speaks in the following terms of music We, however, could see no charm in it. The composer has conjured | and musicians in the Eternal City: “The fine arts are, as a matter of up the deities of the springs and streams, to pour two or three extra course, at present, as always, and here as everywhere clse, subject to pails of water into the romantic music-lakes, which, luckily, in our the influence of the atmosphere surrounding them. Creative art retime, are beginning to dry up. We were not able to discover the quires movement, strife, a yearning for some distant and, often, even a slightest significant true form. Mad. Cash, who was engaged at scarcely known goal, independence, and freedom, in order that it may the Royal Opera last year, sang the part of Undine in an agreeable flourish. Reproductive art, on the contrary, thrives best under the promanner. Herr Scyffart's voice was heard to advantage only in the tection of a quiet, tranquil, easy state of things, based upon content. moro tender passages of the tenor solos.

ment with regard to the present, and absence of care for the future. DRESDEN.– A short time since, the Zauberflöte was performed, as an This may be asserted of music, and, especially, vocal music. In conexperiment, with the various instruments tuned according to the or tradistinction to the Germans, the Italians possess a lively perception of

melody, while they appear to have no sense of harmony. You often les applaudissements qui l'ont accueillie ont prouvé une fois de plus que meet people here, who, after hearing an opera two or three times, seat noire public sait apprécier le véritable talent.—Miss Augusta Thompson themselves at the piano, and repeat most of the motives, without know. chantera demain de ravissantes mélodies écose aises, l'air de la Traviata ing the notes. There are an immense number of natural singers, et le grand air du Serment, qui est, dit-on, un de ses triomphes. Le many of them endowed with inagnificent voices. What, it may be trio de Mendelssohn par MM. Pâque, Billet et K-, notre excellent asked, are not such men, endowed with such voices, as well as with a amateur, commencera le concert. M. Pâque, outre ses solos, exécutera musical ear and a love of the art, capable of receiving a musical educa- | avec M. Billet la célèbre Polonaise de Chopin pour piano et violoncelle, tion ? It is a well known fact that, in Rome, all instruments with avec laquelle ils ont tous deux obtenu de si brilliants succès en the exception of the organ — women and boys are excluded from the Angleterre. Aussi nous pouvons prédire salle comble. Une telle réunion choirs in the churches. The soprano parts are sung neither by women de talents de premier ordre est rare à Genève, et chacun voudra venir nor boys. It is true that the barbarous production of such voices is applaudir ce triumvirat.”—Journal de Genève. not systematically pursued, as was formerly the case; indeed, it is forbidden by law. But when a voice of this description is accidentally' found to exist, it is winked at and put to account. These unnatural

SACRED HARMONIC SOCIETY. voices produced upon myself a repulsive effect in the Sixtine Chapel, On Friday night (the 10th inst.) Haydn's Creation brought the usual and the basilica of St. Peter. The tenors, also, are somewhat nasal; crowd to Exeter Hall, and, though, on the whole, we have heard some of the basses alone are fine and vigorous. The execution is correct and the choruses given with more unitorm precision, the oratorio was listened delicate; the compositions, modern and insignificant. In the other to with the usual pleasure. As its great and enduring popularity, howchurches, music is at a very low ebb. The soprano parts are sung by ever - in spite of “ Awake the harp," “ The Heavens are telling," actual men. Of course, anything like light and shade is entirely out of “ Achieved is the glorious work,” “Hail, bountcous Lord !” and “Praise the question, and every one seems as though he was endeavouring to the Lord, ye voices all !”- depends materially upon the solos, duets, scream louder than every one else. The compositions performed are and trios, this would have been the case even had the members of the worthless, and the organists scarcely fit to be placed on an equality with choir laid themselves, open to more serious animadversion. “ With verour country teachers. Such is the state of music in the capital of dure clad,” “ In native worth,” “ On mighty wings,” Now Heaven in Christendom! At the • Nobil Teatro di Apollo' four operas and a fullest glory," and "Graceful consort,” - these are the attractive picces half were produced in the course of the season. The prima donna, De that have won and retained for so long a period the hearty attention Giuli Brosi, has completely sung herself out. The tenor, Sarti, pos and sympathies of the multitude. On the present occasion they exercised sesses a powerful voice, and sings à la Freschini. The baritone, Starli, as potent a spell as ever. The chief parts being happily, in each partibelongs to the legion of insignificant, stereotype tyrants of Italian opera cular instance, allotted to singers of the highest eminence, the flowing seria. I was better pleased with the second baritone, Dantoni, who got melodies of Haydn, so artless in conception, while so gracefully ornato through Figaro very respectably. The acting and singing of the Alma - simplex munditiis — were listened to with all the old enthusiasm. viva, a weakly tenorino, were lamentable. Bartolo and Basilio were not The soprano was Miss Parepa, the tenor Mr. Sims Reeves, the bass offensive, and did not indulge in the extravagances usual among our- | Signor Belletti. In such hands it is not surprising that the execution of selves. The Rosina of Signora de Marini was far from perfect, with the characteristic trios for Gabriel, Raphael, and Uriel should have been regard to fioriture and acting, but this lady's shortcomings found, to | entirely beyond reproach. No less excellent were the duets for Adam some degree, a compensation in the freshness and youth of her voice, and Eve in Part III. - the representatives of our first parents being and her pleasing personal appearance. The smaller parts were re Signor Belletti and Miss Parepa (the Raphael and Gabriel of Part I.). spectably filled, while the chorus and orchestra were satisfactory. Be- "O star the fairest” was so well given as to bear away the palm from tween the first and second acts of the opera, there was a grand ballet. “Graceful consort” itself, which, nevertheless, could easily afford, for Both the choregraphic effusions, produced in the course of the sea once in a way, to resign the chief honours to its more stately and beautison, were by Rota. I do not believe that anything so revoltingly ful, if less universally admired, companion. Miss Parepa is becoming immoral as this ballet was ever seen on the stage. Nevertheless, an oratorio singer of the first rank. Of “ With verdure clad" it is unI am obliged to acknowledge that Signor Rota is endowed with necessary to speak; but her rendering of the Archangel Gabriel's narradecided Choreographic talent. His ballet contains at least a plot, which tive, “On mighty wings," deserves a word of unqualified enlogy. While is tolerably well put together and easy of comprehension; the various less intrinsically engaging than its predecessor, being of a more florid personages, also, have a touch of character about them. The ensemble character, it presents greater difficulties to surmount, and is consequently dances are distinguished by new, pleasing and effective figures. One of a surer test of the capabilities of a singer. In this elaborately embellished the most charming, for invention and purpose, is the Minuet of the Five air, with its passages, trills, and cadences, Miss Parepa left absolutely Senses, in the last tableau. There are no second premières danseuses, nothing to desire. How effectively Signor Belletti declaims the recitanor is the corps de ballet so numerous or so well trained as that in Berlin, tives and airs in which that part of animate nature, the work of the but, on the other hand, it is composed exclusively of young and hand- “ fifth day," is described by Raphael (" And God created great wales," some girls, who, however nota bene -always conduct themselves with &c.), we need hardly inform our readers. So articulate is his enunciation perfect propriety on the stage. The dresses were tasty and elegant, and of the text as to cause his foreign accent altogether to be forgotten- & the scenes far better painted than they usually are. It would be useless genuine artistic achievement. As the last great act of Creation naturally into name the operas produced here, since not one of them will ever volved the highest theme for contemplation, Haydn seems to have put forth cross the Apennines. The great strength of such troupes consists in all his strength in the music to Uriel's recitative, “ And God created man their comic artists. The troupe at the Teatro di Apollo can boast of two | after his own image," and to the air, “ In native worth and honour clad ”admirable ones. The ladies possess experience and manage to get on generally, and no doubt justly, esteemed the finest in the work. The tolerably ; but most decidedly too weak are the tenors, sentenced to a delivery of this on Friday by Mr. Sims Reeves was the most striking perpetual course of love making. The ensemble is fresh and lively. | incident of the evening. As it was his first appearance since his tour National dances are often interwoven with the operas, and very charac- in the country with Mad. Goldschmidt Lind, and, indeed, since the teristically executed by the singers. On Sundays there are always two Birmingham and Hereford Festivals, it was as important to himself performances, one at 3 and another at 7 o'clock, P.M.

that his success should be complete as it was agreeable to the audience MUSIC at Geneva, -- " C'est demain mercredi, 15 janvier, qu'aura to find his voice in such splendid condition. Often as he has been lieu le concert donné par Miss Augusta Thompson, MM. Pâque et praised in the Creation, Mr. Reeves possibly never before stood forth so Alexandre Billet. - Miss Thompson et M. Pâque qui se sont fait incontestably the first of oratorio singers. This merely shows that, unentendre samedi dernier au concert du Conservatoire, nous avaient été spoiled by the flattering testimonies of public approbation to which he annoncés comme de grandes célébrités d'outre-Manche, mais leur is accustomed, and too sensible to imagine himself perfect, he continues succès a encore dépassé notre attente. Ce sont deux artistes hors ligne. to study with the zealous assiduity which originally helped him to disM, Pâque est un talent sérieux, large, en même temps que gracieux et tinction. Such applause as that which-despite Exeter. hall etiquette plein de sentiment. Il a le correct, le beau son, le grand style de and quasi-prchibitions - greeted him at the termination of “ In native Servais et de Franchomme, et il chante sur son instrument comme worth,” which had been followed throughout with breathless interest, Batta ; anssi son succès au Conservatoire a-t'il été un véritable triomphe. would suffice to turn the brain of any singer less truly and conscienti. Quant à la gracieuse cantatrice écossaise, Miss Thompson, nous ne pouvons ously an artist. trouver de termes pour qualifier cette voix ravissante. C'est un timbre qui The lovers of Handel's music will be gratified to learn that his rarely. lui appartient, d'une douceur, d'une sonorité, d'un charme inexprimable. | heard oratorio of Deborah is to be revived on Friday, the 31st inst. Et puis quelle école, quelle belle manière de chanter, quelle pureté de style, c'est l'art du chant poussé à sa dernière limite. Les rappels et

ST. JAMES'S HALL,

ness. In consequence of the Government refusing to re

cognise houses of amusement, every manager may provide Regent Street and Piccadilly.

what kind of entertainment he pleases. Mr. Gye of the MONDAY POPULAR CONCERTS, Royal Italian Opera, Mr. E. T. Smith of Drury Lane,

Messrs. Creswick and Shepherd of the Surrey, and Mr.

John Douglas of the Whitechapel Pavilion, might produce SEVENTY-FIRST CONCERT, on MONDAY Evening, Don Giovanni or Guillaume Tell the same night, and the January 20, 1862, the Programme selected from the works of various composers.

Lord Chamberlain would make no stir. The ruling powers
Clarinet-MR, LAZARUS, Second appearance of M. SAINTON.
Pianist-Miss ARABELLA GODDARD.

care not for Italian Opera in general or Don Giovanni in PROGRAMME.

particular; and so every theatre in London may endeavour PART 1.- Quartet, in F major, No. 26, for two Violins, Viola, and Violoncello (Haydn), (firs: time at the Monday Popular Concerts). MM. SAINTON, L. Ries, H. to fascinate the public through mediation of the Italian WEBB, and Pezze. Song. “Ah! if I must obey" (Armida) (Gluck), Miss BANKS.

repertory, if it pleases. The Wandering. Minstrel and the Song. “O cara immagine" (Mozart), MR. DE LA HAYE. Sonata, in C major, for Pianoforte Solo (C. M. von Weber), MISS ARABELLA GODDARD.

Barbiere are identical in the eye of the law; and, as far as Part II.- Sonata, in E nat major, for Pianoforte and Clarinet (C. M. von Weber),

our legislators are concerned, Mozart and Rossini have no Miss ARABELLA GODDARD and MR. LAZARUS. Song, “ Ah, why do we love?(Don Quixote), (G, A. Macfarren), Miss BANKS. Song, “ La Promessa(Rossini), MR. more refining influence on the popular mind than Mr. Selby DE LA HAYE, Quintet, in A, for Clarinet, two Violins, Viola, and Violoncello (Mozart), (repeated by general desire), MM. SAINTON, LAZARUS, L. Ries, H. WEBB, and Pezze. and Mr. Nelson. The result is, not only extreme injustice Conductor, MR. BENEDICT. To commence at eight o'clock precisely.

to managers who hold the direction of theatres dedicated to NOTICE.It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the

some particular class of performances, but, in the end, the last instrumental piece, or between any two of the movements, so that those who wish ruin of the performances themselves. Had the right of to hear the whole may do so without interruption.

playing Shakspeare's comedies and tragedies been circum* Between the last vocal piece and the Quintet, an interval of Five Minutes will be allowed. The Concert will finish not later than half past ten o'clock,

scribed to one locality, instead of the meagre exhibitions Stalls, 58.; Balcony, 3s.; Admission, Is. • Tickets to be had of MR. AUSTIN, at the Hall, 28 Piccadilly ; CHAPPELL and Co., 50 now provided, even under the most fortunate and favourable New Bond Street, and of the principal Musicsellers.

existing circumstances, we should, notwithstanding the dearth

of histrionic talent, have had to boast of efficient and remark. NOTICES.

able, if not complete and powerful, representations. If Mr. To ADVERTISERS.-Advertisers are informed, that for the future

Charles Kean, Mr. Phelps, Mr. Anderson, Mr. G. V. Brooke, the Advertising Agency of THE MUSICAL WORLD is established

and Mr. Creswick were to unite and form one body, in place at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Ad

of each erecting a standard for himself, separate and apart, vertisements can be received as late as Three o'clock P.M., on

the Shakespearian stage would be in a far more flourishing Fridaysbut not later. Payment on delivery.

condition than it is. The above actors, who all singly, Two lines and under

... ... 28. 6d.

except perhaps Mr. Charles Kean, who may be denominated Terms Every additional 10 words ... ... 6d.

a “superior” star - are of inferior lustre and magnitude, To PUBLISHERS AND COMPOSERS.-AU Music for Review in The

would, in combination, constitute a galaxy of talent calcuMUSICAL WORLD must henceforward be forwarded to the Editor,

lated to excite universal attention. Instead whereof, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. Shakspeare is made unworthy on the boards, and his very A List of every Piece sent for Review will appear on the Satur

name falling into disregard. Will anybody avouch that day following in THE MUSICAL WORLD.

Italian Opera receives the same high patronage it did To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform in the days of Pasta and Sontag ? More people certainly

ance, except of general interest, unless previously Advertised, can attend the performances now; but that is because London be reported in THE MUSICAL WORLD.

has grown larger, not that the inhabitants are forder of Italian music. The moment two Italian theatres started into existence in the metropolis the prestige of the Opera was gone. The director now no longer depends for support

almost exclusively on his subscribers; he looks to the general LONDON: SATURDAY, JANUARY 18, 186 2. public, and, in many instances, consults their tastes. Italian

Opera, moreover, is no longer an exclusive entertainment,

confined to one theatre and limited to one period of the year. 66 THEY manage these things better in France !” Every We have seen Italian Opera in London when pheasant

1 theatre in Paris has its especial direction and com- shooting was in its grand climacteric and Christmas hounds mission. Its repertory is determined and restricted. The were afoot. We have witnessed its performance at several law of the State sets forth what it shall perform, and what theatres of the metropolis. It is now a thing of all seasons it shall not. There is as strongly defined a difference be- ) and for all theatres. Though Fashion still follow in its wake, tween any two theatrical establishments as between any two the vulgar crowd takes part in the pursuit, and “the kibe of bureaux devoted to different traffics. No greater distinction the peasant galls the heel of the courtier." It is a good law exists between an egg-dépôt and a pianoforte warehouse that defines special performances for particular theatres. than between the Théâtre Français and the Vaudeville. Such a law in England would prove of vast utility, and Even the four theatres to which belongs the right of per- would tend greatly to the amelioration of the stage. forming operas in general - namely, the Grand Opéra, the The announcement of a new operetta by Mr. Howard Italiens, the Opéra Comique, and the Théâtre Lyrique -are Glover, to be produced on Monday at Drury Lane, gave rise strictly prohibited from infringing on each other's privileges to the foregoing speculations. That a composer who within None but the Italiens can represent operas in the Italian a few days had achieved an eminent success by his first language; the Grand Opéra alone has the power of giving opera in our National Theatre should, by any force of cir. French operas in recitative and complete ballets; while the Opéra Comique and Théâtre Lyrique are separated by particu- | theatre, and that theatre one dedicated to drama and pantolar and marked provisions and grants. In the regulation or mime merely, demonstrates indeed that something is rotten non-regulation of our theatres, all is liberty and licentious- l in operatic and dramatic affairs, and that reformation is

The Musical World.

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