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and stairs are broad and commodious. The whole place was musique,' but not an opera ; it is not connected by airs, duets, concerted decorated for the occasion with fragrant flowers. Over the pieces, &c., but by continuous scenes. Lully does not sing, he simply proscenium are the names of Auber, Halévy, Meyerbeer

declaims. The whole is a constant obbligato recitative, varied by occa

| sional melodic fragments and a few choruses. I say all this of Lully; and Adam, and round the amphitheatre encircling the house, it might be supposed, however, that I said it of Wagner. It applies to those of Hérold, Méhul, Gluck, Mozart, Weber, Boiëldieu both. Only the marches introduced here and there are real music, and and Rossini. In order to test the acoustic qualities of the become popular in Lully's works - and in Wagner's. In many places, new buildings, the band of the Garde de Paris performed in

Lully is amazingly great and true in dramatic expression, just like the Cirque Impérial the overtures to Guillaume Tell and

Wagner; he then relapses into the fearful monotony of endless recited

dialogue, exactly like Wagner. The choruses are simple, and bear the Masaniello. At the Théâtre Lyrique, M. Pasdeloup and his stamp of solemnú dignity, some tunes reminding us, even in certain band got up a concert, at which they played the overture to | passages of the harmony, of the lofty church-hymns of the old Italians. Oberon; a chorus from Halévy's Jaguarita ; a march and The same, by no means small praise, cannot be denied to many of chorus from Preciosa, and the wedding-march from A Mid

Wagner's choruses. Lully sacrifices musical architecture to dramatic summer-Night's Dream. The instrumental music sounded

expression; he has touches of melodies but no melody. Lully or

Wagner ?- We find, consequently, in Lully, a disjointed, fragmentary, well, as did, also, the singing of M. Carron, a tenor, fresh

restless whole, which would necessarily have produced a confused, from the Conservatory, where he had carried off the first wearying impression, if the most refined contrasts in the scenes, and prize.

the magnificent manner in which his operas were placed on the stage Whether the position of the theatre, its architectural and

all the resources of Elysium and Erebus being (literally) called into requi. scenic arrangements, its large size and rich decorations, will

sition for Alceste at least (and for Tannhauser) - had not come to the

assistance of the hearer's fancy. Lully and Wagner are weak as musieventually attract the public, is a question which time alone

cians; stronger as tone-poets; but strongest of all as stage-managers. can decide. In such a building the public may possibly feel “ It was precisely this formlessness of Lully's operas which was anni. “small,” Parisian managers having never thought of pre- liilated by Gluck, while, at the same time, the endeavour to attain scribing a special costume for theatre-goers. Hitherto, the

| dramatic effect was adopted and further developed. In the form of play-houses have been erected for the public; in future the

his compositions, Gluck resembles the good old Italian musicians much

more than Lully, and Wagner reminds us much more vividly of Lully public may have to suit itself to the play-houses. Mean- / than of Gluck. If our musicians would but devote a little more zeal while Paris is the Eldorado of “provincials,” and as the to their historical studies, they might then perceive that, after all, it theatres essentially belong to the “lions” of this Paradise, cannot be so great a step in advance to jump back, after the lapse of the élite of the population of all France will 60 the nearly a century, from Gluck's style, so wonderfully developed in the

interval, to a form theatres, if only to show that they are the elite.

of opera corresponding to that of Lully. Out

of very zeal for progress a man may become reactionary.” It is difficult, indeed, to imagine anything more beautiful than the interior of the new Théâtre Lyrique. The light is thrown,

What will our American cousins say to the foregoing ? by means of an enormous reflector, through the colossal glass

(“ O questa è bella, che ti paresse ancho haver ragione !") dome into the audience part of the house and upon the stage, while the process of combustion, which goes on without,

HANOVER SQUARE Rooms.—Mr. Leonard Walker, the young and serves as a means of ventilation, bringing fresh air through

talented barytone singer, gave his first concert on Monday evening at a canal from the Quai de la Seine. The vestibule is twenty- the above rooms, and was assisted in the vocal department by Mlle. five metres long and six wide. Most of the staircases lead Florence Lancia, Mad. Gordon, Mlle. Georgi, Mlle. Montebella, Miss out of it; others, however, conduct from two side halls to

Alice Dodd, Miss Lamartine, the Misses Hiles, Messrs. George Perren, the best places. The saloon, on the first floor, forms a

Fabian, and Sig. Ciabatta; and in the instrumental by Mr. Aguilar, Herr

Emile Berger and Master Fox, pianoforte, Herr Oberthur, harp, and promenade twenty-five metres in length and six in breadth,

Mr. B. Wells, flute. Mr. Walker contented himself with a single solo, with five large windows and a balcony looking upon the but that was the famous “Largo al factotum,” which he sang with such square. At each end there is a conversation-room, with vocal fluency, and so much power and humour, as to gain for him an sofas and conveniences of every kind. Above, on the second uproarious encore. Mr. Walker's other performances comprised Ranstory, is a gallery for smokers! Cigars legalised in a Paris

mis degger's trio “I naviganti,” with Mlle. Montebella and Mr. George theatre!

Perren; Fioravanti's “Singing lesson” with Miss Hiles ; and the duo The house holds 1,500 persons. The decorations Mira di accerba lagrime," from the Trovatore. The last, above all, consist of sculpture, and mouldings in white and gold. The | was admirably sung, and unanimously encored. Among the many good boxes on the first and second tiers are fitted up as saloon things in a good concert, we would specify Miss Hiles's “ Ernani invioboxes.

lami ;" Mlle. Georgi's “ Pensa alla patria ;" Mlle. Lancia's “Care Campagne;" the duet, “Oh! glorious age of chivalry,” from Mr. Howard Glover's operetta Once too Often, by the Miss Hiles ; together

with Herr Oberthur's harp solo, transcription of "Thou art too near, W HEN, ten years ago, we * asserted, on various occasions, and yet so far," played by the composer; flute solo by Mr. Wells, en

that Wagner's style, far from being a step in advance, cored; and pianoforte solo, “Les Echos des Londres," played by Herr was, on the contrary, a relapse to the style of Lully, and the Emile Berger, and also encored. The room was crowded. latter's psalm-like manner – of which fact the inspection of RYDE (Isle of Wight).-Mrs. Merest (late Miss Maria B. Hawes) Lully's scores in the library of the Conservatory, Paris, had

having announced a series of four “vocal recitals” in the Victoria

Rooms, the first took place on Tuesday evening last, and was very afforded us the obvious proof — our opinion, like very much fashionably attended. Mrs. Merest sang with musicianly skill, among else that is new at the present day, was but little heeded. / other favourite pieces, the contralto airs from Elijah (it was announced Now, however, in W. H. Riehl's Cultur- Studien, we read in the programme that “the contralto part of this oratorio was composed the following elaboration of the same idea :

cxpressly for her”)—“If with all your hcarts,” and “O rest in the Lord.”

Miss Millar was the only other vocalist, and assisted Mrs. Merest in “ To adopt the language of philologists, Lully is not a school-author.'

several duets, and sang, as well, several solos. Mr. Hiles opened the We can learn but little form from him, unless we teach ourselves from concert with a pianoforte arrangement of motivos from Handel's Messiah. his dry harmonies how we ought not to liarmonise. On the other hand, Mr. Emile Berger was the solo pianist. His transcriptions of " A however, no one who has not studied Lully can fully appreciate the histo- |

sympatbising heart," from Howard Glover's opera of Ruy Blas, and rical greatness of Gluck. Lully is the Richard Wagner of the eighteenth Balfe's ballad, “ Fresh as a rose” (rendered so popular by the singing century. His Alceste is, as he himself designates it, a 'tragédie mise en seit designates it, a 'tragédie mise en of Sims Reeves), were received with great favour, and his fantasia,

“ Les Echos de Londres," was enthusiastically redemanded. Mrs. * And, by the way, our German contemporary, the Niederheinische Merest deserves the thanks of the “ Islanders " for giving them 80 Musik-Zeitung.

entertaining a concert.

The Operas.

Neapolitan existence, where bright and gleaming colours look a thousand times brighter under the influence of a cloudless sky, and where the humblest and most every-day objects assume an aspect

bordering more or less nearly on the picturesque. In the first scene – ROYAL ITALIAN OPERA.

“the Gardens of the Viceroy- the festival for the approaching

nuptials of Alphonso and Elvira is represented with becoming pomp. MASANIRLLO was repeated on Saturday night, and received with even The ballet, including the Guaracha and Bolero, two of the most de greater favour than on the Thursday previous. That Auber's great licious of Auber's pièces de danse, is here all that could be wished, the work - one of the most genuine examples of the lyric drama of our latter – with the characteristic incident of the shawls, in the use of times — will resume the high place it formerly occupied in the repertory which Mlle. Esper, principal, displays both grace and facility — being of Covent Garden, and rival the Huguenots, the Prophète, Robert le especially attractive. Scene 2 -- " in the Environs of Portici” (or, Diable, and Guillaume Tell in its attractive dominion over the masses, perhaps, rather of Amalfi) - is one of the happiest efforts of Mr. there can hardly, we think, be a doubt. What it was at the old theatre, Beverley's pencil. We have seen nothing more natural, nothing more in 1849, when Mr. Delafield first produced it, with a splendour and beautiful. Here, again, the stage action is in keeping. The groupings completeness never before witnessed and never since forgotten, it has of the fishermen, engaged in their busy avocations, are contrived with every chance of being again, under the direction of Mr. Gye. The me an eye to pictorial symmetry that appears to have allowed nothing chanical resources of the new edifice are even more extensive, while to escape ; while the banding together of the revolutionists, at the Mr. Costa's orchestra and chorus maintain their never yet disputed instigation of Masaniello, their under-toned conferences, their dance and supremacy ; the scenic department, represented by Mr. W. Beverley, chorus of feigned merriment, as the plan of action is being agreed upon with the valuable cooperation of Messrs. Grieve, Telbin, and others, is by the chiefs of the patriots, and the climax, in which these opposite reviving the glories of the “ Stanfield ” epoch, and the “stage-business," elements of dramatic action are simultaneously combined, could hardly superintended by Mr. A. Harris, exhibiting a discipline and general be surpassed in graphic vividness of effect. The conclusion of this efficiency almost unprecedented. Our readers are well aware that as a tableau — where Masaniello takes leave of Fenella, and the various mere spectacle, no less than as a consummate exhibition of musical art, characters slowly disperse, to the accompaniment of soft music that the opera of Masaniello yields in moving and varied interest to no seems to die away into the distance, like the receding landscape in a contemporary production. The music alone, however, illustrating, as it journey -- must be witnessed to be appreciated. Scene 3 -- "the does, with glowing enthusiasm and picturesque details, one of the most Market Place” – is another felicitous manifestation of the painter's stirring incidents in the annals of an intellectual, gifted and mag- skill, excelling even the well-remembered tablcau of 1849. Here we nanimous nation, for centuries split into fragments, and continually have the animated business of the market (somewhat tamed down, the prey of one or other encroaching power, hated in proportion to the however, by a silly and meaningless curtailment in the opening length of its tenure and the severity of its despotism, would suffice to chorus); the irresistible spirit of the Tarantella, which we never reimmortalise the work. How such graphic description, such forcible and member so thoroughly conveyed; the attempted seizure of Fenella ; animated colouring, such truthful and characteristic portraiture, in short, the quarrel between the soldiers and the people ; the angry outburst of through the abstract medium of sound, could have occurred to the brain the revolt ; the impressive prayer, and ultimate victory of Masaniello and accommodated itself easily to the pen of a musician who never visited and his associates — the whole done to perfection, and presenting a the scenes he describes, has always been, and must always remain, a stage-picture for which, in vigorously sustained movement, scarcely a puzzle to those who do not believe that genius, being of no country, can precedent could be cited. In the fourth tableau, the crowning scenic intravel at caprice, through the boundless realms of the imaginationcident is the recognition and triumph of Masaniello, to which the without the intervention of a passport. Shakspeare never saw Verona episode of Pietro and his fellow conspirators presents a gloomy but and Mantua, Scott was never at Liege ; yet one wrote Romeo and exciting contrast; in the last the eruption of Vesuvius – the scene Juliet, the other Quentin Durward ; and so Auber, who, since his brief admirably painted by (we believe) Messrs. Grieve and Telbin, and the sojourn in England, before he adopted music as a profession, has never catastrophe arranged with marvellous effect - offering a scenic illusion once quitted France, gave Masaniello to the world, a composition, as worthy to climax so magnificent a spectacle. thoroughly Neapolitan as La Bottega del Caffé of Goldoni is Venetian. Signor Mario was the original Masaniello in 1849, when the work But in Masaniello, as in the grand French operas of Rossini and was brought out in its Italian dress. He was followed (in the samo Meyerbeer, the accessories to the musical effect are multifarious. A year) by Signor Salvi, who did not create a remarkably strong impres. revolutionary episode thrilling with sensation-points ; a dramatic loccale sion. In 1850 Signor Tamberlik undertook the part on the occasion admitting of-nay, demanding—the most vivid exertions of the painter's of his first appearance before an English audience — and maintained it, skill; and a mise-en-scène open to the utmost rariety of pictorial with unvarying success, up to the time when the destruction of the old arrangement that ingenuity can devise, are all not only appropriate but theatre involved the music, scenery, and “ properties” of Masaniello, indispensable. To these circumstances, perhaps, almost as much as to and so many other grand operas, in one common fate. Why Signor its gorgeous musical dress, is the enduring popularity of Masaniello to Tamberlik should now secede and Signor Mario take his place, is no be traced.

business of ours. Enough that both have qualifications not to be denied, Our readers need labour under no apprehension that we are about to and on account of which either would have been unanimously welcomed entertain them with a careful analysis of the plot and music of so as the Masaniello of the revival. That Signor Mario's voice is what it renowned an opera. Happily during upwards of thirty years the hero was thirteen years ago it would be folly to pretend ; and that even in of Masaniello has been a familiar figure, while the tunes of Masaniello singing the music of Auber as at present he is compelled to take have been familiar strains, to the theatre-going public of this country - liberties to which the composer might naturally object, and which would where at first, in a mutilated shape (for which the late Messrs. Barham have been inexcusable, because unnecessary, in 1849, must be evident Livius and T. Cooke were responsible), it was tolerated, and now, in its to anyone competent to judge and inclined to be candid. Nevertheless, integrity (or as nearly so as the convenience of Mr. Costo, will permit), allowing for this and other comparative defects, which we need not it is admired, and acknowledged as an imperishable masterpiece. Nor stop to examine, it is doubtful whether a more admirable impersonation need the task of commenting on the performance at Covent Garden of the character of the patriot of Portici than that of Signor Mario has absorb more than a few sentences. Strikingly well as one or two of ever on the whole been witnessed. As an histrionic portraiture it is the chief characters are impersonated, it is chiefly as an ensemble, in natural, vigorous, and picturesque -- interesting everywhere, and in which everyone concerned claims consideration, that the Masaniello of some parts, as, for instance, the scene of the madness, for which Auber the hour can be unreservedly eulogized. The overture alone — so has found music touching and expressive in proportion -- inimitable. magnificently played that to call for a repetition seems to be a unanimous The fresh and genial barcarole in Masaniello's first scene, the impulse on the part of the audience - is enough to keep up the spirits heavenly air in which he invokes the aid of “ Sleep” on behalf of of a true amateur for an entire evening. Then the concerted pieces, Fenella, and the solo where, in the midst of his triumph, the suddenly and the grand finales (one at the conclusion of each of the five acts aggrandized fisherman expresses the deep regret he feels at quitting for the last most elaborate of all) are executed for the greater part so ever the abode of his youth and in nocence, are-- with the exception of the superbly, by orchestra, chorus and principals, as to offer very rare | situation we have named - the most striking points in Signor Mario's points for criticism, very many for unqualified approval. All this performance. These, indeed, reach the height of ideal expression. wealth of musical effect, moreover, is set off to admiration by what | Many other fine touches might be noticed, but enough has been adduced passes on the stage. Each of the five conspicuous scenes into which to show that, whatever physical shortcomings may occasionally interiere the opera is divided forms a tableau of the liveliest description, Scenes with otherwise perfect execution, the accomplished artist more than painters and stage director, ballet-master and costumier, have, with atones for in those places where he can fully command his resources equal felicity, availed themselves of the variegated tints and images of and give way without restraint to the impulse from within. Signor Graziani sings the capital barcarole allotted to Pietro in the last act, - | fair co-rivals. This was Mlle. Antonietta Fricci, of whom more anon. which seems out of sorts with the treacherous act he has just committed, The remaining female singers were all“ old hands,” Mesdames in administering poison to his heroic chief – extremely well ; but in Csillag, Penco, Nantier-Didiée, Rudersdorff, and Tagliafico; also the revolutionary duet with Masaniello (unaccountably and absurdly another unannounced débutante, Mlle. Dottini, who filled Mlle. eurtailed), and in other parts of the music, he sadly wants vigour, while Battu's place in Masaniello, and that of Mad. Miolan-Carvalho in his dramatic delineation of the character is throughout pale, if not, Guillaume Tell, is entitled to a word of recognition. Sig. Delle-Sedie, indeed, lifeless. Mlle. Battu does her utmost with the not very interest- whom Mr. Mapleson brought out last year at the Lyceum in the Ballo in ing part of Elvira, and would sing the cavatina (Act I.) even better Mascheru, was added to the list of barytones; and two new names, Sigs. were she to adhere more closely to the text of Auber, which it is difficult | Nanni and Capponi, appeared among the basscs. to alter and embellish to advantage. Her best point is in the petition The campaign opened on Tuesday, April the 8th, with Guillaume to Fenella (Act IV.), to which she imparts unmistakeable feeling. Tell, the cast being the same as last year. It was repeated on the Signor Neri-Baraldi is probably as good an Alphonso as could be Thursday and Saturday. On Tuesday, the 15th, the Trovatore was persuaded to undertake the character. A cheerful or energetic Alphonso

given with Mlle. Gordosa as Leonora and Mr. Santley as the Count di would be an innovation as pleasant as unanticipated. Signor Polonini Luna. The popular English barytone was engaged to fill the place of is the most effective Borella we remember ; and the other small parts Signor Graziani, who could not arrive in London in time. Mr. Santley are adequately filled. Last not least, the Fenella of Mlle. Salvioni made a great hit. The lady was not so fortunate. Mlle. Gordosa, shows in that clever lady an aptitude for something beyond the mere who is English, had been a pupil of the Royal Academy of Music, and agile exhibition of choreographic art. It is thoughtful and expressive to was sent to Italy to study singing. Her maiden name is Botibol. a degree, and in more than one point evinces real dramatic sensibility. La Favorita, although Leonora is one of Mad. Csillag's most powerful The scene in which she intercedes with Masaniello for the lives of impersonations, could not have fared so well by aid of that accomplished Alphonso and Elvira is as truthful and touching as it is graceful, the artist and Signor Neri-Baraldi, as with Mad. Grisi and Signor Mario. countenance conveying as much as — nay, more than the pantomimic The new basso, Signor Nanni, who played Baldassare, was found a gestures, eloquent as they undoubtedly are. About the band and tolerable, if not a first-rate, singer. The Trovatore and the Favorita chorus,' conducted by Mr. Costa, we have said enough.

were both repeated, meeting, however, with no extraordinary favour, On Monday Guillaume Tell (ierribly maimed and mutilated), for the On Thursday, the 24th, the Prophète was produced, with Mad. Csillag last appearance of Sig. Tamberlik; on Tuesday Masaniello, with Mlle. | as Fides, and Signor Tamberlik as Jean of Leyden - two admirably Dottini (vice Mlle. Battu) as Elvira ; on Wednesday La Sonnambula; sustained parts, which contributed materially to the success of the opera, on Thursday Masaniello; and last night (for the benefit of Mlle. Patti), one of the most complete and spiendid productions of the Royal Italian the Barbiere (ending with the “Lesson"-scene), the “Shadow "-scene Opera The Prophète was played three times in succession. On Monfrom Dinorah, and the “Skating”-scene from the Prophète. To-night day, the 28th -- the first extra-extra night - Dinorah was given, introMasaniello, the last night of the season, our review of which will be ducing Signor Gardoni in his original character of Corentino, Mad. found underneath.

Miolan-Carvalho being of course Dinorah, and M. Faure, Hoel.

On Monday, May 5th, Mlle. Patti made her rentrée in the Sonnam

bula. Her reception was uproarious. It was generally remarked that RESUME OF THE SEASON.

her voice had gained in strength and volume, and that her execution, The prospectus for the season 1862 was issued at the latter end of without losing any of its former brilliancy, had become more finished. March. One special novelty only was announced--Donizetti's Don Se Signor Gardoni was Elvino. Verdi's Ballo in Maschera was the bastienwhich,we necd not say, was not given. This was unusual. The occasion of the re-appearance of Signor Mario, always an event at programme of the Royal Italian Opera has been generally but too liberal the Royal Italian Opera, which took place on Tuesday, the 6th. Signor in its promises, and the management seldom leaves its pledges un Delle-Sedie made his first appearance at the Royal Italian Opera in redeemed. The Figlia del Reggimento was also set down to be produced, Renato, a part, judging from the effect produced both in Paris and for the first time, at the Royal Italian Opera; but this work, too, we London, he seems to have made entirely his own. Mad. Csillag was need not say, was not forthcoming. The director, however, made ample substituted for Mad. Penco in the part of Amelia, Mad. Didiée played amends for his seeming breach of faith, by the production of Masaniello, Ulrica, and Mad, Miolan-Carvalho Oscar. Mlle. Salvioni, the graceful which did not appear in the prospectus, and which the public would and fascinating danseuse, who had won so much favour last year when naturally prefer to Donizetti's two operas, although one was new to the she first joined the company at Covent Garden, danced in the masquerade theatre, and one a particular favourite. Other operas were announced, scene. which could not be given in consequence of the illness of Signor Ron Il Barbiere was given on Saturday, the 10th, with Sig. Mario as coni, such as Elisir d'Amore and Fra Diarolo.

Almaviva, Sig. Delle-Sedie as Figaro, Sig. Ciampi as Doctor Bartolo, and The season, on the whole, was less of a “starring ” season than any Mlle. Patti as Rosina, her first appearance in the character in London. previous one at the Royal Italian Opera. The place vacated by Mad. Grisi The acting of the youthful prima donna was full of grace and piquancy, was not attempted to be filled up, even with Mad. Csillag and Mad. and her singing remarkable for its brilliancy and point. Severe critics, Penco in the theatre. For the first time, those apparently evergreen popu- 1 however, took exceptions to the liberties taken with the text, and larities of the repertory, Norma and Lucrezia Borgia, were shelved, and pronounced the fair artist's performance more “A la rossignol” than Don Giovanni, Guillaume Tell, and the Barbiere substituted — and with « A la Rossini !” Sig. Mario was as incomparable as ever in the a success that must have surprised Mr. Costa himself. In fact, the master- Count ; Sig. Delie-Sedie intelligent if not humorous in Figaro ; and pieces of Mozart and Rossini proved the real triumphs of the season, Sig. Ciampi vociferous if not unctuous in Bartolo. and each of them was given ten or a dozen times, thereby proving, The Monday following gave Don Giovanni with a cast identical with beyond all question, that good music was more than ever prized at the that of last year, with the exception of Signor Ciampi being substituted Opera. But if Mad. Grisi's place, as a grand dramatic singer, was not for Signor Ronconi in the part of Masetto--no improvement certainly. supplied, the vacuum she left as a public favourite was soon filled up. It had now transpired that Signor Ronconi had undergone a serious Mlle. Adelina Patti, whose career last year was so remarkable, was even surgical operation, and would not be able to appear during the entire more admired and fêted, and proved by far the most attractive feature of season. the performances. A more genuine and unmade success, indeed, was Rigoletto without Signor Ronconi would à priori seem a simple exnever achieved, and the management must own itself indebted to the young penditure of time and means. Nevertheless, such faith had the director artist for the brilliant manner in which she carried them through the season. in Signor Delle-Sedie's tragic capabilities, that he would fain afford There was good cause for the increased favouritism shown to Mlle. him an opportunity of exhibiting his powers in one of the most difficult Patti. Her vocal powers had indicated decided improvement, and the characters in the lyric drama. The jester of Signor Della-Sedie was new parts she sustained showed newer means and larger accomplish an artistic and earnest performance, but did not tend to remove the ments. But why attempt to account for admiration for what is novel, tremendous impression left by his predecessor. On Tuesday the 27th talented, spontaneous, and charming ? Mlle. Patti became the pet of Martha was produced, with Mad. Penco, Mad. Didiée, Signors Mario, the public at the Opera, and is likely to maintain that enviable position Delle-Scdie and Tagliafico. On Saturday the 31st, the Huguenots was for many years, judging from her youth, her talents, and her enthusiasm. produced with a new Valentine, Mlle. Antonietta Fricci. Of the fair

The names of two new prima donnas lent an interest to the pro débutante's antecedents nothing was known in this country. She created spectus; they were Mlle. Gordosa and Mlle. Marie Battu-the former little sensation at the first performance, but improved after a few nights, unkoown, the latter recommended by certain accomplishments at the and seemed gradually working her way into public favour. Mlle. Italian Opera in Paris. A third “first lady,” not alluded to in the pro Fricci bas undoubted natural gifts which may, we think, be turned to gramme, also appeared, and is more likely to be heard of in conjunction the best account. The cast of the Huguenots, in other respects, was the with the future doings of the Royal Italian Opera than either of her same as last year, including Mesdames Miolan-Carvalho and Didiée,

Signors Mario, Tagliafico, MM. Faure and Zelger. On Monday, 1 element is to the body; the same slight shudder and the same fine June 1st, the Traviata was given, with Mlle. Patti, Signors delight and sense of wholesome, purifying change. Gardoni and Delle-Sedie. Lucia di Lammermoor was performed on No. 1. (Book I.) A gentle, streamy movement in 4-4 time marked Saturday the 7th, and introduced Herr Wachtel in the part of Andante con moto, and in the warm key of E major, seems like a hymn Edgardo. This gentleman has a voice of great capability, but is sadly of gratitude ; the heart so full, so innocent, so constant, in its own in want of schooling. Mlle. Patti's exquisite singing and acting in Lucy tranquil musings unconsciously overflowing with an ecstatic feeling of were all but lost by close approximation to such laboured and rugged the unspeakable love that pervades all things. It seems the cool of a art. On Tuesday, the 17th, Mlle. Marie Battu made her first appearance soft summer evening. The air and che bass, uniform and stately in in this country, as Gilda in Rigoletto. The young lady was terribly their movement, form such counterpoint with each other, as the crystal frightened, and could not do herself justice on that occasion. Judging sky with the dark earth below it, while the even arpeggio of the accomfrom subsequent performances, we are enabled to pronounce Mlle. Marie | paniment between is like the flow of the hight air. Battu a singer of promise rather than accomplishment. She has youth No. 2. Andante erpressivo, in 3-8 measure, in the key of A minor, and no mean natural gifts in her favour.

is a quaint, pensive, melancholy strain -- that sort of sweet melancholy The great event of the season - at least, that looked forward to with which is a luxury to itself, and beautiful to beholders. The melody is greatest interest and curiosity - was the revival of Robert le Diable, very simple. (The motive, for the first four measures, is found almost which took place on Thursday, the 19th. The principal characters were identical in one of the violin sonatas, if wo remember rightly, of allotted to Mesdames Penco and Miolan-Carvalho, Signors Tamberlik Sebastian Bach.) The harmony, which has a melody of its own, is and Neri-Baraldi, Herr Formes, and Mlle. Salvioni. The magnificence curiously managed, and defies the careless player to anticipate a bar of and splendour of the mise-en-scène, the costliness and variety of the cos it. The whole is so subdued and sober, that many an one will play it tumes, and the numbers employed, make Robert le Diable one of the | through several times before its beauty begins to grow upon him, as it grandest spectacular displays produced at the Royal Italian Opera. The infallibly must in the end. performance was given three times in succession. On Tuesday, July 1st, No. 3. Molto Allegro e vivace, 6-8 measure, and in A major, seems Signor Graziani made his first appearance this season as Enrico in Lucia to have caught and continued the strain of the first movement in - a character not entirely suited to him. He was received with loud | Beethoven's sublime Seventh Symphony. The key and rhythm are the applause.

same, that peculiar Orphic rhythm, as some one called it, which seems On the 5th, Saturday, Martha was repeated, with two changes in thc to pervade the universe and carry all things on with it. There is an distribution of parts, Mlle. Patti for Mad. Penco in Lady Henrietta, undying fire of aspiration in it, free from all insane restlessness and and Sig. Graziani for Sig. Delle-Sedie in Plunket. Mlle. Patti read | impotent impetuosity, wisely reconciled without any loss of force to the the part differently from Mad. Penco, making it far more interesting, severe rhythm of the universe, to unslumbering obedience, brighter and and sang the air “The last rose of summer" with an effect not easy to | more vigorous than youth's truant enterprise. describe. Don Pasquale, revived on Saturday, June 12th, introduced The next is brief, and like a broad and ample chorus; a solemn Mlle. Patti as Norina, her first essay in the part, and her success was cheerful utterance of a wholesome common sentiment; the grand conindisputable. Sig. Delle-Sedie was favourably heard in Dr. Malatesta, | fession of faith of a true-hearted company, who trust the universe and and Sig. Ciampi unfavourably seen in Don Pasquale. Sig. Mario's trust each other, and do not have to try to be religious. It is also in Ernesto exhibited all the old attractions of — we need not say how A major, and in common time. Our readers by this time will suspect, many years since. On Saturday the 22nd, the Trovatore, with without inquiring whether he be Jew, Catholic, Lutheran or Rationalist, Mlle. Antonietta Fricci as Leonora, in the room of Mlle. Gordosa, a that this good Felix Mendelssohn is a religious man, and that his art is manifest improvement, and Sig. Graziani in place of Sig. Delle-Sedie holy occupation which the world could not spare. as the Count di Luna, whereby the popular air “Il balen” was doubly No. 5 is in the relative minor of the last key, 6-4 measure, and recommended to the audience. On the following Tuesday Mlle. Fricci | marked Piano Agitato. It is full of passion, intense but not noisy. It played Alice in Robert le Diable, with Mlle. Marie Battu as the | is the most difficult piece in this collection, woven together with the Princess.

cunning science of a Bach, and requires that each part in the harmony Of the production of Dinorah, for Mlle. Patti, which took place on should be carefully individualised. Tuesday, August the 5th, and of Masaniello, which came off on Thurs The set closes with one of those dreamy “Gondola songs,” which we day, the 7th, so much has been said recently, that nothing further is

have already described. required here than to state that the former revealed a new talent in the

J. S. DWIGHT. young artist, and that the latter rivals in splendour and completeness Robert le Diable and the Prophète. Last night Mlle. Patti's benefit took place, when the scene of the

| VERDI has a curious factotum of a servant, who knows every bar of “Shadow Song," from Dinorah, was given, with the Barbiere, stopt short

music his master has written, from Ernani and Nabuco to La Forza at the lesson scene, and the Pas des Patineurs from the Prophète. The del Destino. He is familiarly known as “Verdi's shadow.” He has two house was crowded in every part, and the heroine of the evening re horses which he calls Rigoletto and Trovatore. He it is who has taught called frequently and applauded tumultuously.

the peasants on Verdi's estate near Busseto to sing the operatic choTo-night the season will be brought to a termination with Masaniello.

ruses, so that they welcome their padrone with the Lombardi chorus,

"Oh ! Signor, dal tetto natio."

This servant's conversation is half made up of scraps from the librettos HER MAJESTY'S THEATRE.

of the Verdi operas. In St. Petersburg, last winter, he besought his The cheap nights go on swimmingly, and we are promised another master to hurry back to Italy, or he (the servant) would die with coldweek of them. On Saturday Don Giovanni; on Monday Robert le

“Gran Dio! morir si giovane ;' Diable; on Tuesday the Huguenots; on Thursday Norma—such has

and when the time was appointed to go, sang the air of Elvirabeen the programme of the week. To-night (first time) Martha, and

“Viola o tempo," &c. the new (long-promised) cantata from the pen of Sig. Giuglini.

Once Verdi scarly frightened him to death by appearing à la ghost

wrapped up in a white sheet ; and when he tore off the disguise and MENDELSSOHN'S SONGS WITHOUT WORDS.

disclosed his identity, the frightened servant could only express himself,

with Leonora in the new scene of Trovatore Book First.

"Sei tu dal Ciel disceso, To describe the music of Mendelssohn, or Chopin, or any true poet

O in Ciel son io con te." composer, scems a work of despair. As well try to describc the

New York Evening Post. fragrance of mignonette, or the flavour of a peach, or tell what thoughts compose the charm of the most evanescent and delicious reverie, which Ulster Hall, BELFAST. — (From our own Correspondent.) - The knows no reason for itself, and seems to have no aim, although one following programme was performed on the organ at the Ulster Hall, moment of it weighs more in the memory than weeks of ordinary 1 by Mr. J. R. Edeson, on the occasion of the Flower Show beld consciousness. It is exquisitely refined, delicate, dreamy, mystical ; yet there, and gave great satisfaction to an immense crowd of people. simple, strong and clear. It takes you within the borders of the mar- | Handel's “ The horse and his rider," and Bach's difficult fugue in G vellous, only to make you feel more at home ; it reveals a certain / minor, were played in a masterly manner, and deserve especial cominenpeculiar and very pure sphere of existence, to which the soul seems | dation. The new organ being built for me

dation. The new organ being built for the Hall by Hill is almost perfectly native, and which we wonder we have not cultivated more. It ready for erection; but as no announcement of the inaugural Festival is is to the every day life of the mind, what plunging into the watery yet made, what are the directors about ? - Your own CORRESPONDENT. Morning Performance: 1. Wedding March, Mendelssohn; 2. Andante the mind. One man thinks himself handsome, and is as ugly as night; in A, Hesse ; 3. Prelude and fugue, A minor, J. S. Bach ; 4. Adagio, another fancies himself young, and has a face full of wrinkles. Possessed Op. 34, Mozart; 5. Operatic selection ; 6. Chorus, “ The horse and his of a voice like a duck's or a raven's, a third is intoxicated with the rider," Handel; 7. March, Le Prophète, Meyerbeer; 8. Overture. charms of his singing, or rather howling. This seems almost incredible, Evening Performance : 1. Motett, “Splendente Te Deus," Mozart; but proofs are to be found in the first theatre we enter. Let anyone go 2. Allegretto, “Hymn of Praise," Mendelssohn; 3. Concerto in B flat, behind the scenes of an opera house, and observe the slavish throng of Handel; 4. Operatic selection; 5. Fugue, G minor, J. S. Bach; 6. flatterers, who flock around a celebrated singer, male or female; let him Andante from 1st Symphony, Beethoven ; 7. March, Athalie, Men listen to the praise with which he or she is overwhelmed on leaving delssohn; 8. Overture, Masaniello, Auber.

the stage, no matter how he or she may have sung! Whether the prima donna or the first tenor happen to be in good voice or not, it is

always the same eulogistic hymn, the same unisono of superlatives : SKETCHES OF ARTISTIC LIFE.

“Bravissimo!” “ Divine!” “Excellent!” “ What talent!” “What a I.

gem!” “What a wonder !” “What a phenomenon !” “I am still

perfectly entranced!" “ Just feel how my heart is beating !” “Look at SELF-DELUSION.*

the tears in my eyes!” But the public has remained cold, icy cold, and That which renders artists most ridiculous is generally precisely that | the claquers alone have applauded; at any rate, it often happens that which renders them most happy. Can there be a more happy mortal the audience is dissatisfied, while these false and deceptive triumphs are than a young composer, poet, or painter, who looks upon his produc being celebrated behind the scenes. How can an artist resist the intion as a wonder? Whoever tries to persuade him of the contrary is, fluence of the atmosphere surrounding him? How can he avoid at last in his eyes, a fool. It is true that a man must possess confidence in regarding himself as a favoured, supernatural being, and sitting himself, otherwise he would undertake nothing. In his mature age, enthroned at the council-table of the Gods, when, every evening, so the artist becomes reasonable ; his illusions mostly vanish. He no many simple-minded mortals erect an Olympus for him, and place him longer overrates himself ; he feels in the full possession of his powers, on it with their own hands? and has enjoyed such frequent opportunities of employing them, that it Let us descend from the highest to the lowest grade in the dramatic is not very well possible for him to deceive himself in this respect. Still hierarchy. Under the tatters of the poorest figurante; under the wellhe always cherishes the hope of doing something better than he has worn, old-fashioned dress-coat of the most wretched chorister; in the done, and of discovering in himself fresh treasures. Napoleon said at prompter's box, we again meet with self-delusion and its deceptions. the Moscowa : “ That is not my battle yet !" Gluck might have said Were we obliged to give every example we know of this, a book would the same thing to himself, in bis 60th year, before he had written not suffice; we will restrict ourselves to one. Once upon a time, there Armide ; and Carl Maria von Weber, in his 36th, before he brought was (as is so often the case) a singer, weak in voice and intellect, who out Der Freischütz, Euryanthe, and Oberon.

took it into his head that he ought no longer to hide his light under a Men who have gained for themselves a high position in any particular bushel, but air his screeching voice at one of the theatres of the capital. branch of art, frequently suffer from a peculiar weakness. This consists He pays a visit to an operatic manager, who, in consequence of the in their believing that they have missed their true vocation, and that | intercession of a patron, consents to listen to him. After having done nature intended them for something different and better. They devote so, the manager says to the patron: “Your protégé is good for nothing, themselves, with especial delight, to some other art, in which they are tell him so." The patron says to the would-be vocalist: “In this naturally condemned to lasting mediocrity. Thus Grétry (born in theatre there are situations of two sorts; those of the one belong to 1771 at Liége) fancied he was a great philosopher! He had written a artists with salaries ranging from 1,200 to 1,500 thalers each, but for work: What we have been, What we are, and What we shall be. This, these you are not fitted ; as general utility, or stop-gap, you would in his opinion, was far superior to his finest scores. With the most receive 300 thalers, but all the places of this kind are filled up.” The ingenious self-complacency, he gives in Vol. I. of his Mémoires, ou same evening, the patron receives a note to the following effect: “My Essai sur la Musique, 1789, an account of various events in dear N. N., I have reflected upon your proposal. As there is no place his life. Whenever the conversation turned upon his sculptures, of 300 thalers vacant, I have resolved on taking one with 1,500 thalers, Canova would fetch a freshly-bedaubed tablet, and exhibit it with a more especially as I shall enjoy the opportunity of practising and imsmile of paternal pride. Girardet valued his wretched verses far more proving myselt in my profession.” highly than his magnificent pictures. David regretted having spent his The stage abounds in such originals-such victims of self-delusionlife in painting; he ought, he believed, to have studied diplomacy, which, next to the cholera, may be considered as the disease which being intended by nature to change the politics of the two hemispheres. carrà off more victims than any other. Such a David might, now-a-days, have become a Goliath. The examples of this mania are so numerous, and present themselves under such a variety of forms, that we have endeavoured to discover the reason of

SONGS FOR MUSIC. it. Our researches have led us to the following result. In that act,

1. by which he has gained his reputation, the artist sees everything and understands everything; he measures all the resources it offers, and, at

(Dedicated to the Welsh Orpheus.") the same time, all the difficulties, and the latter are of such a kind that

D. S. Lewis yw'n dewis Lywydd, --- ac they obstruct even the flight of genius, so that, consequently, it never

Ein tecaf ddiddanydd, attains its ideal. Hence the despondency which overpowers the

Melus aeg, a mael y sydd, master, while other men are applauding him. It is precisely because

O ei firain leferydd. the artist adopts a high standard that he is dissatisfied with himself, feeling, as he does, in how much he is deficient. In an art, however,

Gor-uthr enwog, gywir athronydd -- yw for which he has no true vocation, in which there is no ideal floating

Ac êon areithydd; before his mind, he finds everything easy ; he is contented, therefore,

Di-ail yw fel da, lywydd with devoting less trouble to his task, and thinks all the more highly of

A law'n rho'i a chalon rydd. himself. With respect to the act for which he is not intended by nature, a great man is not even on an equality with the mass ; he stands beneath them, and, the lower he stands, the higher is his opinion of his

(Dedicated to the Welsh Apollo.) own ability. Were this not the case, how were it possible, out of the

Yr Ifor Hael gyfrifent—yn un mawr i millions of the human race, for the composers and virtuosos, whom

Mae hwnw mewn monwent; we may count by thousands, to live in the false belief that each one

Ond wele'n llawn o dalent, of them is, by his vocation, & Gluck, a Beethoven, a Paganini, or a

Ail hwn gawn yn Mlaenau Gwent.
Liszt!
The stage especially is the home of the delusions of egotism. Self-

At rywiog blant yr awen, chwydda'i serch delusion drives most persons on the stage, and keeps them there, when

Hedd sydd tan ei aden, they ought to leave it. Men deceive themselves with regard to physical

D. S. Lewis 'caed oes lawen, qualifications and material circumstances, even more than with regard

Ac wedi hen oed, caed y nen. to purely intellectual things, for which there is no criterion save that of

VIENNA.—According to report, Herr Ferdinand Luib, a writer on * Translated from the Berliner Musikzeitung expressly for the musical subjects, has just completed a comprehensive biography of MUSICAL WORLD.

Schubert.

II.

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