(From our own Correspondent.')

Jan. 10, 1862.

Abt of nil descriptions shivers in comparative neglect at this season, when the social and domestic relations are being almost exclusively cultivated by a strenuous interchange of new year's gifts. Wore some convulsion of the earth during the first week of the year to break the crust upon which Paris reposes, and bury it suddenly in its own catacombs, what a strange idea would be given of the habits and customs of its inhabitants when at some distant period it came to be exhumed like another Herculaneum. The grinning skeletons would all be found hugging in their fleshless arms the mouldering remains of boxes "of bonbons, and every variety of toys, puppets, and ingenious nicknacks, and the antiquary would infallibly conclude that Lutetia was once inhabited by a population of children of a larger growth, very much spoiled and indulged by their papas and mammas, and allowed to have a great deal too many playthings and lollypops. And I am not at all sure that such a sweeping deduction from one petrified phase of Parisian life would not apply pretty faithfully to the whole tenor of the national existence. With all their apparent severity, Papa Louis Napoleon and Mamma Eugenie would have a difficult time of it, if they did not present the boys and girls over whom they exercise paternal and maternal sway with a constant succession of fresh gewgaws and newfangled f. ncies. Gilt gingerbread in ever novel shapes France will and must have, even though the gilding is ever and anon violently rubbed off by such a formidable squaring of accounts as M. Fould is charged with superintending. By the way Papa Louis and Mamma Eugdnie came into the playground the other day at the Bois de Boulogne and immensely amused their young charges by skating an hour or two for them and wheeling some of them in truineaux. Wasn't it kind of djar papa and mamma! And do you know, if little Frenchmen and little Frenchwomen are good, and will save up their pocket money, pa will give them some day a handsome present! What is it to ? A new ship, another box of soldiers, a bowl of Swiss cream of the valley, some more Italian jumbles. Papa shakes his head, holds up his finger, and says "Hush! Little boys should not ask questions." But a truce to "alligators," and mine has been one with a very long jaw. Come we to facts. Yes, agreed, but where are they? Echo, this time, does not answer with its stereotyped impertinence, but I am politely replied to by the human voice, "gallice" La Voix Humaine, which is the title of a little opera in two acts recently produced at the Grand Opera as a lever de rideau. It is curious how unsuccessful the principal lyrical stage of France has ever been in such minor productions. Of all that have been, within the last thirty years, ushered into existence under auspices that should have been so favourable, only twe have survived,— Le Comte Ory* and Le Philtre; but both these are, however.it must be admitted, chefs d'auvre. The present production is not destined to increase the number of these glorious exceptions to a general rule. It is a poor affair, both as regards the libretto, though this be by M. Melcsville, the author of Masaniello, and as regards the music, which need not excite surprise, proceeding, as it does, from the unblessed crowquill of M. G. Alary, the same who afflicted the melodious ghost of Mozart by tampering with the music of Don Giovanni. The conviction should now have reached the dull soul of this gentleman that never could the hand which had committed such a sacrilege produce anything but of sinister presage. If his skin is impenetrable to the lash of the furies of remorse, he must perish of the slow poison of envy, for the smallest musical sprout is destined to flourish before him, while he must wither and decay in the wilderness of neglect. Such is the fate of the presumptuous. The tale of this opera outpasses the common order of trumpery to which the stage seems now doomed. There is in it an organbuilder, who has invented a new pipe, or stop, imitating the human voice, and who, on the strength of it, claims the hand of the daughter of an emperor whose love of music has induced him to offer this somewhat eccentric prize for the best organ that can be built. A jealous knight, on the day of trial, slips his gauntlet into the tube and spoils the aspiring organ-builder's piping; but the

Le Comte Ory is the very antithesis to a minor production.—Ed.

trick is discovered, and all is set right again. And the emperor keeps his word, marrying his daughter to a "great swell," in one, if not in every sense of the term. Sillier stuff than this could hardly be invented; but Freneli authorship is in so fair a way of sinking that we must not despair of its reaching even a deeper bathos.

At the Italian Opera, Mile. Trebelli has been replacing Mad. Alboni, who I regret to say has been suddenly seized with illness. The incident has proved the wisdom of the ukase lately issued by the Czar of the "Beaux Arts," Count Walewski, ordering all principal singers to be provided with doubles, and their parts to be understudied. The unexpected indisposition of Mad. Alboni did not thus interfere with the regular performance of the opera of Rigoletto, according to announcement, as Mile. Trebelli was ready at her post to sing the part of the absent vocalist. Mile. Trebelli has since appeared as Arsace in Semiramide, in which she made a favourable impression last year, and it is generally considered that she has manifestly improved. Approaching, in the character of her voice and her style of singing, to the accomplished artist whom she is called upon to replace, though wanting in that lightness and agility and perfect evenness of tone which belong so remarkably to Mad. Alboni, Mile. Trebelli is yet an acquisition of great value to the French Italian opera.

It is announced that Donizetti's // Furioso is in rehearsal. This opera has not been played in Paris for many years. Cast as it will be with Signor Delle Sedie in the principal part, Signor Zucchini as the gloomy character of the opera, and Mile. Battu as the madman's wife, a brilliant performance may be anticipated. There is some talk of Saffo, the master-work of Pacini, being revived also. This has not been played here since 1842, and it is longer still since Mad. Clara Novello made her first appearance a3 an operatic singer in it in London.

Before quitting the subject, I must mention a more important fact with respect to the Italian opera than any above recorded— namely, its speedy removal to the splendid edifice preparing for it on the Boulevard Malesherbes. It is expected that the final dembnagement into its new'mansion will take place by the 1st of October next. When the Imperial will — than which no other is extant within the elastic confines of France — has pronounced its fiat, buildings of any dimensions, and to any number, spring up like the spontaneous growth of vast freestone quarries beneath the surface; and of all these annual harvests of masonry — these yearly stone crops—none will have brought forth a finer specimen of architecture than the new Italian Opera House. It is to be entirely on the plan of the vast theatres of Italy, and will contain fit accommodation for the lovers of Italian opera, which, if the public avail itself of to the fullest extent, must secure immense receipts. The resources which the manager of this establishment will thus command should dictate a more liberal outlay in the engagement of artists of talent, and the production of a more rapid succession of novelties. From a theatrical paper I gather a note or two respecting this new edifice. The plans are already completely and finally settled. The breadth of the building in its principal frontage, which is to face the boulevard, will be fifty-six metres, and it will stand alone, its four corners being formed by the intersection of as many streets, one of which will be the Rue Malesherbes. The names of the architects to whom the works have been confided are Messrs. Charpentier, pere et fds. The senior Charpentier constructed the present Italian Theatre and also the present Opera Comique. The period of gestation ere the new theatre will issue from its scaffolding to commence its practical existence will be exactly nine months.

The_ Opera Comique, apparently in despair at the inefKcacy of novelties of any sort in filling its coffers again, resorts to the "Old Man Melodious," and announces the Domino Noir with MM. Couderc and Roger. The Parisian public very properly prefer to go to the fountain at once to swallowing the mawkish messes in which its pure water is bemudded with the dull oozings of sterile brains. A toutes les earn je prtfire de I'eau pure, et d toutes les mwiques je prefire de I'Auber.

I suppose you have already heard—as the fact is more political that artistical—of M. About's new play Gaetana, and its reception, or rather rejection, by the students, who form the chief support of the Oddon, where the luckless production was brought out. This sort of thing is of course not to be commended. Lynch law in art is as bad as in politics or ethics. Yet the thing is natural too, and shows a still healthy feeling in the youth of France, which bodes well for her future history. Despotism may have stifled the voice of honest indignation at the base trucklers to successful violence, but it has not killed the sentiments which gave it breath. If the press were not gagged as it is, the contempt which M. About's private and personal characteristics excited among some of the ingenuous youths of France would not have been unjustly vented on his dramatic works, which may be entirely free from the contamination of their source. As it is, the public mind, forced to impotence by bonds, is, like all impotence, spiteful and unjust, and hangs M. About in effigy by hissing M. About's play, and refusing it even a hearing. A man must have fallen very low in the opinion of Frenchmen when they will not even allow him the privilege of amusing them. Even the assassin Lacenaire was allowed to edify his fellow-countrymen with poetical speculations on the future he was about to creep into through the neck-hole of the guillotine, and while his crimes caused a shudder his verses were nevertheless quoted with admiration. Had the police forbidden all expressions of horror at the crimes of this wretch, it is doubtful whether the offspring of his blood-bedabbled muse would have met with the same impartial criticism.

The whole state of the law regarding literary and art property is about to be revised, and an attempt made to reduce the intellectual estates of his Imperial Majesty's subjects to orderly regulation and just government by a special code. The committee who are to deliberate and report on this important subject comprises an immense number of illustrious names in literature, science, art, as well as several eminent in the publishing trade. The result of their labours must prove of the highest interest to all civilised nations, and we may, no doubt, derive many a useful hint from it to modify our own most imperfect legislation on this matter.

The tenth popular concert, under the direction of M. Pasdel&up, took place last Sunday week, and went off as brilliantly as its predecessors, and with equal justice be it said. Too much praise cannot be given to the completeness with which the orginal idea of these concerts has been carried out, or the energy shown by the Director in maintaining the standard of excellence in the performance at the highest point. H a bien merite de son pays et du monde civilise. I am forced to^leave off, though before me lies, temptingly extended, the person of an offending French critic, and within reach is a rod which has Iain in the brine of the British channel till it is saturated with pungency enough to make the victim smart—a year at least. But I must forego the salutary exercise for a week. Remember, Monsieur, you are only respited, not reprieved. Go to your Anglo-French dictionary and study these two words and tremble.


(From our oivn Correspondent.) I Have not' sent you much information lately, anent musical matters here. The fault, however, is not mine, but that of the Berliners, who have been too busy making merry at Christmas— too earnestly occupied in decking out Christmas-tree?—to devote much attention to music. During a protracted residence in Berlin, I never knew so long a period elapse when music was so neglected as it has been at the commencement of this year of grace, 1862. To adopt the language of Jack Rag, "There is nothing moving but stagnation," or, at any rate, very little more. The only noticeable facts may be related in a very small compass. First and foremost on the meagre list is the performance of Meyerbeer's Huguenots, in which a gentleman yclept Herr von Kaminski, from Warsaw, undertook the part of Raoul, the other evening, at the Royal Opera House. I heard him two years ago, when he impersonated the hero of R. Wagner's Tannhauser. He has certainly improved since then, and makes better use of his natural resources, which, though not great, are respectable. His style, however, is far too namby-pamby, too effeminate, too deficient in vigour and intensity, in a word, too lyrical, for such operas as Les Huguenots. A more languishing, blase Raoul it has never been my fate to hear and see, and yet I should say Herr

von Kaminski would make a very good Lionel in Flotow's Martha. Such a part is more adapted to his powers. The best bit in the performance was, undoubtedly, the Valentine of Mile. Lucca, who displayed great spirit and energy, and sang,—ns the boatswain says William, in Douglas Jerrold's Black-eyed Susan, played the fiddle—" Like an angel." Her grand scene in the fourth act was magnificent, and might fairly be ranked with Grisi's efforts in her best days. In a word, it is evident that Mile. Lucca has bestowed the greatest pains and attention on the part, and the enthusiastic applause of the audience must have told her how well she has succeeded in making Valentine one of the brightest gems in her repertory. Mad. Braunhofer was Marguerite de Valois, but — in a word, I have seen other ladies sustain the character more effectively. The same is true of Mile MUnster as the Page. The other principal personages were represented by Herren Salomon, Fricke and Betz in their usual manner. As for the chorus, it was anything but satisfactory. In fact, for some time past, it has been gradually growing more and more carol ss and slovenly in its execution of the music intrusted to it. This state of things is not very creditable to the management. A far better performance than the one I have just noticed was that of Spontini's Vestalin, with the following cast: Mad. Kbster, Julia; Mile, de Ahna, the High Priestess; Herr Carl Formes, Licinius; Herr Krause, Cinna; and Herr Fricke, the High Priest. The house was very full, and the applause, hearty and spontaneous — I had almost said Spontinious — but, knowing your antipathy, in common with Dr. Johnson, of a bad pun, I will not say so, and, therefore, I beg you will consider unsaid what I have said.— La Senoritilla Adelina Patti still pursues her triumphant career, gathering fresh laurels and picking up more and more bouquets every evening she appears. She will make her farewell curtsey, for the present, as Zerlina, in Don Giovanni, but it is to be devoutly hoped she will speedily favour us with another visit.— Herr Lorini's Italian Operatic Company are to open their season very shortly at the Victoria Theatre. As you are, no doubt, aware — for I fancy that I informed you of the fact in one of my former letters — Sig. Lorini promised us Mile. Titiens and M. Naudin, but the

"Want of pence that vexes public men"

the " res angustae theatri," to alter an old expression so as to suit my present purpose, interfered with his plans. He could not give Mr. Lumley sufficiently satisfactory guarantees, I believe, and so the matter was broken off, and we shall not have the pleasure of hearing the celebrated artists I have just named. Another Italian impresario, Sig. Merelli, has gone with his company to Brussels.

A report has just been published by the management of the theatres royal, containing an account of the pieces produced at the Royal Opera House during the ten years, commencing on the 1st July,1851, and ending on the 1st July, 1861. During this period, the management brought out 28 new operas, 17 of which were by German composers. There were 155 performances of works by Mozart j 109 of works by Weber; 108 of works by Meyerbeer; 62 of works by Gluck— and not Gliick, as English writers, who do not know the difference between the German "u " and " U," will persist in miscalling him,— and 47 of works by Beethoven. 17 operas were revived with new scenery, dresses and appointments, and 15 with the old ones. There were 24 novelties by Taglioni, and other Terpsichorean authors, in the way of ballets. In addition to this, 16 ballets were produced with a new miseen-scene, and 15 with the old one. These figures speak trumpettongued in favour of the activity displayed by the IntendantGeneral Herr von Hiilsen.

The Prince of Hohenzollern has just conferred the Hohenzollern House Order upon Herr Hans von Bulow. After oil, music is more honoured by princes, at least in Germany, and, indeed, on the continent generally, than in England. If Miss Arabella Goddard were a German lady, she would long since have been covered with orders. However, the English public, ;thank Heaven, indemnify her, as well as other distinguished artists, for the apathy displayed by those in high places.

In the way of chit-chat relating to musical and managerial notabilities, I beg to inform you that Herr Salvi, the manager of the Imperial Opera House, Vienna, has lately paid us a visit, on business matters, and will proceed, via Dresden, to Vienna, where M. Gounod's Faust will be produced immediately after his return; that Herr Joseph Gungl lias gone to Briinn; Herr Stiehl to St. Petersburg, and Mile. Artot to Leipsic; and that Mad. RollMayerhofer will fulfil an engagement at the Royal Opera House in the month of May next.

I have now exhausted my budget of news, which, I must confess, is not very voluminous. But, Que voulez-vous t In humble imitation of the young gentleman who has expressed, in a well-' known song, his strong attachment to the lass of Richmond Hill, "I give thee all, I can no more;" but I cannot manufacture correspondence, as French cooks make dishes, out of nothing, and, therefore, till next week, I say



Berlin. (From the National Zeitung.) — At Radecke's second concert, the performance began with a suite of movements by J. S. Bach, for stringed instruments and flutes. The execution Btruek us as being tho result of great care and love of the task to be fulfilled. Somewhat lees power in tho stringed instruments, the weight of which bore down the flute, that, by the way, soared a little too high in its pitch, would have been desirable in a work belonging, wo think, more to the class of chamber than of orchestral music. The suite was followed by Joachim's Violin Concerto (D minor), in the Hungarian style. Many years ago, we came across an overture of the composer to Henry IV., which, by the contrast in it between the creative and reproductive artist, surprised us in anything but a pleasing manner. In the Violin Concerto there is nothing of this chasm to bo perceived. The work belongs, by the poetry of its sentiment, the ripe and earnest feeling of its expression, ns well as by the purity, steadiness, i nd symmetry of its forms, to the most important instrumental creations of modern times. The composer set about his task with symphonic veneration. Every idea of displaying anything like virtuosity was quite foreign to his intention s ho flew to his violin, on the contrary, as his most faithful friend and companion, to clothe in outward form what resounded and vibrated in his soul, combining with the violin, however, the orchestra, on at least a footing of perfect equality. In this way, he completed a concerto, which, in a purely mechanical sense, is of the most unthankful description, but which, on the other hand, contains, from beginning to end, a perfect treasure of true and noble music. At the first hearing, what most strikes the audience is the finale, withjits sharply marked themes, bursting forth into free, wide space, and • breathing somewhat of Schubert's genius. The second movement is steeped in the profoundest ecstacy. In the first allegro, also,—extended far beyond the usual limits, but treated with the greatest certainty — there is an individuality which generally flees from the wild turmoil of life into the most secret recesses of the heart The work, as far as we can judge, is one of the most difficult in the whole range of violin literature. Since its object, just like that of Schumann's pianoforte compositions, is, in no instance, a merely technical display of the instrument, but the exhibition of the tenderest and most secret flights of the soul, a full confession, as it were, out of the fullness of the heart, it requires an executant who refuses his violin nothing. Such a one it has found in Ferdinand Laub. The most elevated tone, the warmest feeling, and the most wonderful energy in grasping the intellectual portion of the task ran through his performance from the first bar to the last. The hearer, completely carried away by the overpowering richness of the expression, had no time or capability left to pay attention to the boundless excellence of all the merely manual details. May we soon meet in one or other of our concert-rooms an artist equally gifted. The second part of the concert was taken up by Perfall's Undine, a legend for soloists, chorus, and orchestra,— a smooth, easy work, which, by the quality, so common now-a-days, and, as a rule, euphoniously designated pleasing popularity, may obtain many admirers. We, however, could sec no charm in it. The composer has conjured up the deities of the springs and streams, to pour two or three extra pails of water into the romantic music-lakes, which, luckily, in our time, aro beginning to dry up. We were not able to discover the slightest significant true form. Mad. Cash, who was engaged at the Royal Opera hist year, sang the part of Undine in an agreeable manner. Herr Scyffart's voice was heard to advantago only in tho moro tender passages of the tenor solos.

Dresden.—A short time since, the Zauberflbte was performed, as an experiment, with the various instruments tuned according to the or

chestral pitch customary at Vienna, during Mozart's life-time. All musical authorities hero have long acknowledged and advocated, as absolutely indispensable, the necessity of lowering the present orchestral pitch, and their wishes have been realised with the most gratifying results, the experiment having proved a decided success. The new pitch is about half a tone lower than that previously in use.

Leii'8ic.—A young lady of the name of Busster, a pupil of Herr Mantius, of Berlin, has made a successful dibut in the character of Orpheus in Gluck's opera. She was called on alone at the conclusion of the first act, and, in company with Mile. Brenken, Eurydice, at the end of the opera.

Cassel.—Great activity has been exhibited at the theatre since the opening of the present season, as will be seen by the subjoined list of operas represented: Don Juan (twice); Figaro's Hochzeit, and Die Entfuhrung aus dem Serail (revivals, twice); Fidelia (revived); Der Freischiitz (twice); Nachllayer in Granda, Czar und Zimmerman)!, Undine, Martha, Stradella, Robert le Diable, Les Huguenots (twice); La Part du Diable (revival); Wilhelm Tell, II Barbicre, Nachtwandlerinn, La Juive (twice). La Fille du Ittgiment, Lucrezia Borgia, Lucia di Lammermoor, Joseph in Aegyptcn, Tannhiiuser (three times). Die lustigen Weiber von Windsor, Otto, der Schiitz (new, three times), Orpheus in tier Unterwclt (new, four times). To these will shortly be added Aloise, by Maurer, Tempter und Judin, and Jessonda. The new prima donna, Mad. Kapp-Young, has already become a great favourite. She has made a most favourable impression as Fidelio, Valentine, Donna Anna and Elizabeth.

Zittau.—On Marschner's birthday, the following message of condolence was telegraphed from this place to his widow in Hanover: "The undersigned beg to assure Mad. Marschncr of their deep sympathy for her heavy loss; the town council and municipal officers of Zittau."

Munich.—The third Subscription Concert given by the members of the Musical Academy commenced with Mendelssohn's C minor Symphony. Mad. Dicz then sang the air, with harp accompaniment, from Gluck's Orpheus und Furydice. She was greatly applauded, and presented, by the hands of Herr Lachner, Music Director-General, with a crown of laurels. Herr Veuzl performed the adagio and rondo from Molique's A minor Concerto, very admirably, and, although somewhat nervous, proved himself a young artist who bids fair to become a distinguished violinist. The concert wound up with a highly satisfactory performance of Mehul's " Hunting Overture."—The programme of tho fourth concert of tho series opened with Haydn's Military Symphony, performed with great fire by the orchestra, comprising some ninety members. The concert terminated with F. Lachncr's "Sturmcsmythe," the Munich Sangcrgenossenschaft, an association consisting of about 300 male voices, lending their assistance. The composer was loudly and enthusiastically applauded.—A vocal entertainment was recently given by the Mannergesangverein, " Neu Bavaria" in tho Westendhnlle. Among the pieces sung was Gumbert's "Standchcn," in which Heir Benof greatly distinguished himself by his execution of the tenor solo and "Der Sturm," by Lachner.—At the theatre, Herr R Wagner's Tannhiiuser has been produced with tolerable success. The representation of M. Gounod's Faust has been postponed, in consequence of the hoarseness of one of the principal singers.

Schwerin. — Christmas was celebrated at the theatre by a fairy twoact ballet, entitled Der TannkBnig, the principal attraction being that it is Herr von Flotow who has composed the music, which proved very successful, and was loudly applauded.

Limbero Meyerbeer's Dinorah has made a great hit, and is enjoying a regular run.

Prague. —A new opera by a local composer is a novelty here, and, therefore, it was not extraordinary that the theatre should bo full to overflowing on the production of Der Liebesring, by Herr Skraup, who is Capellmeister at the cathedral. The opera was not, however, a success, despite the strenuous efforts of the composer's friends to force it down the public throat. Neither the book nor the music rises above mediocrity.

Rome.—Liszt has been here for the last month, engaged upon an oratorio entitled: Die heilige Elisabeth. A German correspondent of the Neue Berliner Musih-Zeitung speaks in the following terms of music and musicians in the Eternal City: "Tho fine arts are, as a matter of course, at present, as always, and here as everywhere else, subject to the influence of the atmosphere surrounding them. Creative art requires movement, strife, a yearning for some distant and, often, even a scarcely known goal, independence, and freedom, in order that it may flourish. Reproductive art, on the contrary, thrives best under the protection of a quiet, tranquil, easy state of things, based upon contentment with regard to the present, and absence of care for the future. This may be asserted of music, and, especially, vocal music. In contradistinction to the Germans, the Italians possess a lively perception of melody, while they appear to have no sense of harmony. You often meet people here, who, after hearing an opera two or three times, seat themselves at the piano, and repeat most of the motives, without knowing the notes. There are an immense number of natural singers, many of them endowed with magnificent voices. What, it may be asked, are not such men, endowed with such voices, as well as with a musical ear and a love of the art, capable of receiving a musical education? It is a well known fact that, in Rome, all instruments—with the exception of the organ — women and boys are excluded from the choirs in the churches. The soprano parts are sung neither by women nor boys. It is true that the barbarous production of such voices is 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 voices produced upon myself a repulsive effect in the Sixtino Chapel, and the basilica of St. Peter. The tenors, also, are somewhat nasal; the basses alone are fine and vigorous. The execution is correct and delicate; the compositions, modern and insignificant. In the other churches, music is at a very low ebb. The soprano parts are sung by actual men. Of course, anything like light and shade is entirely out of the question, and every one seems as though he was endeavouring to scream louder than every one else. The compositions performed are worthless, and the organists scarcely fit to be placed on an equality with our country teachers. Such is the state of music in the capital of Christendom! At the 'Nobil Teatro di Apollo' four operas and a half were produced in the course of the season. The prima donna, De Giuli Brosi, has completely sung herself out. The tenor, Sarti, possesses a powerful voice, and sings a la Freschini. The baritone, Stnrti, belongs to the legion of insignificant, stereotype tyrants of Italian opera stria. I was better pleased with the second baritone, Dantoni, who got through Figaro very respectably. The acting and singing of the Almaviva, a weakly tenorino, were lamentable. Bartolo and Basilio were not offensive, and did not indulge in the extravagances usual among ourselves. The Bosinn of Signora de Marini was far from perfect, with regard to fioriture and acting, but this lady's shortcomings found, to some degree, if compensation in the freshness and youth of her voice, and her pleasing personal appearance. The smaller parts were respectably filled, while the chorus and orchestra were satisfactory. Between the first and second acts of the opera, there was a grand ballet. Both the chorsgraphic effusions, produced in the course of the season, were by Rota. I do not believe that anything so revoltingly immoral as this ballet was ever seen on the stage. Nevertheless, I am obliged to acknowledge that Signor Rota is endowed with decided c horeographic talent. His ballet contains at least a plot, which is tolerably well put together and easy of comprehension j the various personages, also, have a touch of character about them. The ensemble dances are distinguished by new, pleasing and effective figures. One of the most charming, for invention and purpose, is the Minuet of the Five Senses, in the last tableau. There are no second premiires danseuses, nor is the corps de ballet so numerous or so well trained as that in Berlin, but, on the other hand, it is composed exclusively of young and handsome girls, who, however — nola bene—always conduct themselves with perfect propriety on the stage. The dresses were tasty and elegant, and the scenes far better painted than they usually are. It would be useless to name the operas produced here, since not one of them will ever cross the Apennines. The great strength of such troupes consi6t3 in their comic artists. The troupe at the Teatro di Apollo can boast of two admirable ones. The ladies possess experience and manage to get on tolerably ; but most decidedly too weak are the tenors, sentenced to a perpetual course of love making. The ensemble is fresh and lively. National dances are often interwoven with the operas, and very characteristically executed by the singers. On Sundays there are always two performances, one at 3 and another at 7 o'clock, P.h. I Mr/sic At Geneva. — "C'est demain mercredi, 15 janvier, qu'aura lien le concert donne par Miss Augusta Thompson, MM. Pique et Alexandre Billet. — Miss Thompson ct M. Pique qui se sont fait entendre samcdi dernier nu concert du Conservatoire, nons avaient file annonces comme de grandes celebritSs d'outre-Manche, mais leur sncees a encore depasse notre attente. Ce sont deux artistes hors ligne. M. Paque est un talent serieux, large, en meme temps que gracieux et plein de sentiment. II a le correct, le beau son, lc grand style de Servais ct de Franchomme, et il chantc sur son instrument comme Bat ta j aussi son succes au Conservatoire a-t'il ete un veritable triomphe. Quant a la gracieusc cantatrice ecossaise, Miss Thompson,nous nepouvons trouver de tetmes pour qualifier cette voix ravissante. C'est un timbre qui lui appartient, d'une douceur, d'une sonorite, d'un charme incxprimable. Et puis quelle ecole, quelle belle maniere de chanter, quelle purete de style, c'est l'art du chant pousse a sa derniere limite. Les rappels et

les applaudissements qui l'ont accueillie ont prouve une fois de plus que notre public sait apprecier le veritable talent.—Miss Augusta Thompson chantera demain de ravissantes melodies ecoseaises, l'air de la Traviata ct le grand air du Servient, qui est, dit-on, un de ses triomphes. Le trio de Mendelssohn par MM. Paque, Billet et K—, notre excellent amateur, commencera le concert. M. Paque, outre ses solos, cxeeutera avee M. Billet In celebre Polonaise de Chopin pour piano et violoncelle, avee laquelle ils ont tous deux obtenu de si brilliants succes en Angleterre. Aussi nous pouvons predire salle comble. Une telle reunion de talents de premier ordre est rare a Geneve, et chacun voudra venir applaudir ce triumvirate." —Journal de Geneve.


On Friday night (the 10th inst.) Haydn's Creation brought the usual crowd to Exeter Hall, and, though, on the whole, we have heard some of the choruses given with more uniform precision, the oratorio was listened to with the usual pleasure. As its great and enduring popularity, however— in spite of "Awake the harp," "The Heavens are telling," "Achieved is the glorious work," "Hail, bounteous Lord !" and "Praise the Lord, yo voices all 1"—depends materially upon the solos, duets, and trios, this would have been the case even had the members of the choir laid themselves(open to more serious animadversion. "With verdure clad," " In native worth," "On mighty wings," Now Heaven in fullest glory," and "Graceful consort,"—these are the attractive pieces that have won and retained for so long a period the hearty attention and sympathies of the multitude. On the present occasion they exercised as potent a spell as ever. The chief parts being happily, in each particular instance, allotted to singers of the highest eminence, the flowing melodies of Haydn, so artless in conception, while so gracefully ornate —simplex munditiis — were listened to with all the old enthusiasm.

The soprano was Miss Parepa, the tenor Mr. Sims Reeves, the bass Signor Belletti. In such hands it is not surprising that the execution of the characteristic trios for Gabriel, Raphael, and Uriel should have been entirely beyond reproach. No less excellent were the duets for Adam and Eve in Part III, — the representatives of our first parents being Signor Belletti and Miss Parepa (the Raphael and Gabriel of Part I.), "O star the fairest" was so well given as to bear away the palm from "Graceful consort" itself, which, nevertheless, could easily afford, for once in a way, to resign the chief honours to its more stately and beautiful, if less universally admired, companion. Miss Parepa is becoming an oratorio singer of the first rank. Of "With verdure clad" it is unnecessary to speak; but her rendering of the Archangel Gabriel's narrative, "On mighty wings," deserves a word of unqualified enlogy. While less intrinsically engaging than its predecessor, being of a more florid character, it presents greater difficulties to surmount, and is consequently a surer test of the capabilities of a singer. In this elaborately embellished air, with its passages, trills, and cadences, Miss Parepa left absolutely nothing to desire. How effectively Signor Belletti declaims the recitatives and airs in which that part of animate nature, the work of the "fifth day," is described by Raphael (" And God created great wales," &c), we need hardly inform our readers. So articulate is his enunciation of the text as to cause his foreign accent altogether to be forgotten—a genuine artistic achievement. As the last great act of Creation naturally involved the highest theme for contemplation, Haydn seems to have put forth all his strength in the music to Uriel's recitative, " And God created man after hisown image," and to the air, " In native worth and honourclad "— generally, and no doubt justly, esteemed the finest in the work. The delivery of this on Friday by Mr. Sims Reeves was the most striking incident of the evening. As it was his first appearance since his tour in the country with Mad. Goldschmidt Lind, and, indeed, since the Birmingham and Hereford Festivals, it was as important to himself that his success should be complete as it was agreeable to the audience to find his voice in such splendid condition. Often as he has been praised in the Creation, Mr. Reeves possibly never before stood forth so incontestably the first of oratorio singers. This merely shows that, unspoiled by the flattering testimonies of public approbation to which he is accustomed, and too sensible to imagine himself perfect, he continues to study with the zealous assiduity which originally helped him to distinction. Such applause as that which—despite Exeter-hall etiquette and quasi-prchibitions—greeted him at the termination of " In native worth," which had been followed throughout with breathless interest, would suffice to turn the brain of any singer less truly and conscientiously an artist.

The lovers of Handel's music will'be gratified to learn that his rarely, heard oratorio of Deborah is to be revived on Friday, the 31st inst.


Regent Street and Piccadilly.


January 20, 1862, the Programme selected from theworks of various composers
Clarinet—Ma. Lazaros. Second appearance of M. Sainton.
Pianist—Miss Arabella Goduard.


fiF*V\,-Ql,*r?et» in F m*jor- No- J6' for tw° Violins, Viola, and Violoncello (Haydn), (first time at the Monday Popular Concerts), MM. Sainton, L. Ries H Webb, and Pezzk. Song. "Ah! if I must obey" (Armida) (Gluck), Miss Banks. song o cara immagine (Moiart), Mr. Dk La Have. Sonata, in C major, for Pianoforte Solo (C. M. von Weber), Miss Arabella Gouuard.




in. .. . .. * , „. 4uuu,,i )u n, lur i larinei, iwo' - , /i

(repeated by general desire), MM. Sainton, Lazarus, L. Ries, H. Webb, and Pezze. Conductor, MR. Benedict. To commence at eight o'clock precisely.

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 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 Quintet, an interval of Five Minutes will be allowed. The Concert will finish not later than half-past ten o'clock.

Stalls, 5s.; Balcony, 3s.; Admission, is. 'Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Chappkll and Co., SO New Bond Street, and of the principal Muslcsellers.


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

~ f Two lines and under 2s. 6d.

Oltrms \Eveiy additional 10 words (id.

To Publishers And Composers.All Music for Review in The Musical World must henceforward 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 in 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.


ii TiHEY manage these things better in France!" Every -1- theatre in Paris has its especial direction and commission. Its repertory is determined and restricted. The law of the State sets forth what it shall perform, and what it shall not. There is as strongly defined a difference between any two theatrical establishments as between any two bureaux devoted to different traffics. No greater distinction exists between an egg-ddpot and a pianoforte warehouse than between the Theatre Francais and the Vaudeville. Even the four theatres to which belongs the right of performing operas in general — namely, the Grand Opera, the Italians, the Opera Coraique, and the Theatre Lyrique—are strictly prohibited from infringing on each other's privileges. None but the Italians can represent operas in the Italian language; the Grand Opera alone has the power of giving French operas in recitative and complete ballets; while the Opera Comiqueand Theatre Lyrique are separated by particular and marked provisions and grants. In the regulation—or non-regulation—of our theatres, all is liberty and licentious

ness. In consequence of the Government refusing to recognise houses of amusement, every manager may provide what kind of entertainment he pleases. Mr. Gye of the 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 Don Giovanni or Guillaume Tell the same night, and the Lord Chamberlain would make no stir. The ruling powers care not for Italian Opera in general or Don Giovanni in particular; and so every theatre in London may endeavour to fascinate the public through mediation of the Italian repertory, if it pleases. The Wandering. Minstrel and the Barbiere are identical in the eye of the law; and, as far as our legislators are concerned, Mozart and Rossini have no more refining influence on the popular mind than Mr. Selby and Mr. Nelson. The result is, not only extreme injustice to managers who hold the direction of theatres dedicated to some particular class of performances, but, in the end, the ruin of the performances themselves. Had the right of playing Shakspeare's comedies and tragedies been circumscribed to one locality, instead of the meagre exhibitions now provided, even under the most fortunate and favourable existing circumstances, we should, notwithstanding the dearth of histrionic talent, have had to boast of efficient and remarkable, if not complete and powerful, representations. If Mr. Charles Kean, Mr. Phelps, Mr. Anderson, Mr. G. V. Brooke, and Mr. Creswick were to unite and form one body, in place of each erecting a standard for himself, separate and apart, the Shakespearian stage would be in a far more flourishing condition than it is. The above actors, who all singly, — except perhaps Mr. Charles Kean, who may be denominated a " superior" star—are of inferior lustre and magnitude, would, in combination, constitute a galaxy of talent calculated to excite universal attention. Instead whereof, Shakspeare is made unworthy on the boards, and his very name falling into disregard. Will anybody avouch that Italian Opera receives the same high patronage it did in the days of Pasta and Sontag? More people certainly attend the performances now; but that is because London has grown larger, not that the inhabitants are fonder 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 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. We have seen Italian Opera in London when pheasantshooting was in its grand climacteric and Christmas hounds were afoot. We have witnessed its performance at several theatres of the metropolis. It is now a thing of all seasons and for all theatres. Though Fashion still follow in its wake, the vulgar crowd takes part in the pursuit, and " the kibe of the peasant galls the heel of the courtier." It is a gcod law that defines special performances for particular theatres. Such a law in England would prove of vast utility, and would tend greatly to the amelioration of the stage.

The announcement of a new operetta by Mr. Howard Glover, to be produced on Monday at Drury Lane, gave rise to the foregoing speculations. That a composer who within a few days had achieved an eminent success by his first opera in our National Theatre should, by any force of circumstances, be compelled to take a new work to another theatre, and that theatre one dedicated to drama and pantomime merely, demonstrates indeed that something is rotten in operatic and dramatic affairs, and that reformation is

« ElőzőTovább »