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THE VOICE AND SINGING.

“HAST THOU NO TEAR FOR ME?"

Composed expressly for him by CIRO PINSUTI, at MLLE. RUBINI'S CON. CERT HANOVER SQUARE Rooms; MR. BLAGROVE'S CONCERT, HANOVER SQUARE: MLLE. SEDLATZEK'S CONCERT, GROSVENOR STREET ; aud at MISS

STEELE'S CONCERT, HANOVER SQUARE Rooms, « The Formation and Cultivation of the Voice for Singing.' By ADOLFO FERRARI. London: Duncan Davison & Co., 244 Regent Street.

MR. SALAMAN will PERFORM on a Double Harpsi" The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises

L chord, by Shudi (1771), kindly lent by Messrs. Broadwood & Sons, at his

GRAND EVENING CONCERT, at the Hanover Square Rooms, on Tuesday next, which greatly increase its value."-Illustrated News.

June 17, at Eight o'clock. London: Duncan DAVISON & Co., 244 Regent Street, W.

M ISS ELLEN BLISS (Pupil of Benedict) will play at

L the International Exhibition EVERY DAY in the Ensuing Week. THE AIRS, BALLADS, FANTASIAS, QUADRILLES, All Communications respecting Engagements and Pupils to be addressed to l lessrs.

Boosey & Sons, 28 Holles Street. WALTZES, &c. IN THE OPERETTA OF “ON CE TOO OTTEN » MISS LOUISA VAN NOORDEN will make her First

Appearance in public since her return from Italy, the latter end of this month

(June), at a MATINEE MUSICALE. Particulars will be duly announced. ; COMPOSED BY HOWARD GLOVER.

Conductor : Mr. M. W. BALFE, Performed with the greatest success at the Theatre Royal, Drury Lane.

MR. GEORGE PERREN will sing ASCHER's Popular Published by DUNCAN Davison & Co., 244 Regent Street, W.

Song, "ALICE, WHERE ART THOU?" at Mad. Celli's Concert, Beethoven Rooms, Mad. Sainton-Dolby's Concert, St. James's Hall, and at Miss Eleanor

Armstrong's Concert, Hanover Square Kooms.
MEYERBEER.

THE MISSES HILES will sing the Duet “OH! THE FOLLOWING COMPOSITIONS, by this eminent 1 GLORIOUS AGE OF CHIVALRY,” from Howard Glover's popular 1 Composer, are published by DUNCAN DAVISON & co.:

Operetta “ Once Too Often," at Mad. Dryden's Concert, June 19.
VOCAL.

M ISS ROSE HERSEE has returned from her Provincial

LT Tour, and will sing at Mad. DYDEN'S CONCERT, Beethoven Rooms, " Here on the mountain," with Clarionet obbligato ...

June 19, and at the MORNING CONCERT of the LONDON VOCAL QUINTET Violin or Violoncello in lieu of Clarionet, each 06 UNION, June 25, 2 Church Terrace, Camberwell. * Near to thee,” with Violoncello obbligato ...

40 « The Fischermaiden...

10 The Lord's Prayer for Four Voices, with Organ ad lib.

3 0 DELFAST ANACREONTIC SOCIETY. -WANTED, Separate Vocal parts, each

06 " This house to love is holy." Serenade for Eight Voices ...

D by the above Society, a GENTLEMAN competent to act as Leader and Con4 0

ductor. Separate Vocal parts, each ...

06

For particulars as to Salary, &c., apply to William Carson, Honorary Secretary, Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and I Bass

Victoria Bui.dings, Belfast.

8.
4

d.

0

MUTUSIC TRADE. – WANTED an Assistant of ex-
U perience. Apply by letter to Mr. James Russell, music-warehouse, 125 High
Street, Oxford.

PIANOFORTE. Roral Wedding March (Quatrième Marche aux flambeaux). Composed for the marriage of the Princess Royal of England with Prince Frederick William of Prussia ... Ditto, as a duet

London : DUNCAN DAVISON & Co., 244 Regent Street, W.

50

...

10 01

VIOLONCELLO for SALE.-A first-class Violoncello
V to be disposed of. To be seen at 13 Silver Street, Notting Hill, Bayswater.

Just published, price 2s. 6d. DELOVED ONE, NAME THE DAY.” D written by JouN LAMB, Esq., composed by Alfred MELLON.

London : DUNCAN Davison & Co., 244 Regent Street, W.

MISS ARABELLA GODDARD begs to inform her

U Friends and Pupils that she has REMOVED to No. 26 Upper Wimpole Street, Ballad, I

Cavendish Square.

ASCHER'S New Solo, “ALICE," Played by the

Composer with such distinguished Success at Mad. Puzzi's Concert, the Grand Exhibition Concert, Exeter Hail, and at the Mansion House, is published, price 45,, by Duncan Davison & Co., 244 Regent Street, W.

THE MUTUAL LIFE ASSURANCE SOCIETY

(A.D. 1834), 39 King Street, Cheapside, E.C. London,
On January 1, 1862, Capital, from Premiums alone, £403,165.

Income upwards of £18,000. Assurances €1,634,755.
Bonuses average more than 23 per cent. per annum on sum assured,
Profits divided yearly, and begin on second premium.
Every Member can attend and vote at all general meetings.
Last Annual Report and Accounts may be had.

Charles INGALL, Actuary.

D RI A N'S NEW SONGS,

" When twilight wakes the star," 25. 60.

“ Self deception " (Seibst betrug), 28.
London : DUNCAN DAVISON & Co., 244 Regent Street, W.

HARP MUSIC, BY BOLEYNE REEVES.

7 0 60

TARANTELLA, by WALTER MACFARREN, played by the

1 Composer with distinguished success, is published, price 4s., by Duncan DaviSON & Co., 244 Regent Street, w.,

SONATA DRAMATICA
CONCERT SOLO, “ Der Freischütz
RONDO A LA VALSE
STUDIES. No. 1 in F, No. 2 in
PASTORALS. No. 1. E flat ...

2. B flat ... ...
3. B flat minor

4. F minor
ADDISON, HOLLIER & L

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MRADLE SONG, by REICHARDT.-"Good Night "

(Cradle Song), sung by Herr RBICHARDT, at Mad. Puzzi's Concert, and raptur. ously encored, is published, price 3s., by DUNCAN DAVISON & Co., 244 Regent Street, W.

THE CECILIAN PITCH PIPE (a new invention), for

the waistcoat pocket, is superior to all others,' being much more powerful in tone than any other at present in use the pitch does not vary, whether sounded Piano or Forte-is easily repaired, or the pitch altered if required.

Price (any note) 28. 6d. Post-free,
BoosEY & CHING, 24 Holles Street, W.

TAMES LEA SUMMERS' New Song, “COME, DEAR U ONE, BACK TO ME," sung by Herr ReicharOT, and rapturously encored at the Composer's Concert, St. James's Hall, May 30. Price 28. 6d.

London: DUNCAN Davison & Co., 244 Regent Street, w.

FINCHAM, ORGAN-PIPE MAKER, VOICER, and TUNER,

110 EUSTON ROAD, LONDON.
Amateurs and the Trade Supplied at the Lowest Terms.

ASHDOWN & PARRY (successors to Wessel & Co.)

beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.

Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be had, post-free, on application,

London : 18 Hanover Square.

MUSICAL SOCIETY OF LONDON.

follows that he who can play the fantasias of Paganini can also play the The fourth and last concert of the present (the fourth) season, which

fugues of Bach. Still higher, nevertheless, than one or the other, and took place on Wednesday evening in St. James's-hall, was an entertain

indeed than both combined, should be esteemed the perfect readingment of more than ordinary attraction. It commenced imposingly with

perfect in conception as in mechanical delivery-of such a work as Mendelssohn's overture to Athalie-perhaps, on the whole, his noblest

the concerto of Beethoven, a musical poem of the highest imagi

nable beauty. Herr Joachim's execution of this marvellous conorchestral prelude, and certainly the one in which he most completely

certo shows a genius only less than that which enabled the composer lays aside whatever may be criticised as mannerism in his style, rival.

himself to produce it. He plays it (always from memory) as though he ling even Beethoven in massive grandeur and simplicity. At the end of the first part there was a new MS. overture entitled Don Quixote, the

was extemporising in a moment of inspiration-as though, in short, composition of M. Silas—careful and clever, like everything that pro

every phrase of it came directly from his own brain. When the solo ceeds from his pen, scored thoroughly well for the instruments, and ex

instrument should properly dominate, it dominates and subdnes tho hibiting more than one trace of independent thought. This is the third

orchestra ; when the orchestra has to bring out the most important piece by M. Silas which has been introduced at the concerts of the

features in the general design, the violin, in Herr Joachim's hands, Musical Society of London, with the conductors of which institution he

seems to wait upon it, as in duty bound - content to accompany where apparently stands high in favour. The audience, more difficult to con

before it was accompanied. Never, for one instant, is the player made ciliate than any other in London, or probably in England, were rather

conspicuous at the expense of the composer. Beethoven speaks throughchary in acknowledging the unquestionable merits of the young Dutch

out, according to Beethoven's caprice; and Herr Joachim is only too man, notwithstanding the capital execution of his overture by the splen

content to be the inspired tone-poet's mouth-piece. In the “cadenzas" did band which Mr. Alfred Mellon directs so well. This coldness in the

alone does Herr Joachim shine with the unaided brilliancy of a “cirrecognition of unknown talent, however, may be explained by the fact

tuoso;" and even these are so thoughtfully, so reverentially made, that, that nearly one-half of the subscribers are themselves professors—many

amid all their amazing perplexities, they seem to be nothing more than of them, indeed, composers, eager for notoriety, and possibly two or

rhapsodies in glorification of the music that has suggested them, and three with musical illustrations of some romance of Spanish or other

upon the most salient and conspicuous melodies of which they are built. wise exotic origin in their own portfolios. The third overturc (with

In fact, so entire an abnegation of egotistical display, combined with which the concert terminated) was Weber's magnificent Oberon. This,

such faultless and magnificent execution, as that which characterises like Athalie, proceeds from so illustrious a source that its claims admit

Herr Joachim's performance of Beethoven's violin concerto is, we may of no dispute ; like Athalie, it was superbly played; and, to conclude,

safely say, without a parallel. On the present occasion he surpassed like Athalie, was applauded with enthusiasm.' Weber and Mendelssohn

himself, and raised the audience to a degree of enthusiasm almost un

precedented in a concert-room. That Herr Joachim is the very first of need no indulgence, and may pass muster, unchallenged, where such aspirants as M. Silas are met with a “ Qui va ?"

living execntive artists, is, we think, beyond a doubt. The symphony was Spohr's No. 3 in C minor, a work of unequal

The singers were Mad. Lemmens-Sherrington and Herr Wachtel. merit, and yet one which, as a matter of duty, should be now and then

The lady gave the air in which Marguerite with rapture conteinplates brought forward. The first allegro, though built upon a gloomy theme,

the jewels (from M. Gounod's Faust-an air cut after the pattern, but and somewhat monotonous in treatment, contains a second melody as

wanting the fluency, of the late M. Adolphe Adam) deliciously, and graceful and pretty as any that Spohr has written, besides being instru

was warmly applauded. The gentleman (for whom Mr. Salaman remented with a richness peculiar to the composer. The next movement,

quested indulgence, on the plea of hoarseness) was less successful in larghetto, in “ nine-eight” measure, is the gem of the symphony-a

the tenor song from Mozart's Die Zauberflöte (Dies Bildniss ist beflow of unsought melody from beginning to end, and containing one

zaubernd schön"), while the admirable duet of Mathilde and Arnold, passage, which the entire host of fiddlers give out on the “fourth

from Guillaume Tell, by the two, fell singularly flat, its extreme beauty string," of sterling originality and superlative beauty. The scherzo is

considered. Perhaps it is not suited to a concert-room; or perhaps, in sombre, and more or less prolix; nor is it happily relieved by the forced

one instance, it was not so well — but it is useless speculating on what liveliness of the trio, which, but for the major key, would be scarcely

was an unquestionable failure. less heavy than its companion in the minor. The finale, while vigor

At the end of the concert there was a loud call for Mr. Alfred Mellon, ous throughout, and occasionally even brilliant, is in many parts diffuse

who came back to the orchestra to be greeted with a heartiness as and laboured. The fugue constructed upon the principal theme,

genuine as it was unanimous. though spirited and ingenious, is not one of Spohr's most felicitous efforts in the elaborate contrapuntal style ; it brings back the subject

THE INSTALLATION AT CAMBRIDGE. effectively, however, and from this point to the end the interest never flags. We need hardly add that, the Symphony in C minor being the

(From a Correspondent.) work of a truly great master, the critical remarks it has suggested must The ceremonials and fêtes attendant upon the installation of the be weighed exclusively with that consideration in view. What in one Duke of Devonshire as Chancellor of the University of Cambridge were of Spohr's orchestral works may be arraigned as comparatively weak, in brought to a conclusion on Tuesday, when the prize orations were 19 symphonies out of 20 would go unquestioned, if not, indeed, be cited spoken and the installation ode was performed. His Grace's formal in terms of praise. The performance on Wednesday night was, on the | induction to the office took place on Saturday, with the usual Latin whole, worthy the unrivalled band of the Musical Society of London services and addresses, and on Monday he exercised his chancelloric and the conductor, whom English amateurs and English musicians, not duties by holding his first levée, and by conferring the honorary doctor's without good reason, are ready to pit against any other. Every move. | degree upon various distinguished persons. Then, practically, the ment was liberally applauded, the larghetto and the finale, however, business of the installation may be said to have concluded, and the seeming to please the audience most.

proceedings of Tuesday were therefore rather in the way of a wind-up The great feature of this concert - as it must have been at any con congratulatory festivity than an essential or necessary portion of the cert, no matter of what pretensions — was the superb execution, by Herr forinularies customary on such occasions. If we remember rightly, Joseph Joachim, of Beethoven's unparalleled concerto, the only one, there was no ode or any set musical performance of any kind when the unfortunately, which the most gifted and profound of instrumental com. late Prince Consort was installed, although the festivities were of a far posers has dedicated to the fiddle.' Herr Joachim has been styled "the more extensive, brilliant, and general character than those which have modern Paganini ;” but, with deference to the wonderful talents of the ushered in the advent of his successor. But although the scene of great Italian violinist-legitimate successor of Tartini andannihilator ofthe yesterday bears no comparison with that which the university and town of chaste and classical Viotti-this is hardly a fitting compliment to pay Cambridge presented in July, 1847, when her Majesty and the entire court to one who has achieved what Paganini never dreamed of. Paganini for three days graced Alma Mater with their presence, it was gay and atwas the Emperor of virtuosi ; Herr Joachim is the Emperor of genuine tractive. The different colleges evinced their respect for the new Chanfiddlers -- the interpreter elect of Bach, Mozart, and Beethoven, of Haydo, cellor in the orthodox university style. There was feasting in the halls Spohr, and Mendelssohn ; the grandest quartet player, and probably the “dons" and dignitaries wore their gala robes, and the undergraduates the grandest concerto player whom, not only Germany, but Europe has were enthusiastic in their applause, and equally emphatic in their known. What feat of mere“virtuosity,” for example, can be for one in denunciation of pro-proctors and other un popular academic officials and stant compared with Herr Joachim's execution of the solo "chaconnes,” | public characters. Old “ Cam” was dressed out in grand array. All sonatas,and fugues of John Sebastian Bach-which, judged simply in a mé- along the banks at the back of King's, Trinity, and John's, union jacks chanical sense, are more difficult than all the “fantasias” of Paganini and Hags of all colours, some of which bore devices showing that they and his numerous disciples put together? Here we have note for note, had been pressed from other services, waved, dipping gracefully to the and passage for passage. He who can play the fugues of Bach can, as river ; and upon the green sward on either side (which, later in the day, a matter of course, play the fantasias of Paganini; but it by no means | was the areng of a flower show) gaily decorated marquees and refreshment booths peeped out here and there from beneath the rich foliage of the were sung by Mr. Wilbye Cooper and Mlle. Titiens. The solo by noble elms. In the Senate House itself the audience was sufficient to fill, | Mlle. Titiens, without overcrowding, the building. The galleries, which are claimed

" " Then let the young be glad,

Fair girl and gallani lad, by undergraduates as their own exclusive property, were, as a matter of course, thronged, except the cross gallery over the principal entrance,

was encored with much applause. The chorus, which was appropriated to Dr. Sterndale Bennett and his most efficient

“• Health to courage firm and high,

Health to Granta's chivalry,' staff of vocalists and instrumentalists. The daïs was occupied by the new Chancellor, who wore his state robes, the doctors in their scarlet

was rapturously applauded and repeated. gowns, and the various heads of colleges. The space in the centre of

“God save the Queen'concluded the whole. The Senate House the hall, from the foot of the daïs to the entrance, was the standing

was filled in every part, but there was neither crowding nor confusion. room for the other members of the University and visitors, while on

The concert at the Town-hail last night was most successful. It con. either side of them and along the entire length of the chamber rose five

sisted of selections from Mozart, Beethoven, and Mendelssohn." tiers of seats, accommodating between 300 and 400 ladies, habited in all the richness and variety of modern female fashion, and in the bright colours they displayed forming a marked and pleasing contrast to the

CRYSTAL PALACE. dark black cloth and bombazine to which stern academic rule con The Concert on Saturday, May 31st, was of peculiar excellence. demned the masses congregated above and below them. At precisely | Auber's Grand Exhibition March was executed by the band; Beetten o'clock, his Grace the Chancellor, attended by the University hoven's Choral Fantasia was performed with Mr. Henry Leslie's choir, officials, and accompanied by the majority of the doctors who received and Herr Alfred Jaell at the piano; and a new cantata, entitled The their degrees on the previous day, took his seat, and immediately the Daughter of the Isles and the Knight of Saxony, by Mr. Henry Leslie, prize orations were delivered.

played for the first time in public. The cantata does no discredit to the These concluded, the musical performance began. The band was composer of Holyrood. Though by no means a work of so much predirected by Professor W. Sterndale Bennett, who wore the toga of tension, it bears unmistakeable evidence of the same pen - for Mr. doctor of music, which differs from the ordinary doctor's robe in being Leslie has a decided style of his own. We shall not take upon oura sort of drab or cream colour, lined with red instead of the usual selves to criticise the new production until we have heard it a few scarlet. The ode, which was written by Professor Charles Kingsley, l times; we may, nevertheless, state that the general character of the and set to music by Professor Bennett, was sung by Malle. Titiens and music is light and graceful, and that there is no attempt at fine Mr. Wilbye Cooper, aided by an efficient chorus and a powerful band. writing throughout. Simplicity •and perspicuity have evidently The solo parts were given with great effect, and Titiens was more than been the object of the composer's desires, and in these he has once encored. At the conclusion there was a very general, but seeing been eminently successfal. The Bridal March is of a higher that this part of the performance extended over nearly three-quarters aim than any other piece in the cantata. It is brilliantly instru. of an hour, unreasonable, as well as uproarious, demand on the part of mented, and the theme is martial and inspiriting. The composer has the occupants of the side gallery for a repetition of the whole ; but in evidently worked with a will to produce something worthy, and has the concluding item of the programme, viz., the National Anthem, with not failed. The cuntata, which has been composed in honour of the first note of which Titiens effectually extinguished the discord, a the approaching wedding of Her Royal Highness the Princess Alice, satisfactory compromise was found. After the anthem the company concludes appropriately with “God save the Queen,” The prin. dispersed, and, except the flower show in the afternoon and the cipal singers were Mad. Lemmens-Sherrington and Mr. Santley, both hospitalities of which each of the colleges was the scene in the evening, of whom sang their very best and were rewarded accordingly. Each the business of installing the new Chancellor was at an end.

was assigned a solo-to the Knight, a serenade, “ Softly thy beams, O

Morning Sun,” and to the Bride, a recitative and aria, “ With softer (Abridged from other Correspondents.)

radiance glows.” One of the most attractive numbers of the work is, we To-day was, after all, the day of celebrations, the proceedings begin think, the part-song " From your coral chambers speed ye,” which we ning as before, saving that on the appearance of Professor Bennett in the have no doubt will be heard frequently. The choir sang admirably orchestra shouts of acclamation arose that would have made the ears of throughout, and were anxious, as may be imagined, to do every justice Her Majesty's Commissioners, Sir Wentworth Dilke, Sig. Costa, and the | to the composition of their director. Mr. Henry Leslie, by the way, S. H. S. "tingle." Cheers and counter-cheers went on as yesterday, directed the Choral Fantasia as well as his own cantata, Mr. Manns but the under-graduate favourite was Professor Selwyn. The entry of (who, we are glad to hear, is quite recovered) being taken suddenly Mlle. Titiens was greeted with an ovation. Just before the Chancellor

and severely ill. entered three hearty cheers were given for the Public Orator. At ten The Choral Fantasia was, on the whole, a vigorous performance. the Chancellor entered, and as a matter of course was immediately | Herr Jaell maintained the reputation he has already earned in England. the cynosure of all eyes. The Chancellor having taken his seat, the The chorus and band were unexceptionable. Herr Jaell also played prize exercises were recited. Each party entitled to the prize or medal three solos — Bach's Gavotte in G minor, and two compositions of his was presented to the Chancellor in due form, and from the Chancellor's own. In aililition to their share of the cantata the choir sang Pearsall's hands received his honorarium. Then the full orchestra anil pari-song “Oh! who will o'er the dowris so frec,” and “Rule Britannia," chorus commenced the performance of the Installation Ode, the | arranged by Mr. Henry Leslie; and Mad. Sherrington and Mr. Santley words by Professor Kingsley, the music by Professor Bennett. In the supplied their favourite songs respectively, “The shado 17 song," from orchestra were 150 instrumental, and 90 vocal performers. Mlle. Dinorah, and the “Colleen Bawn," from the Lily of Killarney. The Titiens and Mr. Wilbye Cooper sung the solos. It would be unfair to attendance was unusually large for a half-crown day; but the attractions criticise a work so purely“ occasional” as an Installation Ode. Neither were above the average, the weather was beautiful, and, to conclude, poets or musicians can work so well " to order” as when they write be

work so well " to order” as when they write be- | there was a grand display of all the fountains. cause they have something to write. Professor Kingsley's poetic power is so well known, that it is no detraction to his fame to have written a second-rate poem upon this occasion ; and Professor Bennett's position ADELINA Patti.—" LUCIA DI LAMMERMOOR."— The Lucia of Mlle. as our greatest English musician is so completely assured, that he Patti exbibits all the improvement, mental and physical, which we observed must be satisfied on this occasion to have produced a work which, if it in her “Sonnambula.” It is a far truer and more affecting, because a adds nothing to, certainly will not detract from, his reputation.

more passionate performance. It is now animated throughout with a

depth of womanly feeling, which fulfils every necessity of the music (From the T'imes.")

and the story. We no longer look at a wonderful girl, but we listen to 4 The Chancellor proceeded this morning to the Senate House from an earnest woman — and our sympathies consequently respond just as Trinity College Lodge, at 10 o'clock. He was received on his entrance thoroughly as they are appealed to. Thus, whilst her acting is so imwith great chcering, and the orchestra played the War March in proved, and not more in its more vigorous than its more delicate Athalie. The recitation of the prize poems and epigrams then com expressions - not more in the frantic energy with which she clings menced, and as each successful candidate finished reading his prize to her lover after the malediction than in the piteousness of her apcomposition he went up to the throne and received his medal from the peal to her brother to release her from the contract - her singing, in band of the Chancellor. The English poem, by Mr. Rhoades, of due adjustment to it, relies now for its general effect quite as much upon Trinity College, was deservedly applauded in some of its parts. The the depth as upon the brilliancy of its expression. Taken as a whole, recitations being over, the Installation Ode, written by Professor hers is now the most perfect embodiment of Lucia which we have had Kingsley, and set to music by Professor Sterndale Bennett, was per- since Persiani, and one that, in unison with the undeniable attraction of formed. The performance occupied about half-an-hour. The solos her youth and person, allows of no existing rivalry. - Sun, June 9.

The Operas.

débutante, Miss Soldene, displayed a mezzo-soprano voice of excellent quality in another of Mr. Glover's efforts, a ballad entitled “ The strain

I heard in happier days.” Of artists like Mad. Louisa Vinning, Mlle. HER MAJESTY'S THEATRE.

Titiens, Mesdames Weiss, Lemmens-Sherrington, Sainton-Dolby, the SisOn Saturday thc Huguenots was given, and was repeated on Tuesday,

ters Marchisio, Miss Lascelles, Miss Leffler, Mad. Florence Lancia, Nita

Norrie, Misses Stabbach, Horder, Georgi, Mlle. Parepa, Messrs. Santley, when Signor Giuglini, having recovered from his severe indisposition, reappeared as Raoul. On Thursday the popular tenor played Manrico

Gassier, Belletti, G. Perren, Temuant, Lewis Thomas-the mention of their in the Trovatore, and perhaps, with Mille. Titiens, Mlle. Trebelli, and

å l names is sufficient guarantee of excellence; but, in addition to this forMr. Santley in their respective parts of Leonora, Azucena, and the

midable array of vocalists, the instrumentalists were equally strong. Count di Luna, a finer performance was never given of Verdi's opera at

numbering Messrs. Aguilar, Pratten, Barret, C. Harper, Lazarus, and Her Majesty's Theatre. On Wednesday, an extra night, Semiramide

Hausser, Miss Anna Molique and Ilerr Molique, Mr. Charles Llallé, was performed for the last time this season, that is, as far as regards

| Herr Joachim, M. Sainton, Miss E. Ward, M. Francesco Berger, Mr. the “Sisters Marchisio," for, unless our ears deceive us, a little bird

John Wilson, M. Paque, M. Lavigne, &c. The accompanyists, or conwhispered to us that Mlle. Titiens and Mlle. Trebelli would appear for

ductors, to speak by the card-were the bénéficiaire, Messrs. Lindsay one night as Semiramide and Arsace.

Sloper, Ganz, Berger, and Randegger. To-night Meyerbeer's Grand Opera Robert le Diable will be pro

MADEMOISELLE SEDLATZEK gave a matinée in Collards' Rooms, on duced - first time at this theatre for thirty years or upwards — with,

Thursday, in which she was assisted by Mlle. Agnes Bury, the Misses to borrow expressions from the programmes, " new and extensive scenery

Hiles, Miss Anna Whitty, Mr, Tennant, and Mr. Allan Irving, as vocaand original effects, by Mr. William Calcott, the inachinery constructed

lists; and Messrs. G. A. Osborne, W. Ganz, Deichmann, Paque, J. by Mr. Sloman, the decorations and properties by Mr. Bradwell, the

Balsir Chatterton, and Lazarus, as instrumentalists. The sair concert.giver new and carefully studied costumes by Mr. J. May and Miss Dickin.

contributed the following pieces :- Aria " Per picta," from the Prophète, son." The following will be the cast :

sung in German ; song, or lied, “ Fischlein,” by Angelina ; duet Alice, Mlle. Titiens (her first appearance in that character); Isabella,

“ Crudel perché finora,” with Mr. Allan Irving; and the duet for two Mlle. Carlotta Marchisio (her first appearance in that character); Prin

sopranos from the Freischütz, with Mlle. Bury. The great vocal hit of cipal Nun. Mlle. Morlacchi ; Roberto, Sig. Armandi; Rambaldo, Sig.

the performance was Mr. Balfe's ballad " I'm not in love," sung by Bettini ; Un Prêtre, Sig. Gassier ; Araldo, Sig. Cappello; 1st Cavalière,

Mllc. Bury. The duet from Mr. Howard Glover's operetta Once too Sig. Soldi; 2nd Cavalière, Sig. Bossi ; 3rd Cavalière, Sig. Castelli;

Often, "O glorious days of chivalry," sung by the Misses Hiles, was 4th Cavalière, Sig. Casaboni; Bertramo, Sig. Vialetti.

also a great success. In the instrumental part, Mr. Osborne's trio for pianoforte, violin, and violoncello, played by the composer, Herr Deich.

mann, and M. Paque, deservedly bore away the palm. Messrs. Aguilar, ROYAL ITALIAN OPERA.

Ganz, and Emile Berger conducted. There was a large and fashionable ON Saturday night Lucia di Lammermoor was given for the first time

attendance. this year. To Herr Wachtel, the new German tenor, who attempted

MR. SCHLOL8SER's rooms were filled by a distingnished company on the part of Edgardo, we can do no more at present than apply the motto,

Saturday evening last, when the following artists lent their valuable “ vox et preterea ni hil."

aid:- Mlle. Marie Cruvelli, Mad. F. Lablache, Mlle. Elvira Behrens, He certainly has a fine voice, but has no idea

Miss Stabbaclı, and Miss Birch, Herr Reichardt, Signor Ciabatta, Mr. just now of the best method of using it. That he may live and learn

| Burdini, and Mr. Allan Irving as vocalists, and, as instrumentalists, MM. is our sincere wish. Another début, that of a Signor Capponi, as Bide.

Ascher, Rubinstein, Laub, Davidoff and Schloesser. Two trios for the-Bent, may be passed over with the simple record of its having taken place, and the statement that he has an agreeable bass voice as post

pianoforte, violin, and violoncello, by MM. Schloesser and Rubinstein, scriptum. Mlie. Patti's Lucia is a'ready familiar to the operatic public.

were capitally played by the composers, assisted by MM. Laub and Taken for all in all, it is the most perfect, charming, and natural embodi

Davidoff. M. Ascher gave his popular solo, “ Alice;" Herr Reichardt

sung his always welcome “Cradle song” (Good Night), and Miss ment of the gentle Scottish maiden, who, in the madness produced by

Stabbach, Mlle. Behrens, and Herr Reichardt an "Ave Maria" of M. grief, commits a crime the most forcign to her normal disposition. The

Schloesser, which is likely to become a great favourite with the public. slow movement of the aria d'entrata, “Regnava nel silenzio," which

Our space will not permit us to enter further into the details of this Mlle. Patti always chooses, was delivered with exquisite expression ;

interesting soirée ; suffice it that all the artists were on their mettle, and but of course the cabaletta cxcited most applause. The mad scene in

the audience, a large and brilliant one, had every reason to be satisfied the last act, however, offers the best opportunity for the display of vocal

with the entertainment provided by their talented host. proficiency ; and of this the highly accomplished though youthful

Mr. John Francis BARNETT'S ANNUAL CONCERT was given in artist availed herself to the utmost, frequently startling the audience by her bold and brilliant feats into those sudden exclamations of delight

St. James's Hall, on Thursday evening, the 22nd ultimo, and was in which are the best tribute to a singer's talent. Mlle. Paiti's acting in

every respect a brilliant atlair. Mr. Barnett's predilection for the classic

masters is well known. Conspicuous among the items of the programme the second act was nothing less than a masterpiece of qu'et, unobiru

were Spohr's quintet in C minor, for pianoforte, two violins, viola, and sive, and natural pathos. Signor Delle Sedie's Enrico, as far as the

violoncello ; Mendelssohn's trio in D minor, for pianoforte, violin, and singing was concerned, was excellent from first to last. We are row having five performances regularly, week per week.

violoncello ; and Beethoven's sonata in C major, Op. 53, in each of On Monday, Signor Mario being unable to appear, not, as was stated,

which Mr. Barncit played the pianofortc part. Spohr's pianoforte in consequence of indisposition, but in conscquence of a domestic afilic

quintet was originally written, and was first published, with accompani. tion (the death of his cldest brother), Guillaume Tell was substituted

ment for fute, clarinet, bassoon, and horn. It was first performed in this for the Huguenots. On Tuesday, Lucia was given for the second

country with stringed accompaniment, by Mad. Dulcken, in 1847, in appearance of Herr Wachtel; on Thursday, the Prophète, and last

presence of the composer. Beethoven's sonata and Mendelssohn's trio night the Sonnambula. To-night the Huguenots, for the third appearance

are both household pieces, known to every amateur-or should be to of Mlle. Antonietta Fricci.

culogise either of which would be as superfluous as to gild refined gold. Mr. Barnett played splendidly, and was greeted with thunders of

applause at the end of cach performance, more especially after the Concerts.

sonata, as in it the achievement was absolute and unparticipated. Not content with theec grand and classic accomplishments, and knowing no

doubt that among the aristocratic crowd assembled all tastes would not be Mr. Howard Glover's Concert on Saturday last offered attrac. attuned in sympathy with the inighty masters of music, Mr. Barnett, tions so numerous and so varied, that it was not surprising to find St. very properly we think, introduced Thalberg's fantasia on Lucrezia James's Hall almost inadequate to accommodate the enormous throng Borgia, and won cven more applause than in the sonata. In the assembled. Anything like a Getailed notice will be readily excused. quintet Mr. Barnett was assisted by Here Molique, Herr Pollitzer, Herr One of the most noticeable features was the selection from Mr. Glorer's Goffrie, and M. Paque, and in the trio by Herr Molique and M. Paque. charming operetta, Once too Often, entrusted to Miss Augusta Thomson, The vocal music, if not so highly excellent as the instrumental, was Mad. Laura Baxter, Herr Reichardt, Herr Formes, and Mr.Weiss. A new commendable. The Orpheus Glec Union sang three part-songs, and song, also from the same facile and graceful pen, composed expressly for two pieces, the composition of the bénéficiaire, viz., hymn, " Tantum Mr. Sims Reeves, and sung by that gentleman, won an unanimous cn- Ergo,” and wood-song, “ Midst grove and dell," the last two finding core-a compliment with which no one could feel disposed to quarrel, so infinite favour in the ears of the audience. Mad. Lemmens-Sherrington elegant was the song, so faultless the singer. To Mad. Guerrabella fell - one of the veritable queens of the concert-room sang Meyerbeer's a similar honour in an aria by Signor Biletta, “ La Danza d'Amore." A fine song “Nella," inimitably, and Adolphe Adam's " Ah! vous dirai. je, Maman ? ” brilliantly, besides joining Mesdames Weiss and Laura beauty's daughters," sung by Miss Steele, with duet accompaniment on Baxter in the well-known trio from Mr. Balfe's Falstaff, Vorrei parla the pianoforte by Messrs. Benedict and Francesco Berger, was one of ma l'ira.” Mad. Weiss gave Spohr's “ Ah quanta vaga," Mud. Laura the most genuine successes of the concert. The room was filled with Baxter Mercadante's “So m'abbandoni," and Mr. Weiss “ The Wan- | an elegant and fashionable audience. derer," with excellent effect; and Mr. Lcwis Thomas, in a new air, or EXHIBITION Music.-On Monday night a grand concert was held lied, by Mr. Charles Salaman, won universal approval for song and in that vast and incommodious building, Exeter Hall, the principal singer. The concert, which took place under the most distinguished features of which were the compositions written by Meyerbeer, Auber, patronage, was numerously and fashionably attended.

and Sterndale Bennett for the opening of the International Exhibition. MR. LINDSAY SLOPER'S PIANOFORTE PERFORMANCES have been among These pièces de circonstance—which rarely happens to works of the the most recherché entertainments of the season. The programme of kind - promise to become universally popular. On the present occaeach was enriched with classic gems, while so much of what is called the sion they were heard with the same interest, and received with the same " romantic" school-not because it is “romantic," but to distinguish it favour, as hitherto. They certainly enjoyed every advantage that from the "classic"-was amalgamated with it as to ensure a delightful liberal enterprise could secure. A first-rate orchestra rendered full variety. In the second and last performance, given on Thursday after | justice to the capital overtures of Meyerbeer and Auber, and the noon, the 5th instant, the great pieces were Dussek's pianoforte sonata chorus of the Vocal Association, reinforced by a large number of in G major, Op. 35, No. 2; Clementi's Sonata in B flat, for two piano- | competent amateurs, was equally happy in Professor Bennett's beaufortes; and Beethoven's Sonata in A major, Op. 30, No. 1, for violin and | tiful setting of the Laureate's “ Ode." The orchestra and chorus in pianoforte. The meeting of Mr. Lindsay Sloper and Mr. Charles Hallé all made up a force of nearly 500 strong; and with such an able and in Clementi's sonata created immense excitement, and the performance, experienced conductor as Mr. Benedict at their head, the very admirwe need hardly say, was incomparable ; and not less incomparable, as able performance of the Exhibition music—which absorbed the entire may be guessed, was the play in Beethoven's sonata exhibited by Mr. second part of the programme-was no more than might have been Lindsay Sloper and Herr Joachim. Midway between the classic and expected. Each successive piece was listened to with profound atromantic school, belonging to both yet neither-or, more properly, being tention, and applauded at the end with a heartiness that could not one of the strongest examples of the really romantic school is the fan be mistaken. tasia in C major, Op. 159, for violiu and pianoforte, of Franz Schubert, The rest was "miscellaneous," too long to report in detail, but in each which, even by the side of Becthoven, Clementi, and Dussek, gave out particular instance good of its kind. Such familiar acquaintances as a light which could only proceed from a work of genius. Mr. Sloper's the overture to Zampa, the prayer in the market scene of Masaniello, lighter contributions to the programme comprised Stephen Heller's Im “ Partant pour la Syrie," and our own “ National Anthem,” were quite provisata on “Fluthenreicher Ebro," song by Schumann, Op. 98 ; Herr in place at an essentially “popular” entertainment. The choir, howPauer's Berceuse in F major, op. 31; and his own “Spring Song," ever, had a less familiar task to execute in the fresh and charming and valse brillante, “ Eventide.” The “Spring Song" and " Eventide” part-song of Mr. Benedict, “ Blessed be the Home," while the vocal are most charming and graceful compositions, and it requires no prophet “solo” department was unusually rich in attraction. Mlle. Agnes Bury to foretell their popularity. Mr. Sloper's execution of these pieces was (formerly a member of Mr. Jarrett's German operatic company at Drury absolute perfection, and indeed could not fail to recommend strongly | Lane) sang twice; Mad, Lemmens-Sherrington—whose “Shadow Song," bagatelles with a tiihe of their merit. The songs were by Miss Bank's from Dinorah, created a positive furore twice; Mlle. Marie Cruvelli, and Mr. Santley—the lady contributing Mr. Sullivan's " Where the bec twice; and Mr. Sims Reeves, thrice-or rather, being encored with an sucks," and "In my wild mountain valley," from the Lily of Killarney ; enthusiasm impossible to resist in a new ballad, entitled “She may the gentleman, “The Colleen Bawn," from the same opera, and Blu smile on many,” the composition of Mr. Howard Glover (a graceful menthal's “ Le Sguardo.” Mr. Benedict's two songs carried away the pendant to his “Young and artless maiden”), four times. Since Mlle. palm. The vocal music was accompanied by Mr. Harold Thomas and Cruvelli (sister to the once famous “ Sophie") was last in England her Mr. Arthur Sullivan.

voico-a rich-toned and legitimate “mezzo-soprano”_has gained in MLLE. BONDY, a pianist made known for the first time, we believe, strength and improved in quality. Her singing, too, has acquired a to the London public, gave a matinée at the Queen's Concert Rooms, refinement which can only be the result of diligent and unremitting Hanover Square, on Saturday, May 10, under the highest patronage. study. We have rarely hear the cavatina, “ O mio Fernando" (La FaThe young virtuoso was assisted by Miss Palmer Lisle and llerr vorita), given with more finished taste and unaffected expression. Mlle. Reichardt as vocalists, and M. Sainton and Herr Lidel as instrumen- Cruvelli was loudly applauded on retiring from the platform. The other talists. Mlle. Bondy is a neat rather than a great player. If she pieces allotted to Mr. Sims Reeves were “Come into the garden, Maud" lacks power, she possesses delicacy; if she wants profound sentiment, she (Balfe), which never fails to make a "sensation"-being, indeed, one of has at all events refinement. She commenced ambitiously with Beet- the best "sensation songs" extant, and “Oh! 'tis a glorious sight," from horen's Grand Trio in E flat, Op. 70, and performed, with M. Sainton, Weber's Oberon--which the elder Braham himself, for whom it was origia sonata for pianoforte and violin, composed by M. Rubinstein. For nally composed, could not have delivered with more splendid energy. her solos she selected Bach's "Fantasie Chromatique et Fuguc," in D Some brilliant pianoforte solos by M. Ascher (brilliantly executed), the minor; No. 7 of Schumann's “Novellettes,” Op. 21; Stephen Heller's most engaging of which was his “transcription" of the elegant romance “ Tarantelle," No. 5; “ Valse Impromptu,” by Liszt, and “ Erinne of " Alice," the most original his “characteristic" Danse Nègre, agrecrung,” No. 2,"Des Schweisen Weisen," by Raff. Not to make a pun ably varied the programmc. Altogether, a more attractive concert was on the name of the composer last mentioned, one or two of these solos never provided for a Whit-Monday audience. The hall was crammed might be denominated “riff-raff," even though the “Raff” piece dis to suffocation. played the fair pianist's talent to the greatest advantage. In the vocal music Herr Reichardt produced the usual sensation in his own “ Cradle Song," being compelled to repeat it. Herr Wilhelm Ganz accompanied the vocal music.

JAMES LEA SUMMERS' CONCERT, ST. JAMES'S HALL. ROYAL SOCIETY OF FEMALE MUSICIANS. A concert was given at

Sir, -- In your flattering notice of the above, you omitted to state the Hanover Square Rooms on Thursday evening, the 22nd ultimo, for

it was under very distinguished patronage, in aid of the Institution for the benefit of the above Institution, when the following artists gave their

the General Welfare of the Blind, Euston Road, N.W. By inserting gratuitous assistance: - Singers_Miss Augusta Thomson, Mlle. Agnes

this in your next, you will oblige your obedient servant, Bary, Miss Poole, Miss Eliza Hughes, Miss Martin, Miss Steele, Mad.

10 Great Marlborough St.

JAMES LEA SUMMERS. Guerrabella, Mad. Sainton-Dolby, Mr. Wilbye Cooper, Mr. Allan Irving, Mr. Weiss, and the Orpheus Glee Union: Instrumentalists - Mr. Charles Hallé and Herr Davidoff. Of this performance it is not neces

QUERIES. sary to speak in detail. To those desirous of knowing the value of the SIR,Will you insert a list of the orchestra at Her Majesty's Theatre music omitted from the performance of Guillaume Tell at the Royal | in your next number? Can you inform me if the basso Zucchini is Italian Opera, the trio for three sopranos from that masterpiece had no

identical with the Signor Zucconi who sang at the old Opera House in small interest. It was sung by Miss Martin, Miss E. Hughes, and Miss

1856, on the restoration of the Lumleyan régime? With many apoSteele, to whom we tender our best thanks for endeavouring to make

| logies for trespassing on your valuable space, Yours, known one of the brightest gems in Rossini's great work. The only | Oxford, June 16, 1862.

OPERA-HABITUE. encore in a long selection was awarded to Mad. Sainton-Dolby in Mr. [Sig. Zucchini is Sig. Zucchini, and we believe that Sig. Zucconi is Henry Smart's ballad, “The Lady of the Lea.” In Grell's song, “ Speed Sig. Zucconi; at all events, neither is the other. Zucconi is not Zucthe gallant barque," Mlle. Agnes Bury obtained a great deal of ap- | chini, and Zucchini is not Zucconi. We have not a list of M. Arditi's plause; and Mrs. Mounsey Bartholomew's song, “These be none of orchestra at hand.-Ed.]

Letters to the Editor.

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