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ST. JAMES'S H ALL,

MONDAY POPULAR CONCERTS.

MONDAY, JULY 2 8.

LAST MONDAY POPULAR CONCERTS

IN consequence of the extraordinary demand for places at the DIRECTOR'S BENEFIT CONCERT, on Monday evening last, and in order to accommodate those who were unable to obtain admission, tbo Director begs to announce that he will giro ,

TWO MORE CONCERTS, The milt, ION, and positively the last of the season, as follows :— On MONDAY EVENING, July 28. the entire programme of last Monday's Concert, selected from the works of all the great masters, which was received with such extraordinary enthusiasm, will be repeated.

On TUESDAY EVENING, July 29. there will be a Beethoven Night. The instrumentalists will include MM. Cham.es Halle, Joachim, riATTl, Ac. Vocalists: The Sisters Makxhisio, Miss Banks, Mr. W»i»s, Mr. Sims Helves, Ac.

Conductor: M. BKNEniCT. For full particulars "e programme. Sofa Stalls, fi>.; Balcony, 3s.; Admission, Is. Tickets, for which early application is requested, may be obtained of Messrs. Chappell & Co., 50 New Bond Street.

PROGRAMME OF THE Onethundred AND FIRST.

Part I.—Quartet, in E flat, Op. 41. for two Violins, Viola, and Violoncello, MM. Joachim, Wiener, Schreubs, and Piatti (M( ndelssolm); Song, "A bird sat on an alder bough," Miss Banks (Spohr); Song, " The Wanderer," Mr. Weiss (Schubert); Sonata. In A, for Violoncello solo, with Pianoforte Accompaniment, Sig. Piatti (Boceherinl); Song, MDal)a sua pace," Mr. Sius Reeves (Mozart); Harpsichord Lessons, Mr. Charles Halle (Scarlatti).:

Part II. — Elegie, for Violin solo, with Pianoforte Accompaniment, Herr Joachim (Ernst); Songs, "The Savoyard," "The Kiss," Mr. Sims Reeves (Beethoven); Canionet, The Mermaid's song," Miss Banks ( Haydn); Sonata, in A major, dedicated to Kreulzer, for Pianoforte and Violin, Mr. Charles Hallr and Herr Joachim (Beethoven).

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 Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will finish before Half-past Ten o'clock. Sofa Stalls, 5s. ; Balcony 3s.; Admission, Is. Tickets to be had of Mr. Austin, at the Hall, 28 Piccadillyi Chappell & Co., 50 New Bond Street, and all the Principal Musicsellers.

TO CORRESPONDENTS. Ignoramus.—On the contrary. The document was as follows: —" Spohr

born . Now therefore (1852) — years of age. First appeared in

England as a violinist at Philharmonic Concert, March 6, 1820; performed at four, and led two of those concerts in that season. First became known to the English public as an oratorio composer by the production of his Last Judgment at Norwich Festival in 1830. His second oratorio, Calvary, produced in London in 1837, at Hanover Square Rooms, and performed at Norwich under his own direction in 1839, as also subsequently. His last oratorio, The Fall of Babylon, written for and performed' at Norwich Festival in 1842. Spohr visited England in 1843, when he conducted his Fall of Babylon for the Sacred Harmonic Society, at Exeter Hall. Came again to England at the express invitation of the Sacred Harmonic Society in 1847, and conducted the performance of several of his works, including a new Psalm, which was performed for the first time. In the prospectus issued by the society in October last, they promised to produce in the present season Haydn's Seasons and Spohr's Calvary; this promise has been fulfilled. During the year eleven subscription concerts have taken place. The large hall is now closed for decoration. The Sacred Harmonic Society purpose taking steps to improve the organ. It is hoped that the directors of Exeter Hall will be equally alive to the necessity for improving the means of exit'"

Owlet-eye Read; Board of Professors:—Charles Lucas (principal),

John Goss, George A. Macfarren, Henry Blsgrovc, Walter Macfurrcn. The medals were awarded as follows :—Ladies—silver medal, Miss

Fanny Armytagc; bronze medal. Miss Emily Pitt. Gentlemen

silver medal, Henry Robert Eyeres ; bronze medal, John Heywood.

NOTICES.

To Advebtisers.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 Friday*but not later. Payment on delivery.

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

€trms l Every additional 10 words Gd.

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

To Concert Givers No Benefit-Concert, or Musical Perfoi

nice, except of general interest, unless previously Advertised, c be reported in The Musical World.

LONDON: SATURDAY, JULY 19, 1862.

TO return to the subject of a recent discussion with a very learned German contemporary *—there can be no doubt that Marx allows himself to be carried away too far by his indignation against contrapuntal affectation, when he designates the fact of composing a retrograde imitation f (so constructed that it shall repeat a theme backwards, note for note, from the end to the commencement), as a feat suited only to a mere note-spinner, "unless, indeed," as he goes on to add, "the theme be so artistically turned as to be as good,'when reversed, as in'its original form."

No one, however, will allow that the celebrated fuguetheme in Beethoven's B flat Sonata, Op 106 —

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In this shape it appears three times successively, giving rise, moreover, to a lively intermediary movement, which Marx quotes, while he appears not to have perceived that it is developed out of the retrogression itself.

A mere note-spinner's talent might have produced a correct retrogressive copy, and even have effected the transposition into the remote minor key; but the fact of deciding whether the theme, if not constructed with this especial object from the beginning, was adapted to a retrogressive imitation, and whether the latter deserved a place in such a work of art, could alone be accomplished by B deeply experienced master. As such did Beethoven decide, when planning out a movement which Marx can hardly find words forcible enough to praise. If we attempt to examine a little more attentively what the master has done, we shall, we think, see

* The Niederrheinische Musih Zeilung.

\ The original German word — as we have said — is Krebsgang, literally, a " Crab's Walk," or a " Crab's Mode of Walking."

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—and which subsequently proves eminently useful in the fugue. This striking and indisputable instance is not mentioned in any of the elementary works with which we are acquainted.

UNLESS Government is induced to grant a subvention, the Royal Academy of Music will have to close its doors in a few years. The current expenses of the Institution are now in excess of the annual subscriptions, the payment by the students, and the interest on stock, by an average of 500/.; and as the capital in hand is about 4,200/., it is not difficult to ascertain the term of existence of the Academy. How the Institution has fallen into its present state may be told in a breath. The original founders of the Royal Academy of Music, with the late Earl of Westmoreland at their head, having collected donations to the amount of nearly 8,000/., opened the Institution in 1823. A goodly list of subscribers was also obtained. The effect of donations and subscriptions at starting was the gratuitous education of many of the pupils. Thus was the institution placed, in one respect at least, on a footing with Continental Conservatoires. It was soon found, however, that private subscriptions were of such a precarious nature as to render this very desirable object utterly impracticable; and, indeed, but for the sum of 2,230/. presented from the profits of the Westminster Festival in 1834, it is doubtful if the Institution would have survived until now. The fact that the income of the Academy, including the subscription of Her Majesty, amounts barely to 206/. yearly, places its situation in a true light; and unless the legislature comes forward with an annual grant, or the public, taking a far greater interest in musical instruction than it has done of late years, supports it by donations and subscriptions, the Royal Academy of Music is undoubtedly on its last legs. There is no doubt about the matter. The Institution in Tenterden Street will have to close its doors, and many of the students, in all probability, will be compelled to forego the profession upon which they had fixed their uttermost hopes, and for which only their talents had adapted them, since nowhere else could instruction be conveyed to them in so cheap a form. To show what the Academy has done for those who applied for teaching under its guidance, it will suffice to state that since 1823 twelve hundred and forty pupils have been admitted, one hundred and ten of whom have been educated gratuitously, and three hundred and sixty-seven on terms below the regulated tariff.

The Professors, Members, Associates, and Honorary Members of the Royal Academy of Music, alarmed for the safety of the Institution, and anxious to restore it to its former stability and renew its former prestige, have memorialised Government through theChancellorof the Exchequer, the Right Honourable William Ewart Gladstone, for "the grant of a building for the carrying on of the operations of the establishment (a support enjoyed by all the scientific and artistic bodies in the metropolis)," since it would "greatly relieve the Academy of its apprehensions;" insinuating at the same time that "the concession of yet more liberal assistance would give the power of diminishing the charges to students and increasing the number of free scholarships, and thus vastly enhance the benefits of the Institution." The memorial, with the names of the memorialists appended, was printed in the last number of the Musical World. The general claims of the Academy are well advanced, and strongly advocated. It is urged, among other things, that many of the chief public positions in the musical profession have been filled by disciples of the Academy ; that forty years' experience has proved the necessity of such an establishment; and that the immense importance of music, as furnishing thoughtful and entertaining occupation to the industrial classes, is now recognised universally.

Every lover of music must needs wish well to the Royal Academy of Music, even although he may take exceptions, on certain grounds, to the mode in which it has been sometimes conducted, and by consequence his prayer will be with that of the memorialists. We have fears, however, for the prosperity of the application. Music has been too long ignored by the authorities in this country to entitle it to serious consideration from Parliament, without a good deal of stir and bustle beforehand. The Lords and Commoners who have their stalls and boxes at the Opera must first be taught that there is grander music even than the Italian, and that singers have a higher goal even than the Italian Opera. That music is an amusement, all know; but some have to be instructed that it is a great and refining art; and therefore there is just a possibility that Mr. Gladstone may view it in the former light, and not take the same pains with the presentation of the memorial—if it is to be presented—or the same interest in its consideration in his closet, as if it were a subject of finance. Let us, nevertheless, hope for the best. Some of the names annexed to the document must have their weight even with a Chancellor of the Exchequer j and a minister so just, politic, and conciliating may think it worth his while to take the affairs of the Royal Academy of Music under the wings of his protection. R.

To the Editor of the Musical Would.

SIR,— It is gratifying to our English amour propre that two English artists should hold leading positions in one of the great Italian Opera Houses. It is more satisfactory that they should appear there than that they should appear nowhere; but it is much to be deplored that, having artists who are capable of filling such positions, and who may be compared advantageously with the greatest singers of the day, the reward held out to them should be a leading position in Italian Opera. What, it may be asked, is to become of our native composers, and of those among our singers who are not so fortunate as to obtain engagements at the Italian Opera?

Shall we ever have an Opera of our own? Without doubt we shall. There cannot be a question that such an institution is most earnestly desired by the public as well as by our artists. The interest so constantly displayed in all that concerns English Optra, the ready recognition of a work of merit from the pen of any one of our composers, and, above all, the extensive patronage obtained when an English opera, or an opera in English, has been presented in a really efficient manner — witness Robin Hood at Her Majesty's Theatre, and Dinorah at Covent Garden — all go to prove that it is only necessary that it should be established on a broad and liberal plan, for it to become a permanent and prosperous institution.

Is it the mission of the English Opera Association to establish a National Opera? Perhaps. These are some of the conditions :—

One of the great theatres should be the field of operations, both to give dclat to the undertaking, and that Knglish Opera may have the same advantages, as far as possible, as are enjoyed by Italian Opera.

It is not necessary that the prices of admission should be the same as those of an ordinary theatre. The Company would, of course, comprise all the best English artists; and the prices of admission should be such as would secure a proper return for the amount expended.

There is also a foreign artist whose name and whose services would be a tower of strength to the undertaking. If the services of Mile. Titiens were available, the works of the great masters might be presented under the most favourable circumstances; and we might have occasional performances of Let Huguenots and Norma, Oberon, and even Don Giovanni, to relieve Balfe and Barnett, VVallace, Benedict, Auber, Halevy, Macfnrren, &c. &c.: and who dares say that our new National Opera will prove a failure?

But where are the means for setting such an English Opera House on foot to be obtained? The English Opera Association has hitherto pursued a very sure, though a very slow course. Let it proceed still as slowly, if so surely. It has the privilege of publishing, as its Executive Committee, the names of gentlemen well known as musical amateurs.

These must have influence with such as may wish well to English art and are inclined to lend it their aid. Let us wait, then, another season, if it be necessary, or until sufficient money has been obtained to commence in a manner which shall reflect credit on the cause, and insure success.

Anything less than a thoroughly complete and wellappointed establishment will not fulfil the expectations raised by the prospectus of the English Opera Association.

Robin Hood.

MEYERBEER AND THE CRYSTAL PALACE.

Crystal Palace, Sydenham.
May 19<A, 1862.

Mr PEAR SIR,

I Have the pleasm e to enclose herewith a resolution of the Board of Directors of the Crystal Palace Company, thanking you for your kind permission to perform your new compositions j and I hand you at the same time the medals referred to in the resolution which were struck to commemorate the opening of the Palace by Her Majesty in 1854.

After the remarkable enthusiasm displayed by the audience on Saturday and the unanimous expressions of the critics this morning, it would be impertinent in me to say anything. But I trust that you will allow me, on behalf of Mr. Bowley, Mr. Manns, and myself, as the three chief officers of the Company concerned, to express to you our gratification at your having found the Baud of the Crystal

Palace worthy of the special honour of introducing one of your grand compositions to an English audience, and our pride at the warm expressions of approval which fell from you both at the rehearsal nnd the performance.

That you may long live to fill jour present seat on the throne of the Musical profession is, Sir, the sincere wish of your faithful admirer and servant

M. Meyerbeer. George Grove,

Secretary to C. P. Camp. Kissingen, le 26 mai 1862.

Monsieur,

J'ai rec,u la lettre que vous m'avez fait Phonneur de m'adresser, ainsi que les ui6dailles y jointes, presqu'au moment de mon depart de Londres. Je n'ai done pas pu repondre de suite. Mais je ne veux pas tarder plus longtemp's a vous dire combien j'ai etc touche des sentiments de bienveillance et de cordinlite que vous m'exprimez au nom de Messieurs les directeurs de la compagnie du Palais de Christal, ainsi que du souvenir si interessant qui accompagnait votre missive.

• Vous ne me devez aucune reconnaissance (comme vous pavaissez le croire dans votre lettre) pour vous avoir permis de jouer ma Marche du Couronnement au concert du Palais de Christal; car l'execution de en morceau par votre excellent orchestre sous la direction de Monsieur Manns, son chef si intelligent et si consciencieux, a ete splendide, et m'a fait eprouver une vive satisfaction.

Veuillez agr^er, Monsieur, l'assurance de la consideration la plus parfaite de votre tres-de\-oue

Meyerbeer.

GRAND CIVIC ENTERTAINMENT AT
GUILDHALL.

On Thursday evening the Corporation of the city of London, desirous of offering a suitable welcome to the distinguished foreigners and other eminent persons visiting the metropolis on the occasion of the International Exhibition, gave a ball and concert at Guildhall, under circumstances of extraordinary splendour, in pursuance of a resolution unanimously adopted at a Court of Common Council specially convened for the purpose on the 19th of June. The entertainment was similar in its chnracter to that given by the Corporation in commemoration of the Great Exhibition of 1851, and all the necessary arrangements were made under the direction of a special committee appointed by the Common Council, and composed of the Lord Mayor, fourteen members of the Court of Aldermen, and twenty-nine Commoners, with Deputy Harrison as chairman. The invited guests were upwards of 3,000 in number. The concert, under the direction of Mr. Alfred Mellon, commenced about nine o'clock, and lasted until eleven. The programme is subjoined :—

Overturn, " Zaubcrflotc," Mozart; Trio, " This Magic Wove Scarf" (Mountain Sylph). J- Barnett, sung by Miss Louisa Pyne, Mr. Sims Reeves, and Mr. Weiss: Canzonet, "Tlio Spirit's Song," Haydn, sung by Mad. Sainton-Dolby; Seena, "Oh! 'tis a glorious sight" (Olieron), Weber — Mr. Sims Beeves j Air and Variati ns (Crown Diamonds), Auber—Miss Louisa Pyne ; Concerto, Violin, Mendelssohn, performed by Herr Joachim ; Fart Sons, "Oh Hills! Oh Vales!" Mendelssohn, sung by Miss Louisa Pyne, Mud. Dolby, Messrs. Donald King and Weiss; Roninnza, "Ah! mon tils" (Prophete), Meyerbeer, sung by Mad. Didie; Ballad, "My Guiding Star" (Robin Hood), Macfarren, sung by Mr. Sims Itcevcsj Duet, "All idea" (Barber of Seville), Rossini, sung by Miss Louisa Pyne and Signor Belletti; Grand Overture (composed expressly for the International Exhibition, 1862), Auber.

The French national anthem was played by the orchestra at the conclusion. Dancing followed in the great hall and saloon, with an interval for supper, and was kept up until an advanced hour.

"PALMAM QUI MERUIT FERAT." To the Editor of the Musical World. Sir,—In the award of the umpires in the recent competition for the prizes given by the Society of British Musicians, besides the high terms in which the two successful quartets (No. 19, by Mr. Ebenezer Prout, and No. 7, by Mr. Edward Perry) are spoken of, special commendation is bestowed on No. 10 and No 33. It has since transpired that these are severally the works of Mr. William Layland and Mr. Henry Baumer, whom I trust you will gladly assist in your columns to obtain the credit due to them for having so honourably distinguished themselves.—I am, truly yours,

Chas. E. Stephens.

2 Howley Place, Maida Hill, W., July 15, 1862.

Royal Horticultural Society —The bands of the Zouaves and of the Gendarmerie of the Imperial Guard gave their parting performance in the Society's garden on Wednesday afternoon, and left London on the following morning. The enthusiasm with which they have been received by the English public has greatly delighted them.

Mad. Czillag has accepted a very lucrative engagement for the forthcoming season, at the Barcelona Theatre.

Sacked Harmonic Society.Elijah will be performed on Friday next, with Mlle. Parepa, Mad. Sainton-Dolby, Mad. Laura-Baxter, Messrs. Sims Reeves and Santlcy, as principal vocalists.

Benefit Of The Burnt-out.—Prince George Gnlitzin, who is at present staying at Paris, last week announced a concert to be given on behalf of the poor who recently suffered by the late conflagration at St. Petersburg. The Prince himself was to have conducted the orchestra, and several of the pieces in the programme were from his own pen. Next week we shall give an account of the concert, furnished from our correspondent " K."

Music At The International Exhibition.—A series of performances has been given during the week by Messrs. Phasey, Richardson, Wilson, and Tamplin, near the entrance to the Hortieultural Gardens, with uniform success. Several of the pieces were much admired. Among these may be named Meyerbeer's beautiful Lied (sung by Herr Rcichardt), "Here on the mountain"—the voice part adapted for the euphonium, and played to perfection by Mr. Phasey, whose execution of a transcription for the same instrument of M. Ascber's "Alice, where art thou?" bag also elicited great applause. Mr. Tamplin's version of the National Anthem, with solos for harmonium, cornet, clarionet, and euphonium, played capitally by the arranger, Mr. Richardson, Mr. Wilson, and Mr. Phasey, concluded the programme on each occasion.

Crystal Palace. (Communicated.) — The Dramatic College fete, to take place today, is always one of the great events of the year at the Crystal Palace. This season the ladies and gentlemen of the corps dramatique have set to work with a hearty goodwill to amuse their patrons. Foremost among the amusements will be the fancy fair, for which nearly forty ladies, the leading members of the dramatic profession, will hold stalls. The fair will be opened at twelve o'clock by proclamation of the Herald, Mr. F. Romer. The great concert room at the Palace will be enclosed and fitted up as a theatre, with scenery and appointments. In it will be played what is humorously described as a "New Sensation Drama in the style of Old Bartholomew Fair," alternately with a new burlesque by Mr. H. J. Byron, entitled "The Rosebud of Stinging-nettle Farm, or the villanous Squire and the virtuous Villager" (being as domestic a drama as can be done in a quarter of an hour). "Aunt Sally" will be kept by Mr. Buckstone and other celebrated artists; "Poses Plastiques" (newly and beautifully at'ired) by Mr. James Rogers, of the Strand Theatre; a Photographic establishment (by an entirely novel and original process) will be at full work by Mr. Poole and Mr. Paul Bedford; a Cirque Olyrapiqnc will be opened under the direction of an experienced manager; a Royal Punch ami Judy will be under the care of "Little Clarke," of the Haymarket; and as the programme winds up by stating

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ROYAL ITALIAN OPERA.

If Don Pasquale, the most genial and admirable of Donizetti's comic operas—by which is meant, in tho strictest sense, "opere buffe "—has little chance, at the present time, of being "cast" with the perfection that many (too many) frequenters of the Italian Opera, in London as in Paris, still remember with keen delight, it is nevertheless a boon to meet with even one of the four "dramatis personae" exhibited, both from a musical and dramatic point of view, not merely with propriety, but in such a manner as fully to realise the beau ideal of poet and composer. Admitting the author of the libretto to be a poet (and some, with more or less success, have preferred feebler claims to the distinction), it is doubtful whether he could have dreamt of a more graceful, engaging, and at the same time spirited impersonation of his heroine than that of Mademoiselle Adelina Patti, who on Saturday night essayed the character for the first time at Covent Garden. A more genuine success could not possibly have been achieved. The responsibility entailed upon Mile. Patti was in the present instance more than usually onerous, inasmuch as she was concerned with a Don Pasquale who, however zealous and self-confident, being utterly wanting in natural humour, was rather obtrusive than entertaining. Nevertheless such was the vivacity, such the intelligence, such (to use a term for which we have no English equivalent) the esprit of her acting, that, since the incomparable assumption of Mad. Grisi, when Mad. Grisi was in her prime, no such piquant, attractive, and irresistible Norina has been witnessed. In each of her several costumes Mile. Patti—now a ready pupil in the hands of Dr. Malatcsta, now a demure recipient of the advances of Don Pasquale, now a veritable tornado under the roof of the whilome peaceful bachelor, now an impassioned listener to the amorous declarations of Ernesto—looked the arch widow to admiration, and in each her conception and execution of the part were alike histrionically effective. A little more " vixendom," when Norina throws off the mask, and makes Don Pasquale thoroughly aware of the unlooked-for treasure he has picked up, would have rendered her performance irreproachable. Mile. Patti should bear in mind that in this particular situation Norina is acting a part set down for her by her advisers—not exhibiting her own proper nature. Her singing was, from first to last, as nearly as possible faultless. The lesson duet with Dr. Malatcsta was full of life and buoyancy; the great scene, in which Norina perplexes and torments the unfortunate " Don," was genuinely sly and humorous; and that (in the garden interview) where she reciprocates the love of Ernesto just as impulsive and tender. This last — in which Mlle. Patti was associated with Signor Mario, whose vocal tones, when married to the accents of passion, are, as ever, inimitable—elicited an enthusiastic "encore." At the end of the opera — in place of the ordinary finale — Mile. Patti introduced a valse, in the '' bravura" style, a composition which, alike elegant and effective, was, in the hands of the always ready and versatile young artist, a singularly brilliant display. This brought down the curtain amid immense applause, followed by a summons for Mile. Patti, who came forward with the other principal singers.

Of Signor Mario's Ernesto it is enough to say that the audience were enchanted to welcome him once more in a part in which he has never known a rival. We need scarcely add that the famous serenade — '• Com' e gemil" (sung behind the scenes)—was, as usual, redeninnded and repeated. One of the best representatives of Dr. Malatesta since Tamburini, if the execution of the music be taken into account, is assuredly Signor Dello Scdie — not only an experienced singer, but one of the few stage "gentlemen" that walk the boards. The house was literally "crammed to suffocation."

On Monday Guillaume Tell was given for the last time this season, Mad. Dottitii (another new comer of more than average ability) taking the part of Mathilde, in place of Mad. Miolan Carvalho. On Tuesday, Don Pasquale was repeated. On Thursday, Robert le Diable was performed, with Mlic. Hatiu (vice Mad. Miolan) in the character of the Princess; and last night the never-tiring Barbiere. Brilliant audiences have attended each performance. DinoraJt (with Mile. Patti as the heroine) is postponed until Tuesday, iho 29th. Meanwhile, Mad, Penco's engagement (as well as that of Mad. Csillag and Mad. Miolan) having expired, the new singer, Mile. Anlonietta Fricci, is (on Tuesday) to assume the part of Alice, in Robert. La Figlia del Reggiinento is in preparation, for Mlle. Patti, and Masaniello, for Sig. Mario. Nothing can be more spirited than the actual management of affairs at this theatre.

HER MAJESTY'S THEATRE. The English musical public is tolerably well acquainted with the Norma of Mile. Tiiiens. It has been already acknowledged as the noblest assumption of the character of the Druid Priestess — with the single (and remarkable) exception of that of Mad. Grisi — since Mad. Pasta first made the English public acquainted with Bellini's now most celebrated tragic work. Still further progress has, however, been made by the accomplished Teutonic songstress, whose uncommon natural gifts are well bestowed, inasmuch as she endeavours her utmost, in every instance, to turn them to the best account. The most striking exhibitions of lyric tragedy arc at the present time undoubtedly to be witnessed at Her Majesty's Theatre, where the "sabled heroines" of modern Italian opera are represented by Mile. Titiens, whose Lucrezia Borgia, fine as it has justly been pronounced, is at least equalled by her Norma. Mile. Titiens may not sing "Casta Diva" to absolute perfection ; but no non-Italian singer— excepting Mile. Sophie Cruvelli, and, perhaps, without excepting Jenny Lind — ever did; nor, by the way, did Mad. Grisi, who was nothing if not Italian. Still, even in this most arduous cavatina. Mile. Titiens has splendcd points, her glorious voice coming forth " trumpet-toned" in the cabaklta. In the superbly dramatic (however feebly musical) trio, with Pollio and Adalgisa — and more particularly in the famous passages, " Ah, non tremaro " and " O! di qual sci tu vittima"— Mile. Titiens very nearly equals the vigorous energy and transcendnnt enthusiasm of Mad. Grisi; while in the duet, "In mio mano alfin tu sci" (Act II.), where the outraged Druidcss by alternate threats and promises endenvours to make Pollio abandon Adalgisn, she — like Cruvelli — (may the word be uttered ?) all but surpasses her. Not to enter further into detail, the Norms of Mile. Titiens is one of the most striking representations at present open to the "variegated crowd" which now invades the British capital city, and must not be confounded with the ordinary London public. Tho opera is, on the whole, efficiently played. Mad. Lemaire, in Adalgisa — as in all she attempts — is careful, conscientious, and correct; Sig. Armandi exhibits a certain manly energy that redeems the character of Pollio from its normal insipidity; and Sig. Yiuletti is an excellent Oroveso. The band, under the able guidance of Sig. Arditi, is irreproachable.

The first performance of Norma was on Saturday. At the second, on Thursday, Mile. Norden (Mile. Van Noordcn ?) appeared as Adalgisa, in the place of Mad. Lemaire, and was extremely well received. On this occasion the house was so thronged that the first part of the performance passed off in dumb-show; nor was the uproar quelled until Mr. Mapleson came forward and addressed the audience as follows:—

"Ladies and Gentlemen,-- I thank you very much for the overwhelming patronage which you have this night liestowed upon ire, and I deeply regret the inconvenience you sutler. Any lady or gentleman who may wish their money returned, or tickets for another night, can have the same on application at the box-ofllce."

This set matters right, and the opera was allowed to proceed without further interruption.

On Tuesday the Trovatore was repeated. Sig. Giuglini's voice is now in thorough order; Mr. Santley is gradually making his way as an Italian singer of the first class; and Mile. Tiiiens — but of her there is no occasion to speak. Mad. Gucrrnbella has replaced Mile. Carlotta Marchisio as the Princess in Robert le Diable.

A new impetus has been given to the ballet at this house by the arrival of Mile. Katinka Fricdborg, who, in M. Petit's prettily arranged divertissement, entitled Le Reied de Flore, dances with an agility, grace, and "aplomb " worthy of the days when Terpsichore reigned supreme. To-night Le Noize di Figaro will be revived, which, immediately preceding Don Giovanni in the order of composition, comes immediately after it in the order of merit. All the strength of the establishment is included in the "ca*t." Sig. Schira's opera, Aicolo de' Lappi, is in active rehearsal.

Concerts.

Mad. AmcHiNi's Concert.— The entertainment given from year to year by Mad. Anichini to her patrons took place at the residence of the Marquis and Marchioness of Downshire, in Belgravc Square. So elegant was the company assembled, that one might have thought

they were all invited guests of the noble host and hostess, in lieu of a mixed audience of dilettanti. Mad. Anichini's programme was as full of attractions as usual; and as usual the responsibilities assumed by hcrselt were wholly disproportionate to her legitimate claims as an artist. Beyond her share in n "villanella," by Si?. Pinsuti, an ancient preghiera ("Alia trinita beata"), and a duet from M. Gounod's Philimon ct Baucis, with Sig. Ciabatta, her exertions were limited to a single solo. This, however, was the graceful romance, "Lcs adicux a la France," from the lot: M. Niedcrmeyer's opera of Marie Stuart, in which the sympathetic voice, correct method, and genuine expression of Mad. Anichini were exhibited to perfection. The rest of the vocal programme was as excellent as could be wished, but too long to admit of more than a glance at the most striking features. Among the lady singers were Miles. Parepa, Gucrrabella and Trebelli, to each of whom was assigned a solo — to Mile. Parepa the brilliant caratine from Auber's Le Serment, to Mile. Gtterrabella ll false by Sig. Bilctta, and to Mile. Trebelli an air from Mcrcadantc's Giuramento; each performance in its way irreproachable. Solos were also entrusted to eminent professors of the other sex: to Sig. Solicri the romance from Martha; to Sig. Ciabatta a melody entitled "Souvenance," composed for the occasion by Sig. Vera; to Sig. Burdini a romance called "Chanson d'ainonr," by M. Membrce, the "enfant gate " of Parisian saloons; to Mr. Tennant a new song by Sig. Pinsuti (" Hast thou no tear for me? "), and to M. Gassier, Mozart's inimitable "Non pin andrai." Besides the foregoing — and an English ballad, set down for Miss Lascclles — there were three ducts, as acceptable on their own account as on that of the manner in which they were executed. It suffices to name "Dunquo do son" (Mlle. Trebelli and M. Gassier), the duet for soprano and baritone from Verdi's Ernani (Mile. Parepa and Sig. Burdini), and Blangini's pastoral, "Per valli per boschi" (Mile. Guerrabella and Sig. Solicri). A solo on the violoncello (Piatti's Linda), by Sig. Pczzc, of Her Majesty's Theatre, together with performances by a German pianist (Herr Blumncr) in the first part, and by an Italian pianist (Sig. Andrcoli) in the second — the first selecting a polonaise from Charles Mayer, the last an andante by Thnlberg, and a dansc by Gottschalk, completed one of the most attractive programmes Mad. Anichini has ever furnished at her annual concerts. The accompanists at the piano were MM. Vera, Pinsuti and Benedict.

Herr Franz Abt, tho well-known song (Lied) composer, gave a concert at the Queen's Concert Rooms, Hanover Square, on Friday afternoon. All the vocal music was contributed by Herr Abt, whose lieder, or ballads, enjoy almost as large a popularity in this country as in his own. The vocalists were Mile. Titiens, Mile. Licbhart, Mile. Elvira Bchrcns, Herr Reichardt, Herr Searia; the instrumentalists, Herr Alfred Jacll and M. Rubinstein (pianoforte) and Herr Lidel (violqnccllo). Several of the pieces were familiar to the audience; among others, " When the swallows homeward fly " (Die Schwalben), sung by Mile. Titiens; the "Bird Song" ( Voyleim im Tannenvald), and "Good Morning" (Guten Morgen), by Mile. Licbhart; "Ave Maria!" by Mlle. Bchrens; and "0 rosy morn!" (Schlab wvhl, da siisser Engel, du), by Herr Reichardt. Two part-songs—"O sweetflowing streamlet!" (Am Bach) and "Wood notes"—rendered by Miles. Liebhart and Behrens, Herr Reichardt and Herr Scoria, were among the most interesting examples of Herr Abt's talent. Mile. Titiens was, of course, the grand attraction of the concert, and her singing was worthy of her great reputation. Besides the song alluded to above, she gave, " The nightingales are, singing" (Sic Wissen's Kaum), and " Thee only I love," both in her most incomparable manner, demonstrating, beyond nil question, that she was no less mistress of the simple than the grand, of the plain than the ornate style. Three small pieces on the pianoforte by Herr Jacll, and a solo on the violoncello by Herr Lidcll, served to relieve the vocal music.

Mr. Walter Macfarren gave a Matinfe a"Invitation to his friends on Saturday, the 5th inst., at his residence, 1 Osnaburgh Street, Regent's Park, and presented them with an entertainment of great excellence and variety. The concert opened, with Professor Bennett's trio for pianoforte, violin and violoncello, and concluded with Beethoven's sonata in C minor for pianoforte and violin. In the former Mr. Walter Macfarren was assisted by Herr Joachim and Signor l iatti; in the latter by Herr Joachim. Need we say that his own admirable playing, assisted by such inimitable adjutants, made the performances reach the nearest possible point of perfection. Mr. Walter Macfarren selected for his solos Schulhoff's "Aubade," two "Sketches" by Mendelssohn, and a "Tarantella" and "Impromptu" of his own composition. Tho "Tarantella" was unanimously encored. Better still, of his own contributions, was a manuscript Sonata for pianoforte and violoncello, which we arc inclined to think is one of his happiest and most artistic efforts. The vocal music was entrusted to Miss Banks and that star of the Royal Academy of Music that some time since

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