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ST. JAMES'S HALL.

MONDAY POPULAR CONCERTS,

MONDAY, JULY 28.

LAST MONDAY POPULAR CONCERTS.

N consequence of the extraordinary demand for places

order to accommodate those who were unable to obtain admission, the Director begs to announce that he will give

TWO MORE CONCERTS,

The 101st, 102d, 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. CHARLES HALLE, JOACHIM, PIATTI, &c. Vocalists: The Sisters MARCHISIO, MISS BANKS, Mr. Weiss, Mr. SIMS REEVES, &c. Conductor: M. BENEDICT.

For full particulars see programme. Sofa Stalls, 5.; Balcony, 3s. Admission, 1s. Tickets, for which early application is requested, may be obtained of Messrs. Chappell & Co., 50 New Bond Strect.

PROGRAMME OF THE ONE HUNDRED AND FIRST. PART I. Quartet, in E flat, Op. 41. for two Violins, Viola, and Violoncello, MM. JOACHIM, WIENER, SCHREURS, and PIATTI (Mendelssohn); 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 (Boccherini); Song, "Dalla sua pace," Mr. SIMS REEVES (Mozart); Harpsichord Lessons, Mr. CHARLES HALLE (Scarlatti).

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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 † (so constructed that it shall repeat a theme backwards, note for note, from the end to the commencement), as a feat suited

PART II. Elégie, for Violin solo, with Pianoforte Accompaniment, Herr only to a mere note-spinner, "unless, indeed," as he goes

JOACHIM (Ernst); Songs, "The Savoyard," "The Kiss," Mr. SIMS REEVES (Beethoven); Canzonet, "The Mermaid's song," Miss BANKS (Haydn); Sonata, in A major, dedicated to Kreutzer, for Pianoforte and Violin, Mr. CHARLES HALLE 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 Piccadilly; Chappell & Co., 50 New Bond Street, and all the Principal Musicsellers.

born

TO CORRESPONDENTS. IGNORAMUS.-On the contrary. The document was as follows:-"Spohr 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 cleven 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. Macfurren, Henry Blagrove, Walter Macfarren. The medals were awarded as follows:-Ladies-silver medal, Miss Fanny Armytage; bronze medal, Miss Emily Pitt. Gentlemen silver medal, Henry Robert Eyeres; bronze medal, John Heywood.

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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 a deeply experienced master. As such did Beethoven decide, when planning out enough to praise. If we attempt to examine a little more a movement which Marx can hardly find words forcible attentively what the master has done, we shall, we think, see

*The Niederrheinische Musik Zeitung.

†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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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 the Chancellor of 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 blishment; and that the immense importance of music, as furnishing thoughtful and entertaining occupation to the industrial classes, is now recognised universally.

-and which subsequently proves eminently useful in the fugue. This striking and indisputable instance is not men-years' experience has proved the necessity of such an estationed 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 500l.; and as the capital in hand is about 4,2001., 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 8,000l., 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 2,250l. 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 2061. 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.

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 ; 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.

SIR,

To the Editor of the MUSICAL WORLD. IR,-It is gratifying to our English amour propre that two English artists should hold leading positions in It is more satisone of the great Italian Opera Houses. factory 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?

Without

Shall we ever have an Opera of our own? 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 Opera, 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 éclat to the undertaking, and that English 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.

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J'AI reçu la lettre que vous m'avez fait l'honneur de m'adresser, ainsi que les médailles y jointes, presqu'au moment de mon départ de Londres. Je n'ai donc pas pu répondre de suite. Mais je ne veux pas tarder plus longtemps à vous dire combien j'ai été touché des sentiments de bienveillance et de cordialité que vous m'exprimez au nom de Messieurs les directeurs de la compagnie du Palais de Christal, ainsi que du souvenir si intéressant qui accompagnait votre missive.

Vous ne me devez aucune reconnaissance (comme vous There is also a foreign artist whose name and whose paraissez le croire dans votre lettre) pour vous avoir permis services would be a tower of strength to the undertaking. de jouer ma Marche du Couronnement au concert du Palais If the services of Mlle. Titiens were available, the works of de Christal; car l'exécution de ce morceau par votre exthe great masters might be presented under the most favour-cellent orchestre sous la direction de Monsieur Manns, son able circumstances; and we might have occasional perform-chef si intelligent et si consciencieux, a été splendide, et m'a ances of Les Huguenots and Norma, Oberon, and even Don fait éprouver une vive satisfaction. Giovanni, to relieve Balfe and Barnett, Wallace, Benedict, Auber, Halévy, Macfarren, &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.

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Veuillez agréer, Monsieur, l'assurance de la considération la plus parfaite de votre très-dévoué

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 extraor dinary 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 character 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 :—

Overture, "Zauberflöte," Mozart; Trio, "This Magic Wove Scarf" (Mountain Sylph), J. Barnett, sung by Miss Louisa Pyne, Mr. Sims Reeves, and Mr. Weiss: Canzonet, "The Spirit's Song," Haydn, sung by Mad. Sainton-Dolby; Scena, "Oh! 'tis a glorious sight (Oberon), Weber - Mr. Sims Reeves; Air and Variati ns (Crown Diamonds), Auber-Miss Louisa Pyne; Concerto, Violia, Mendelssohn, performed by Herr Joachim; Part Song, “Oh Hills! Oh Vales!" Mendelssohn, sung by Miss Louisa Pync, Mad. Dolby, Messrs. Donald King and Weiss; Romanza, “Ah! mon fils" (Prophète), My Guiding Star Meyerbeer, sung by Mad. Didié: Ballad, (Robin Hood), Macfarren, sung by Mr. Sims Reeves; Duet, "Äll idea” Barber of Seville), Rossini, sung by Miss Louisa Pyne and Signor Belletti; Grand Overture (composed expressly for the International Exhibition, 1862), Auber.

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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, srecial 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.

SACRED HARMONIC SOCIETY.-Elijah will be performed on Friday next, with Mlle. Parepa, Mad. Sainton-Dolby, Mad, Laura-Baxter, Messrs. Sims Reeves and Santley, as principal vocalists.

BENEFIT OF THE BURNT-OUT.-Prince George Galitzin, 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 Horticultural Gardens, with uniform success. Several of the pieces were much admired. Among these may be named Meyerbeer's beautiful Lied (sung by Herr Reichardt), "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. Ascher's Alice, where art thou?" has 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 fête, to take place to-day, 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. Backstone and other celebrated artists; "Posés Plastiques" (newly and beautifully attired) 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. Toole and Mr. Paul Bedford; a Cirque Olympique will be opened under the direction of an experienced manager; a Royal Punch and Judy will be under the care of "Little Clarke," of the Haymarket; and as the programme winds up by stating

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generally that, besides the preceding, there will be an endless variety of entertainments, it is pretty clear that the public will have no reason to regret encouraging, by their presence, the efforts of the ladies and gentlemen of the dramatic profession to establish their excellent charity at Woking on a lasting foundation. The fête will be continued on Monday, when the admission will be, as usual, one shilling.

that

The Operas.

ROYAL ITALIAN OPERA.

66

IF Don Pasquale, the most genial and admirable of Donizetti's comic operas-by which is meant, in the strictest sense, opere buffe "-has little chance, at the present time. of being "cast with the perfection Paris, still remember with keen delight, it is nevertheless a boon to many (too many) frequenters of the Italian Opera, in London as in meet with even one of the four "dramatis persona" 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 idéal 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 Mlle. 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 Mlle. Patti-now a ready pupil in the hands of Dr. Malatesta, 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. Mlle. 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. Malatesta was full of life and buoyancy; the great scena, 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 - Mlle. 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 Mlle. 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'è gentil" (sung behind the scenes)-was, as usual, redemanded 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 Delle Sedie - 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. Dottini (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. Battu (vice Mad. Miolan) in the character of the Princess; and last night the never-tiring Barbiere. Brilliant audiences have attended each performance. Dinorah (with Mile. Patti as the

heroine) is postponed until Tuesday, the 29th. Meanwhile, Mad. Penco's engagement (as well as that of Mad. Csillag and Mad. Miolan) having expired, the new singer, Mlle. Antonietta Fricci, is (on Tuesday) to assume the part of Alice, in Robert. La Figlia del Reggimento 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 Mlle. Titiens. 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 are at the present time undoubtedly to be witnessed at Her Majesty's Theatre, where the "sabled heroines" of modern Italian opera are represented by Mlle. Titiens, whose Lucrezia Borgia, fine as it has justly been pronounced, is at least equalled by her Norma. Mlle. Titiens may not sing "Casta Diva to absolute perfection; but no non-Italian singer-excepting Mlle. 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, Mlle. Titiens has splended points, her glorious voice coming forth trumpet-toned" in the cabaletta. In the superbly dramatic (however feebly musical) trio, with Pollio and Adalgisa and more particularly in the famous passages, "Ah, non tremare" and “O! di qual sei tu vittima"- Mlle. Titiens very nearly equals the vigorous energy and transcendant enthusiasm of Mad. Grisi; while in the duet, "In mio mano alfin tu sei" (Act II.), where the outraged Druidess by alternate threats and promises endeavours to make Pollio abandon Adalgisa, she like Cruvelli- (may the word be uttered ?) all but surpasses her. Not to enter further into detail, the Norma of Mlle. Titiens is one of the most striking representations at present open to the "variegated crowd" which row invades the British capital city, and must not be confounded with the ordinary London public. The opera is, on the whole, efficiently played. Mad. Lemaire, in Adalgisa 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. Vialetti is an excellent Oroveso. The band, under the able guidance of Sig. Arditi, is irreproachable.

-

as

The first performance of Norma was on Saturday. At the second, on Thursday, Mlle. Norden (Mlle. Van Noorden ?) 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 th's night bestowed upon me, and I deeply regret the inconvenience you suffer. Any lady or gentleman who may wish their money returned, or tickets for another night, can have the same on application at the box-office."

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 Mlle. Titiens- but of her there is no occasion to speak. Mad. Guerrabella has replaced Mlle. 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 Mlle. Katinka Friedberg, who, in M. Petit's prettily arranged divertissement, entitled Le Reveil de Flore, dances with an agility, grace, and "aplomb" worthy of the days when Terpsichore reigned supreme. To-night Le Nozze 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 "cast." Sig. Schira's opera, Nicolo de' Lappi, is in active rehearsal.

Concerts.

MAD. ANICHINI'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 Belgrave Square. So elegant was the company assembled, that one might have thought

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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 herselt were wholly disproportionate to her legitimate claims as an artist. Beyond her share in a villanella," by Sig. Pinsuti, an ancient preghiera ("Alla trinità beata"), and a duet from M. Gounod's Philimon et Baucis, with Sig. Ciabatta, her exertions were limited to a single solo. This, however, was the graceful romance, "Les adieux à la France," from the late M. Niedermeyer'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, Guerrabella and Trebelli, to each of whom was assigned a solo-to Mlle. Parepa the brilliant caratine from Auber's Le Serment, to Mlle. Guerrabella a valse by Sig. Biletta, and to Mlle. Trebelli an air from Mercadarte's Giuramento; each performance in its way irreproachable. Solos were also entrusted to eminent professors of the other sex: to Sig. Solieri 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'amour," by M. Membrée, the "enfant gaté" 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 piu andrai." Besides the foregoing and an English ballad, set down for Miss Lascelles-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 "Dunque do son (Mlle. Trebelli and M. Gassier), the duet for soprano and barytone from Verdi's Ernani (Mlle. Parepa and Sig. Burdini), and Blangini's pastoral, "Per valli per boschi " (Mc. Guerrabella and Sig. Solieri). A solo on the violencello (Piatti's Linda), by Sig. Pezze, of Her Majesty's Theatre, together with performances by a German pianist (Herr Blumner) in the first part, and by an Italian pianist (Sig. Andreoli) in the second-the first selecting a polonaise from Charles Mayer, the last an andante by Thalberg, and a danse 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.

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HERR FRANZ ABT, the 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 Mlle. Titiens, Mlle. Liebhart, Mlle. Elvira Behrens, Herr Reichardt, Herr Scaria; the instrumentalists, Herr Alfred Jaell and M. Rubinstein (pianoforte) and Herr Lidel (violoncello). Several of the pieces were familiar to the audience; among others, "When the swallows homeward fly" (Die Schwalben), sung by Mlle. Titiens; the "Bird Song" (Voyleim im Tannenwald), and "Good Morning" (Guten Morgen), by Mile. Liebhart; "Ave Maria!" by Ml'c. Behrens; and "O rosy morn!" (Schlab wohl, du süsser Engel, du), by Herr Reichardt. Two part-songs-"O sweetflowing streamlet !" (Am Bach) and "Wood netes "-rendered by Miles. Liebhart and Behrens, Herr Reichardt and Herr Scaria, were among the most interesting examples of Herr Abt's talent. Mlle. 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" (Sie Wissen's Kaum), and "Thee only I love," both in her most incomparable manner, demonstrating, beyond all 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 Jaell, and a solo on the violoncello by Herr Lidell, served to relieve the vocal music.

MR. WALTER MACFARREN gave a Matinée d'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 Piatti; 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. The "Tarantella" was unanimously encored. Better still, of his own contributions, was a manuscript Sonata for pianoforte and violoncello, which we are 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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