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MRS. MEREST AND HARMONY WITHOUT A MASTER. any night occasion at its concerts, and which Mr. Punch himself feels Sır,-Can you inform me whether Mrs. Merest (late Miss Hawes)
somewhat anxious to escape. Meanwhile, although he loves good was the vocal instructress of the Princess Mary of Cambridge, as I see
music much, he loves his Judy more ; and Mr. Punch will certainly her concerts are under the patronage of the Princess and her mother?
not risk her precious life more often than she really obliges him to do, Do you consider it possible to learn harmony without the aid of a
by taking her to concerts which he can't get her away from without the master, and simply by studying Hamilton's Catechism of the Rudiments
chance of fractured crinoline, if not of broken bones. of Harmony and Thorough Bass ? An answer to these questions through the medium of the MUSICAL WORLD will greatly oblige
OLYMPIC THEATRE.It is not often that we find a damnatory senYours obediently,
tence delivered in a clear and unmistakable manner by a modern
Musicus. audience. Generally, a piece is mildly applauded on the first night, [Will any of our readers be good enough to answer the ques
however little it may be relished, and the treasury alone reveals the tions of “Musicus ?”– Ev.]
melancholy fact of a failure. However, the art of condemnation is not altogether lost, as was proved by the sharp, decisive, and almost
unanimous volley of hisses which sealed the fate of a new five-act play SIR,_Will you, in your “ Notices to Correspondents,” kindly favour
in blank verse, called the Warden of Galway. The demerits of the me with your opinion of Scheibler's method of tuning the pianoforte by the
| play were by no means so remarkable as the severity with which it was metronome, and whether, in practice and in its results, it is superior to
treated. It was a weak, colourless, academic sort of production, and the that of the old method of tuning by the unassisted ear? I adopt it for
language, decked with poetical commonplaces, has about the same degree my own purposes, but one of my friends not agreeing with me, simply
of value as a Latin poem replete throughout with epithets taken from the because he cannot, I think, comprehend the theory, is disposed to vilify
Gradus ad Parnassum. But there have been many pieces equally weak it. Another, a professional tuner, even goes so far as to say that
and equally colourless, which have been yawned at here and there, and Scheibler is a myth.
then have wound up with a good display of showy enthusiasm, and a Yours respectfully,
lusty call for the author. It was not the writing or the dramatic treatNux VOMICA.
ment of the Warden of Galway that procured for it its unenviable
distinction; it was the unlucky nature of the subject. The Warden, a A HIT AT EXETER HALL.
mediæval functionary, armed with the power of life and death, has to
try his own son for murder, and not only condemns him, but, when the (From Punch.)
Galway mob attempts a rescue, hangs him up so quickly that the THE concerts given by the Sacred Harmonic Society are without | pardon, which the youth's wife has with great difficulty obtained, arrives exception very praiseworthy performances, and Mr. Punch feels always too late. Now, the bump of benevolence is largely developed in London pleasure in lending them his ears. To hear good music well performed audiences, and they have long been taught to expect that when that is as refining to the mind as it is pleasant to the sense ; and two hours well-known deus ex machina, a pardon, is brought in, it shall take due once a fortnight cannot well be better spent than in hearing the Elijah, effect. Therefore, the spectacle of an unhappy wife, waving a useless Israel, or Stabat Mater. Were Mr. Punch inclined to criticise, which
document in the eyes of a wretched old father, who had combined so he happily is not, he might perhaps complain that the band at Exeter
much Roman virtue with so much professional sharpness, was found Hall is apt to overwhelm the chorus, and that the organ would sound eminently unpleasant, and utter condemnation was the result. better if it were less loudly voiced. It appears to Mr. Punch that what MR. Sims REEVES. -- The crowded state of the large room at Exeter is written for “ accompaniment” should not be brought into such promi- IIall last night, on the occasion of a concert given by Mr. Sims Reeves, nence as to give one the idea that the singers are intended to be kept in proves that the enormous popularity of our great tenor, already unthe back-ground, and the less that they are heard by the audience the paralleled in the history of English singers, is even yet increasing. better. In a chorus the voice parts should surely be most audible; and Replete as London now is with attractions of every possible description, the Exeter Hall Concerts would be certainly improved, were the choristers the name of our most famous singer sufficed to draw together an more numerous, and the orchestra reduced. Despite defects, however, / audience as distinguished as it was numerous. The applause lavished there is plenty of inducement for a father of a family to improve his on Mr. Sims Reeves throughout the evening was most enthusiastic, but daughters' minds at this Harmonic Hall, where Mendelssohn and Haydn it was not a whit more than he deserved. Mr. Reeves is one of the very may be listened to with profit, and where Handel is so often turned to few artistes who have not been spoilt by extraordinary public favour. good account.
With each succeeding season we perceive increased refinement in his But the more tempting are the concerts which are held at Exeter style. So far from being content with his hard-won laurels, he appears Hall, the more troublesome will it be found for families to get away to be constantly engaged in elaborating his original readings of the from them. If Mr. Pater be a gentleman, and not so selfish as to various masterpieces on which his talents are employed to a uniform cause annoyance to his neighbours by stumping out while the music standard of highly finished excellence. This refining process is perhaps is proceeding, the chances are that he will waste some five-and-twenty most observable in sacred music, and all habitués of the Exeter Hall precious minutes in squeezing through the narrow labyrinths by which Society will recognise how much Mr. Reeves's rendering of the Passion he has to make his exit. First a push along a passage, then a crush music in the Messiah, for instance, has gained in delicacy as well as in round a sharp corner with six elbows in his ribs, then a header down a fervour and intensity of expression. The more difficult his task the staircase, which seems about as steep as the outside of the Monument, more signally does the proficiency of a true artist appear, and we need and where he feels he would fall headlong if he were not so wedged in, only refer to Mr. Reeves's superb singing of the terribly arduous tenor then a blockade in a corridor where he can hardly breathe, and, to com- part in Bach's Passionsmusik, on the occasion of its recent performance, plete his torture, a mauvais quart d'heure spent in standing near a to show how triumphantly be can bear this severest test of a great draughty doorway, and in telegraphing to his footman, if he have one, singer. The bénéficiaire of last night is widely celebrated for his or to some Jack-in-waiting to hail a passing cab. Thanks to its clever exquisite rendering of English ballads, but he would never have been architect, a man who goes to Exeter Hall can scarce more easily get able to produce so unprecedented an effect in these, were he not out of it than could Sterne's starling from its cage. “Sound an qualified to do ample justice to music of a far higher order. — Daily alarm” of fire on any crowded night (and the Sacred Harmonic | Telegraph. concerts are invariably crowded), and it were terrible to calculate the KARLSRUHE.- In spite of the bad weather, the Baden Musical loss of life that might be caused by it. In such event, were Mr. Punch | Festival was successfully held on the 22nd ult. There was a monster upon the jury, his verdict would be, manslaughter against the men who concert in the Grand-Ducal Theatre. From 800 to 900 singers took own the building, and who, by spending a few pounds, might soon part in it, 100 to 150 more being prevented from so doing by want of make proper vents to it. If it should happen, by some accident, that space. The Court box was occupied by the Grand Duke, the Grand at one of the May Meetings a Bishop should be crushed, doubtless steps | Duchess, and the Crown Prince. They were loudly cheered by the would then be taken to throw open extra staircases, and to facilitate whole house. The united choruses went extremely well under the the public in their egress from the place.
direction of Herr Krug, and were heartily applauded. An equal As the Sacred Harmonic is of all societies the one that most uses the amount of approbation was bestowed on the various choruses individually, hall, and best pays those who have the letting of it, a word from this the singers from Mannheim being, however, especially well received. society would surely have great weight with the holders of the building, - Ferdinand Heller's Katakomben, and Abert's König Enzio, are to be who are in reality the persons to be blamed. Mr. Punch would there- produced in the course of the winter. fore call upon this able-lunged society to raise its voice against the MADRID.— At the Real Teatro de Oriente, in consequence of the way in which its patrons are accommodated ; and to avert that whole- | exertions of the conductor, C. Moderati, the French normal diapason sale slaughter of the music-loving world which a cry of Fire ! might has been adopted.
ST. JAMES'S HALL. MONDAY POPULAR CONCERTS,
MONDA Y, JULY 28.
ONE HUNDRED AND I
LAST MONDAY POPULAR CONCERTS. TN consequence of the extraordinary demand for places
at the CONCERT, of Monday, July 7, and in order to accommodate those who were unable to obtain admission, the Director begs to announce that he will give
TWO MORE CONCERTS,
The 101st and 102nd, positively the last of the season. ONE HUNDRED AND FIRST CONCERT, Monday Evening, July 29, 1862. the Programme, as performed on the occasion of the Director's Benefit, repeated by general desire.
PROGRAMME. Part I. - Quartet, in E flat, Op. 44, for two Violins. Viola, and Violoncello, MM. JOACHIN, WIENER, SCHREUDS, 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 ( Boc. cherini); Song. “ Dalla sua pace," Mr. SIMS REEVES (Mozart); Harpsichord Lessons, Mr. CHABLES HALLE (Scarlatti).
PART II. - Elécie. for Violin solo, with Pianoforte Accompaniment (repeated by general desire), Herr JOACHIM (Ernst); Songs, “ T'he Savoyard," "The Kiss," Mr. Sus REEVES (Beethoven); Canzonet, "Fidelity," Miss BANKS (Haydn); Sonata, in A major, dedicated to Kreutzer, for Pianoforte and Violin, Mr. CHARLES HALLE aud Herr JOACHIM (Beethoven).
Conductor : Mr. BENEDICT.
ONE HUNDRED AND SECOND CONCERT. Tuesday Evening July 29. 1862. the Instrumental Pieces from the Works of BEETHOVEN.
PROGRAMME. PART 1.- Quintet, in C, for two Violins, two Violas, and Violoncello (by desire), MM. JOACHIM, Ries, SCHREURS, BROEDELET, and PIATTI (Beethoven). Duet, “ Lauda Sion," Mlles. CARLOTTA and BARBARA MARCUISIO (Cherubini). New Song, "Lucy," Mr. WILBYE COOPER (G. A. Macfarren). Song, “L'Addio," Mlle. BARBARA MARCHisio Mozart). Sonata Pathétique, for Pianoforte Solo, Mr. CHARLES HALLE (Beethoven),
PART II.Romance in G, for Violin Solo, with Pianoforte Accompaniment, Herr JOACHIM (Beethoven). Song, "Non mi dir," Mlle. CARLOTTA MARCAISIO (Mozart). New Song, "The Nightingale," Mr. WILBYE COOPER (Henry Smart). Duet, “Ser. bami ognor," Mlles. CARLOTTA and BARBARA MARCHISÍo (Rossini). Quartet, in B Aat, Op. 18, No. 6, for two Violins, Viola, and Violoncello, MM. JOACHIM, Ries, SCHREURS, and PIATTI (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 tinish before Half-past Ten o'clock.
Sofa Stalls, 58. ; 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.
looked the devoted Norman peasant to perfection. The air, “Quando lascia la Normandia,' was sung with great purity, and in the unaccompanied trio with Roberto and Bertramo, Mad. Castellan took the high notes (some of which Grisi omits) with great clearness and brilliancy. Her acting in the duet with Bertramo was very pleasing and natural. Alice, however, is not a new part to Mad. Castellan; she has played it at Berlin, we understand, with the utmost success. Owing to the continued indisposition of Herr Formes, Sig. Bianchi, who had already been the substitute for Sig. Salvatori in the part of the Duke Alphonso (Lucrezia Borgia), replaced the great German basso in that of Bertramo, proving himself in both instances a highly useful and available member of the company. Sig. Bianchi has the valuable merit of always singing correctly. He has certainly no strikingly remarkable qualities as an actor, and does not even attempt to impart to the character of Bertramo the gloomy grandeur and demoniac subtlety which, in the hands of Herr Formes, invest it with such a peculiar interest. He, nevertheless, acted the part with intelligence, and, though he was never forcibly dramatic, was always appropriate and painstaking. Sig. Tamberlik sang magnificently as Roberto ; and in the little part of Rambaldo, the new tenor, Sig. Stigelli, made further steps in the good graces of the public. Although the thcatre was so crowded, the great majority of the audience remained until the end of the performance. As Fidelio is again announced, it is to be hoped that Herr Formes has entirely recovered from his indisposition, which has proved of serious inconvenience to the theatre, his services, pending the arrival of Sig. Ronconi, being of extreme importance." Sig. Salvatori was the barytone who was described, by an enlightened contemporary, as " more like Tamburini than any of them." The theatre was the Royal Italian Opera-100 Her Majesty's Theatre, as “Vulture" supposes. By the way,
“ Vulshre” is no Phæuix. MR. S--Y B--S.-Come fauellar nuovo, c chi lo insegna? Ma
vidi lei, se vidi bene, io la vidi per certo, perche egli la contemplò in ogni parte. (Diece volte ho visto quci, che ti dici.) Una altra si saria perduta. Io hò errata la porta. (V.S. mi perdoni, e contali auvisi scappai da la mala ventura.) Che diavolo d'intrigo! Opensa, se io vi pensassi.)
"in me è un piu crudcle inferno
E un Paradiso in lei piu sempiterno." Non te l'ho io detto? (Dimmi scoprissi la ribaldaria? Scopprissi.)
Fa tu. M. C. H. (Liverpool).- Mad. Arabella Goddard is in no way related to
Mr. Joseph Goddard, BILLETSTIGELLITHILLONIAN. - By an unexpected stroke of fortune
we have been able to lay hands on the very article in question (Morning Post, June 3, 1851). Let “ Billetstigellithillonian” peruse it, and then put his hands to his ears : -"M. Alexandre Billet has announced a new series of chamber concerts, the first of which took place yesterday afternoon at the Hanover Square Rooms. This admirable pianist has been already so highly culogised in these columps, and his merits are now so widely known, that it is scarcely necessary for us on the present occasion to do more than record that he again gave evidence of that extensive reading, thorough knowledge of all schools of pianoforte music, and complete mastery over the mechanical difficulties of his instrument, which have for some time honourably distinguished him from many of his contenporaries. The pieces M. Billet performed yesterday morning were Beethoven's sonata in A, Op. 101; Weber's polacca, entitled L’Hilarité; Mendelssolin's Rondo Capriccioso, in E minor ; and a batch of studies by Steihelt, Moscheles, Chopin, Potter, and Kalkbrenner, in all of which he was loudly and deservedly applauded. The concert-giver, however, did not depend wholly upon himself for attracting an audience, but judiciously secured the services of the fascinating Anna Thillon and the accomplished Herr Stigelli to vary the programme. The captivating powers of the former, both as a woman and a singer, are doubtless well known to our readers. She has long been a great favourite in the principal theatres and concert-rooms of London and Paris, but not long enough, fortunately, to enable the arch-destroyer to steal any of the bloom from her witching beauty, the freshness from her voice, or the artistic enthusiasm from her heart. On the contrary, she looked yesterday charming as ever, and sang one of Mozart's lovely cantatas, with admirable textuality, deep expression, and an amount of physical power which we did not previously believe her to possess. She was most enthusiastically cheered at the conclusion of this piece. Herr Stigelli was, as usual, highly successful with his German lieder, and the whole concert passed off with considerable éclat. The rooms were crowded.” “Admirable textuality" is good.
BIRTH. On the 21st inst., at No. 8 Lansdowne Road North, Kensington Park, W.,
the wife of Frederic Archer, Esq., of a daughter.
TO CORRESPONDENTS. Uniconn.-In our opinion, the part was not merely “sub-acted.” but
sub-looked and sub-sung. “Unicorn” should consult Godwin on
Sepulchres. VULTURE.-On the contrary, Sig. Bianchi was the Bertram on that
occasion. The " lost article” is sound, and will prove it:—“It would appear that the Operas are now beginning to reap advantage from the unusual influx of strangers to the metropolis. Covent Garden, on Saturday night, was crowded to inconvenience. Even the pigeonholes,' as the extreme upper boxes are familiarly entitled, were every one filled, and the theatre presented an aspect of extraordinary animation. The programme was highly attractive, and embraced, with the single exception of Herr Formes, the names of all the principal members of the company at present in London. The performances began with Lucrezia Borgia, of which we have so recently spoken that it is enough to mention the continued success of Grisi and Mario as Lucrezia and Gennaro, who excited the enthusiasm of the audience, and were fêted and applauded at the conclusion with the usual unanimity and fervour. The second act of Roberto il Diavolo followed the opera of Donizetti, Mad. Castellan on this occasion taking the part of Alice, it being impossible for Grisi, with all her indomitable energy, to sustain two such parts as Lucrezia and Alice on the same evening. Mad. Castellan sang charmingly, and
... 28. 6d.
The Musical World.
France. He then returned to St. Petersburg, where he was To ADVERTISERS.-Advertisers are informed, that for the future highly esteemed, and most liberally paid, as a pianoforte
the Advertising Agency of THE MUSICAL WORLD is established teacher. In 1847 he transferred his residence to the Saxon at the Magazine of MESSRS. DUNCAN Davison & Co., 244 capital, whence he made several professional tours with the Regent Street, corner of Little Argyll Street (First Floor). | most brilliant results. As a composer and teacher of the Advertisements can be received as late as Three o'Clock P.M., on piano, Charles Mayer was actively employed up to his death. Fridays—but not later. Payment on delivery.
He leaves a widow and two children, the elder of whom is | Two lines and under Terms Every additional 10 words
15, besides a mother 85 years old, whom he supported, but
... ... 6d. To PUBLISHERS AND COMPOSERS.-AU Music for Review in THE
unhappily they are totally unprovided for. MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. Duncan DAVISON & Co., 244 Regent Street.
To the Editor of the Musical World. A List of every Piece sent for Review will appear on the Saturday following in THE MUSICAL WORLD.
I SIR,—The second day's performance of the Thirty-ninth To Concert GIVERS.—No Benefit-Concert, or Musical Perform
ID Musical Festival of the Lower Rhine opened with the ance, except of general interest, unless previously Advertised, can “ Sanctus,” “ Pleni sunt Cali,” and “ Hosannah,” from the be reported in THE MUSICAL WORLD.
High Mass in B minor, for eight-part and double chorus, orchestra and organ, by J. S. Bach. Executed with genuine enthusiasm, these extraordinary specimens of sacred music produced a deep impression upon the élite of the public.
The next selection, scenes from Gluck's Iphigenia in Aulis, LONDON: SATURDAY, JULY 26, 1862. was not so effective. In my opinion, scenes from operas
should not form part of the programmes at musical festivals,
even when the operas are distinguished by the classical THE Royal Society of Musicians of Great Britain held an
purity and elevation of such a composer as Gluck. Operas 1 extraordinary general meeting on Monday last, for the
require action; they are written with an eye to this, and, purpose of returning thanks to Mr. and Mad. Goldschmidt
without it, must lose part of their value. Amongst the for their munificent gift of 4411. 18s. 2d. Mr. J. T. Willy
soloists - Mad. Dustmann-Meyer, Clytemnestra; Mlle. having been voted to the chair, the Secretary (Mr. Stanley
Conraths, Ifigenia; Herr Schneider, Achilles; Herr Becker, Lucas) read the requisition, signed by ten members of the
Agamemnon; and Herr IIill, Calchas-Herr Becker, as. Society, desiring him to call the meeting. He also read the
Agamemnon, was particularly conspicuous by his full, circular convening it, and, after the Chairman had explained
powerful voice, and his dramatic excellence. Herr Schneider's the circumstances under which the Royal Society of Musi
pleasing lyrical tenor was not sufficient for the scenes of cians had received so large a sum from Mr. and Mad.
Achilles, which require a strong heroic tenor, and even Mad. Goldschmidt, the following resolution was carried with
Dustmann only partially fulfilled the expectations the acclamation :
public thought itself justified in forming of the first fair “At an extraordinary general meeting of the Royal
dramatic singer of the Imperial Opera, Vienna. There was Society of Musicians, convened for the express purpose, held | nothing remarkable in her performance, either vocally or at the Society's Rooms, Lisle Street, it was unanimously dramatically; it is true that a portion of her shortcomings resolved:- That the grateful thanks of the Society be tendered
may be attributed to the fatigue inseparable from her conto Mr. and Mad. Goldschmidt for the munificent gift of l tinuous exertions at rehearsals and concerts. 4417. 185. 2d., being part of the profits of a concert given Beethoven's Ninth Symphony constituted the second part by them at Exeter Hall, on the 4th June, 1862, in aid of the of the second day's concert. It was executed with an amount funds of the Royal Society of Musicians and the Royal of spi
and the Royal of spirit, precision and enthusiasm beyond all praise; and Society of Female Musicians ; and that a letter expressing the impression made by a work, so wonderfully interpreted, the terms of the above resolution be forwarded to Mr. and
to Mr. and but marked by extravagances pardonable only in a genius Mad. Goldschmidt.” It was further resolved: -" That the
solved: -" That the like Beethoven, was of a most elevated, nay, almost superthanks of this Society be given to Mr. Mitchell, of Bond
human description. There is not the slightest doubt that Street, for his constant kindness towards this Society, as well the Symphony was the gem of the whole Festival. as the interest he has ever taken in the welfare of the
On the third day, we had one of Haydn's Symphonies in D musical profession."
major. All the many delicate points in which this compoA vote of thanks to the Chair concluded this “extraor
sition abounds were admirably brought out, the second movedinary general meeting.”
ment more especially making an extraordinary impression.
An air by Mozart-"Weh' mir, ist's Wahrheit "-was well NHARLES MAYER, favourably known as a piano virtuoso sung by Herr Schneider, but, in itself, is the flattest production U and composer, died at Dresden, after a long illness, on that ever issued from Mozart's pen. This was followed by July 2. He was born in 1799, at Königsberg, and, “ Die Nacht” (first time), a Hymn, words by Moritz Hart. while yet a child, proceeded to Russia, his father, a first-rate mann, set to music, for chorus, solos and orchestra, by Ferdiclarinettist, having been for many years musical director to nand Hiller. The estimable conductor of the Festivals of the the Count Scherencetieff. The family then resided in Lower Rhine was, before the commencement of the Hymn, Moscow, and, at a very early age, Charles Mayer became a greeted by the male portion of the public, as well as the pupil of John Field (“Russian Field "-Clementi's favourite executants, with the most lively cheers, besides being overscholar), the famous pianist. When only in his ninth year, whelmed with flowers and bouquets by the ladies. This he played at public concerts. In the year 1812 his parents brilliant ovation proves how highly Hiller's great worth is fled to St. Petersburg, whither Field also proceeded, so appreciated in Cologne. The Hymn itself - a beautifully that Mayer was still able to take lessons of the latter. In gushing piece of poetry by Moritz Hartmann-displays, in 1814 he made his first professional tour, going as far as a musical sense, the sound acquirements and honest purpose
of the composer, and is a worthy companion to his other SACRED HARMONIC SOCIETY.-Elijah was performed last night at works. The first part of the concert was brought to a close | Exeter Hall. Full particulars in our next.
MAD. GOLDSCHMIDT Lind, accompanied by Herr Otto Goldschmidt by Robert Schumann's overture (brilliantly played) to Geno
and family, bas left London on a visit to Stockholm, Mad. Goldschmidt's veva. The second part commenced with a repetition of the native city. magnificent chorus already mentioned in a former part of Mr. T. M. MUDIE has arrived in town for the season. this article—“Es nahe der Stätte Keinstörender Laut”
MR. GEORGE CROZIER — tenor-singer -- after an absence of two
years in the United States and Canada, has returned to England. from Solomon. Especial notice must be made, also, of Hil.
MR. E. T. SMITH. — We are glad to learn that this enterprising ler's beautiful and perfect execution of Mozart's D major
gentleman has recovered from his very severe illness, and will shortly be concerto, as likewise of the rendering, by Mad. Dustmann, able to resume the management of his affairs. of the air from Jessonda. Here the lady was quite at home. MLLE. Csillag. — According to the German papers, this lady She sang with great intensity and true art, exciting among intends leaving the stage, and bestowing her hand upon & rich
Englishman, her hearers genuine admiration. The whole Festival was
THÉRESE MilanaLLO, who is married to a naval officer in Brussels, worthily brought to a close by Mendelssohn's overture to
intends, after a long absence from public life, to give a series of concerts, Ruy Blas, and the D major chorus --"Lobt den Herrn, Jung next winter, in the principal cities of Europe. und Alt"- from Solomon.
SIGNOR MARINI. — “ The Directors have very great regret in stating Although there were many details to which objection that Sig. Marini is suffering from so severe a Sore Throat and Hoarsemight have been made, I cannot, in concluding my notice of
ness as almost to deprive him of voice. In order, however, to prevent
the postponement of the Opera, Sig. Marini has most kindly offered to this Festival, avoid dwelling on the fact that the performances
make an effort to go through his part. The kind indulgence of the on the whole were admirable, affording high and ennobling
audience is therefore, most respectfully requested towards him. — enjoyment, which will, doubtless, be long remembered by Royal Italian Opera, April 20, 1852.”-(Ancient Leaf.) every one who was present. *
A. A. A. CRYSTAL Palace. — (Communicated.) -The attendances for the past Cologne, July.
seven weeks have amounted to nearly half a million of persons, or about seventy thousand per week. The exhibitors' and refreshment depart
ments have in consequence been crowded with customers. As the RGD. A. MUS., AND THE PRIZE QUARTETS.
country and foreign excursionists to London for the International ExTo the Editor of the Musical WORLD.
hibition increase, so it is anticipated will the visitors to the Palace. All
strangers seem to think a visit to the Sydenham Palace as indispensable CIR,— It is due to the umpires in the recent quartet as a visit to the Exhibition, particularly as it is the policy of the D contest that their decision should be vindicated against directors to add to the many attractions already provided by some the slur which your correspondent Rod. A. Mus. has
speciality each day in the week. Thus, on Monday, Blondin walks the
high rope across the fountains. On Thursday he gives one of his endeavoured to throw upon it. He takes exception to their
graceful performances on the low rope in the centre transept. The awarding the first prize to a quartet of which, while speak great fountains will be played on Tuesday and Friday. On Wednesday, ing of it in other respects most highly, they declare that Mr. Coxwell, the aeronaut, whose scientific ascent at Wolverhampton for “it is not the richest, nor the most original in ideas;" and he the British Association in bis new large balloon has created so much argues that the umpires have neutralised their decision by
interest, will make his first voyage in London with that balloon. Partial
ascents will be made during the afternoon, and as the car will hold thus praising some quartet, which has not won the prize,
sixteen persons, it is probable Mr. Coxwell will be accompanied by a more than the fortunate one. Your correspondent is clearly full omnibus load of visitors in his aerial trip. That visitors from in error. It would not have been consistent to award the a distance may be informed of the arrangements for each day, the prize to any work, however rich and original in ideas, in the list is published on Friday or Saturday for the ensuing week. Saturday, absence of proper skill and judgment in their treatment.
| being the only half-crown day in the week, is of course & more It would, I think, have really savoured of the “Emerald
select day. In addition to the opportunity for a quiet stroll throagh
the Fine Arts Courts with their unrivalled collections, there is Isle" had the umpires said : “ We award the first prize to
usually an' afternoon concert by some celebrated artistes, aided by No. —, because, of all you have submitted to us, it is the tho fine band of the Company, and a display of the upper fountains. richest and most original in ideas, though they are entirely The gardens and grounds of the Palace are now in their prime: orchestral in character, and not at all adapted for a chamber
flowers and foliage at their best. The beds on the terraces and the
Rosary have been kept back by the unseasonable weather, but the sun composition. The author is evidently wholly unaware how
of the last few days is now bringing them out into astonishing to construct a movement of any kind. He is even ignorant beauty. The view of the surrounding country from the terraces, and of the compass and capabilities of the instruments for which from the superb dining-rooms in the South wing, are most charming; he has professed to write, and his work is consequently quite while, to those who do not mind a little fatigue, the panorama spread impracticable; so that, while awarding the first prize to it
out before them when at the top of the lofty water-towers is without its in consideration of the richness and originality of its ideas, river, the extensive views into Middlesex, Essex, Kent, Surrey, Sussex,
equal. The whole of London spread out as a map, the windings of the we regret that it is impossible to publicly present it.”
and Berkshire, show a beauty of home scenery which cannot be surThe admission of your correspondent that he was a passed. Attendants with telescopes are provided in the tower galleries competitor, and that he considers he was fairly beaten, to point out surrounding objects of interest. The drawing for prizes induces a belief that he will now, in the same honourable
| in the Art Union takes place on Thursday, 31st. spirit, frankly acknowledge the invalidity of his exception to the umpires' decision.-I am, Sir, truly yours,
“ DON GIOVANNI” AT THE ROYAL ITALIAN OPERA.--"The performCHAS. E. STEPHENS.
ance of Don Giovanni last night was one of the most brilliant and 2 Howley Place, Maida Hill, W., July 21, 1862,
successful ever given. The house was crowded to the ceiling, and the audience were enthusiastic, No less than five pieces were redemanded
and repcated—'La ci darem' (Mlle. Patti and M. Faure); • Batti, batti' HERR SCHACHNER's oratorio, The Redemption of Babylon, is to be (Mlle. Patti); the trio of masks (Mad. Penco, Mad. Csillag, and Sig. given, for the first time, on Wednesday evening, at Exeter Hall.
Tamberlik); • Vedrai carino' (Mlle. Patti); •Il mio tesoro' (Sig.
Tamberlik); and all the principal singers were recalled before the * Owing to a typographical error, the word “basses” was inserted curtain after the grand finale of the ball scene. As the performance instead of "bars” in the concluding sentence of our correspondent's did not come to an end till past midnight, we must reserve our remarks first letter, page 453. The correct reading is : “We have given above until to-morrow.” [What will “ Antigye"- Gy(e)ant(i)- Ain't-hethe three or four notes of the four bars, on which the entire chorus of Gye ?- say to this ? “One who pays,” you're wanted. Can Mr. ninety bars is built."-ED. MUSICAL WORLD.
Punch spare him?]
some of the less important characters were concernerl, deserved all the warmer recognition. The songs and duets, nevertheless, formed the principal attraction; and as these are unexceptionably beautiful--a
match, indeed, for their successors in Don Giovanni — the pleasure ROYAL ITALIAN OPERA.
derived from their almost uniformly efficient execution was unalloyed. THERE has been nothing new since our last. The Trovatore was given | In the two airs allotted to the Countess—“Porgi amor” and “Dove on Saturday, with Mlle. Antonietta Fricci as Leonora, and Sig. Graziani sono”- Mlle. Titiens exhibited the splendour of her voice and the as the Count. The lady made a very favourable impression, and the treasures of her art to perfection, winning in the last cnthusiastic gentleman (of course) won an encore in “Il balen."
applause. This accomplished singer gave the true Gerinan portraiture On Monday (“extra night”) Don Giovanni. Thanks, in a great | of the slighted lady whose complaints are embodied in such touching measure, to Adelina Patti -" that pleasant little party,” as Mr. Punch melody-the portraiture of which, no doubt, Mozart himself approved, calls her-the season 1862 is likely to be commemorated at the Royal and which has come down to us from the earliest traditions. Miss Italian Opera as “the Don Giovanni season."
Louisa Pyne, perhaps a somewhat over-refined Susanna, was greatly On Tuesday Robert le Diable, with Mlle. Fricci as Alice, and Mlle. | applauded in "Venite inginocchiatevi” (where the ingenuous waiting. Battu as the Princess. Mlle. Fricci's performance was, on the whole, maid tries the head-dress of the Countess on Cherubino), but made a very good, and had some really fine points. Mlle. Battu was much still more vivid impression in the garden serenade, “Deh vieni, non applauded in “Robert, toi que j'aime." "Both ladies are making way. tardar," which has rarely been sung in a more unaffectedly expressive
On Thursday the Huguenots. Last night the Barbiere di Siviglia. manner. This was unanimously re-demanded; as was also the familiar Thanks, in a great measure, to Adelina Patti, and (we forget his letter duet (“Sull' aria ''), with Mlle. Titiens--one of those purely proname) Mario, the season 1862 is likely to be commemorated at the melodious inspirations that came oftener to Mozart than to any other Royal Italian Opera as -----but no, we have already said that of Il Don | composer, and the charm of which it is as hopeless to define as it is Giovanni, which, by the way, is given again to-night!
impossible to deny. In the last instance it would have been as well had Dinorah and La Figlia del Reggimento are both in preparation for the “encore” been declined, the second performance, from some Mlle. Patti, and Masaniello for Mario. Things could hardly go on mysterious cause, being as unsatisfactory as the first was faultless. more brilliantly.
Mlle. Trebelli, as every one may have anticipated, was thoroughly successful in Cherubino, representing the character of the amorous page
with agreeable sprightliness, and singing the two airs, “Non so più cosa HER MAJESTY'S THEATRE.
son," and “ Voi che sapete "—those unequalled embodiments of youthful The revival of Mozart's Figaro on Saturday night was, on the whole. | aspiration - with such truthful and exquisite feeling that even tho a highly creditable affair. The traditions of this opera, regarded as a
transposition of both of them, and one or two unnecessary “embellishlyric comedy, seem in & great measure to be lost; the spirit of ments" in the last (to change a single note or inflection of which is Beaumarchais, which, even through the attenuating process of Da Ponte, I virtually to rob it of a grace), were overlooked, and “Voi che sapete" still preserved some of its original flavour, has now apparently unanimously encored. It may be remembered that Mad. Alboni, who evaporated, and, were it not for the incomparable music, but little at first used to transpose (though never to alter) these airs, subsequently interest would, in the present day, attach to the performance of such a gave them in the original keys, and with so little disadvantage that she work. That the Marriage of Figaro, however surpassing in satiric was compelled invariably to sing them twice. And yet Mad. Alboni piquancy and refined delineation of character, is regarded, simply from (who did the same thing, by ihe way, with the two songs of Zerlina, in a dramatic point of view, as less entertaining than the Barber of Seville, Don Giovanni) is even more strictly a "contralto," and therefore less of can scarcely be questioned. Mozart, in fact, had a more difficult task , a “mezzo-soprano” than her clever successor. Such a precedent is to accomplish than Paesiello and Rossini; for, while a larger variety of surely worthy consideration, even by so great and deserving a favourite characters was given him to deal with, there was less concentration | as Mad. Trebelli. Sig. Gassier, an excellent Figaro in the Barbiere. of plot on the one hand, and less individual attraction on the other. fully sustains his reputation in the Nozze, imparting life and vivacity to Figaro, the busy “factotum," is a much more amusing personage than
the character, and giving the music throughout with a freedom that Figaro toned down and preparing himself for the amenities of wedded
betokens earnest and conscientious application. Nothing could be life; Almaviva, the ardent and romantic lover, is as pleasant again as
better than the two characteristic duets with Susanna in the first scene; Almaviva at once the faithless and the jealous husband; Rosina, perhaps, nothing more pointed than “Se vuol ballare, Signor Contino" (the air in gains as the temporarily neglected and disconsolate spouse; but Bartolo which Figaro retaliatos upon the Count); nothing more vigorous and and Basilio fade into abstractions. True, Susanna, the clever servant
dramatically effective than “Non più andrai,” the song with which, at and confidant of Rosina, and Cherubino, the mischievous and love-sick
the first rehearsal, Mozart himself was so delighted that he is said to page – to say nothing of subordinate characters--are added to the
havo rushed upon the stage and, patting the singer on tho back, cried dramatis persone; but these, in crowding the canvas, would only have
“ Bravo ! bravo !"-as though not Mozart but some other composer thrown further impediments in the way of an ordinary musician.
had written it. The Figaro was well matched, with a Count in Mr. Mozart, however, was anything but an ordinary musician, and the Santley, the English barytone -- who has now scarcely a rival on the manner in which he has idealized every one of the men and women Italian stage, and who, notwithstanding the high position he has comprised in his scenario causes us to forget altogether the almost attained, continues to study, and therefore to improve." In the first act heartless cynicism of their primary nature, as shadowed forth in the the Count has little else than concerted music to sing; but his part in dialogue of the brilliant and keen-witted French dramatist. Time was
the finale-witness the duet with the Countess, and the trio in which when the exigencies of the drama did not seem incompatible with the Susanna takes part - is of the utmost importance, and here Mr. deep, soul-felt beauty of the music; but either the world has improved
Santley was all that could be wished. In the second act occurs the in moral dignity, or the actors of the day have, in this particular | duet:instance, lost the secret of their craft. We are inclined to entertain the
“ Crudel! perchè finora
Farmi languir cosi?" former proposition, and sincerely believe that the Nozze di Figaro still lives, and will live for ever, through the genius of Mozart, which, like the the impassioned phrases of which-unless the way in which Mozart has pen of Goldsmith, adorned whatever it touched, and, like the expansive idealized all the personages of his drama is borne in mind-must appear heart of Shakspeare, found a vibrating tone for every manifestation of strangely out of sort with the passing colloquy between a fickle husband our common nature.
| and an intriguing serving-maid. This duet--one of the most popular as The merits of the performance at Her Majesty's Theatre are almost it is one of the most beautiful cver imagined-was delivered with such exclusively musical; and, indeed, in this sense we have seldom bad warm and genuine sentiment by Mr. Santley (and Miss Louisa Pyne) rcason for more entire satisfaction. Even the concerted pieces-to that the audience would have been only too plcased to hear it again. which Mozart has left nothing superior--were for the most part so well Mr. Santley's most striking effort, however, was in the grand air, executed that, in spite of the lack of “finesse," which, in a histrionic “ Vedrò, mentr'io sospiro," in which the suspicious Count vents his sense, robbed the music of much of its significance, the effect was both anger upon the unobedient Susanna — another proposterously ideal spirited and charming. The inimitable finale to the first act, for embodiment of what at the best can only be regarded as a mean and example—which, from a duet between the Count and Countess, expands, inglorious exhibition of feeling. Never, on any occasion or by any through gradual steps, into a magnificent concerted “ensemble," for all / singer, have we heard this magnificent piece more finely given ; and the chief personages (except Cherubino, who has escaped through the never were unanimous and hearty plaudits more legitimately earned. window)--was admirably done ; and nearly as much may be said for Among the more subordinate characters those of Bartolo and Basilio the superb sestet of the second act (where Figaro, in Bartolo and were well represented, the former by Signor Zucchini, who gave the Marcellina, first recognises his father and mother)-which, inasmuch as noble air“ Lavendetta" (which Rossini had not forgotten when he