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important instance, have been carried out. Don Sebastien, the one advertised novelty, it is true, was not forthcoming; but the reasons for its ultimate postponement, there is good cause to believe,were so generally understood and accepted that further allusion to them would be superfluous. Moreover, the subscribers may comfort themselves with the assurance that the work in question is by no means one of the happiest efforts of its prolific composer, and that whoever has heard La Favorita may claim acquaintance with the most brilliant of Donizetti's contributions to the French lyric stage. In addition to this, it is but fair to remind those who are inclined to be dissatisfied, that Mr. Gye more than atoned for the temporary loss of Don Sebastien by his magnificent revival of a far more admirable production-viz., the Masaniello of Auber, which was not announced in the prospectus. La Figlia del Reggimento should have been given for] Mlle. Adelina Patti; but, in place of this, that gifted young lady's Dinorah was unexpectedly introduced to the subscribers, the expiration of Mad. Miolan Carvalho's engagement having left the part open to her more popular successor; and as the new Dinorah achieved a signal success, it was no great punishment to wait another year for the new Maria, who will thus have more leisure to practise her "drum," and otherwise perfect her assumption of the lively vivandière. That Fra Diavolo and L'Elisir d'Amore (both promised) were not produced can hardly be laid to the charge of the management. No Lord Allcash, no Dulcamara, until Sig. Ronconi is forgotten, would be tolerated by the patrons of the Royal Italian Opera, whose patient forbearance under the infliction of that inimitable comedian's inadequate substitute as Figaro was a sufficient tax for one season, even with Sig. Mario's inimitable Almaviva and Mlle. Patti's no less inimitable Rosina to console them. Why Sig. Ronconi did not could not- fulfill his engagement with Mr. Gye has already been explained. His absence was severely felt, not only in the loss of Fra Diavolo and L'Elisir, but in the comparative weakening of the cast of Don Giovanni, Don Pasquale, and one or two other operas. What Sig. Ronconi's Masetto was few can have forgotten; what his Don Pasquale might have been can readily be imagined. Sig. Ciampi, in spite of his youth, his unperturbed equanimity, and his stentorian voice, was but a sorry substitute in either accounts afford hopes of Sig. Ronconi's recovery; and that in 1863 he may resume his position at Covent-garden must be the wish of every lover of Italian opera.

other house-was, in the preliminary advertisements of Her Majesty's Theatre, alluded to in terms which, however vague, probably led many to believe that his services had been secured, or at least that he was in some way compromised. With a troupe so really attractive, and in every department efficient, there was no necessity for prevarication or mystery of any kind. Mlle. Titiens appeared at various intervals as Amelia (Il Ballo in Maschera), Lucrezia Borgia, Norma, Alice (Robert le Diable), Donna Anna, Leonora (Il Trovatore), Valentine, Lucia, and the Countess Almaviva - besides taking the principal part in Signor Verdi's Exhibition cantata, and in the ode called L'Italia, to which the name of Signor Giuglini was attached. The sisters Marchisio were heard frequently in Semiramide-the opera to which they owe the greater portion of their celebrity abroad; Mlle. Guerrabella sang in the Puritani and Don Pasquale; and Mlle. Michal, the Swedish singer, did excellent service both in Meyerbeer's operas and as Elvira in Don Giovanni. So much for the chief "sopranos." At the head of the "contralto" department figured Mlle. Trebelli, whose sterling talent and rich natural endowments at once won the favour of the public. In her particular line no such aspirant has been introduced to this country since Alboni, with whom, although she is not just now to be compared, she has very much in common. Mlle. Trebelli, being a new comer, was in some respects the "star" of the season, and in all the parts she essayed-including, among others, Maffeo Orsini, Rosina, Azucena, the Page in the Huguenots, the Gipsy in La Zingara (the Italian version of Mr. Balfe's Bohemian Girl), and Cherubino (Le Nozze di Figaro)-proclaimed herself a genuine artist. As second" contralto" (and occasionally as second "soprano "), Mad. Lemaire was diligent, correct, and serviceable as ever. At the head of the tenors, Signor Giuglinithough occasionally absent from his post through indisposition-maintained his reputation in the majority of those operas which have made his name in England; Signor Armandi laboured earnestly, if not with invariable felicity, in parts not belonging to Signor Giuglini's repertory; Signor Naudin made a favourable impression as Manrico in the Trovatore, and Signor Bettini was a thoroughly competent representative of subordinate tenor-characters, besides attempting Almaviva (Il Barbiere), to which his powers were altogether inadequate. The bary-part-elaborate dryness, indeed, doing duty for unctuous humour. Later tone upon whom the largest amount of work devolved was M. Gassier, whose talent is only surpassed by his versatility, and whose Duke Alphonso and St. Bris are as dramatically impressive as his Figaro is lively and spirited. To Mr. Santley allusion has already been made. The principal basses-Signors Vialetti and Zucchini-were both useful, the former ready at a moment's notice with almost any part in the repertory, the latter possessing a certain dry humour which enabled him to offer a more than respectable impersonation of such characters as Don Pasquale and Dr. Bartolo. A Signor Laterza, too, was heard three or four times, but the impression he produced has not stamped itself indelibly on the memory; while Signor Giraldoni may be remembered as having been the early representative of Signor Verdi's Ankastrom (Il Ballo in Maschera), in which opera a Mlle. Dario, not since heard of, also appeared as Oscar, the page.

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With regard to the promised operas, Oberon and Der Freischütz turned out "moonshine;" but most of the others named in the prospectus were duly forthcoming. We have alluded to several of them, and need not go through the entire catalogue. The " "novelty was to have been Signor Schira's Nicolo de' Lappi, from which great things were expected; but the production of this work has been postponed until next season-all things considered, in spite of its frequent announcement in the bills, not, we think, unwisely. Little need be said of the ballet, which, though well supported by Mlles. Morlacchi, Lamouroux, and (for a short period) Katinka Friedbourg, with an efficient "corps," under the skilful and experienced direction of M. Petit, has presented no new feature of importance. In conclusion, we repeat that the first season of Mr. Mapleson's management has been more than creditable, and there is every reason to believe that it has been successful in proportion.

ROYAL ITALIAN OPERA.

MR. GYE, in accordance with traditional policy, has abstained from following up the regular season by extra performances of any kind, whether at cheap prices or with the established tariff. In this, it must be admitted, he upholds the dignity of his theatre, although, under the exceptional circumstances of the present year, he no doubt sacrifices a legitimate prospect of emolument.

The incidents of the past (the 16th) season, owing to the frequent representations of certain operas, which for manifest reasons have exercised a more than ordinary attraction, were fewer than usual. The pledges set forth in the prospectus, nevertheless, in almost every

The triumphs of the season were virtually shared between the grand "spectacle-operas" of the French stage and those examples of the purely Italian school in which that extraordinary popular favourite, Mlle. Patti, appeared. Guillaume Tell, La Favorita, the Huguenots, the Prophète, Robert Le Diable, and Masaniello were repeatedly presented, with the splendour of mise en scène and general musical effectiveness for which the Royal Italian Opera has been always celebrated. Guillaume Tell (which opened the season on Tuesday, April 8) was given more frequently than any of its companions. Allowing for the curtailmentshowever necessary, in some particulars, not invariably made with the careful consideration due to so fine a masterpiece-and for the unwarranted substitution of a new finale in place of that which Rossini has written to the fourth act, this revival is certainly one of the most remarkable in the Covent Garden annals, and its attraction has evidently lost nothing through the repeated performances of 1861. Of the Prophète and the Huguenots little need be said. What they were before the old theatre was burnt down they have been since the new theatre was erected, and are likely to be for very many years while competent representatives of Fides and Jean of Leyden in one case, and of Valentine and Raoul in the other, are at hand. Masaniello, brought out at the end of the season, and played five times in almost immediate succession, may also be dismissed in a word. But for the absurd curtailments in the duet between the hero and his treacherous confidant, Pietro (Act 11.), and in the "Market-chorus" (Act III.), there would be not one word to say against the efficiency of this gorgeous revival; but these are marks of such ruthless Vandalism that they must not pass without a protest-more especially as no advantage whatever is gained by a process which, in spoiling two nobly characteristic pieces, makes their author, an accomplished master of form, appear as if he was ignorant of that indispensable element of musical composition. The revival of Robert le Diable restored the one great work of M. Meyerbeer hitherto wanting to the repertory of the new theatre, and-though in more than one respect the performance left much to desire-it provided one of those superb scenic frameworks which may at any time, circumstances favouring, be filled up in a satisfactory manner. Gluck's Orfeo and Beethoven's Fidelio, though promised this year, must be waited for till next.

Even more uniformly attractive than the great works of the French school were three of a wholly different stamp, each the chef d'œuvre of its composer. Never, at any period within the memory of the present

generation of opera-goers, have Bellini's Sonnambula, Rossini's Barbiére di Seviglia, and Mozart's Don Giovanni (thanks, in a great measure, to Mlle. Adelina Patti), been so frequently performed in the course of a single season. Of the other operas, from time to time produced the Trovatore, the Ballo in Maschera, Rigoletto, the Traviata-there is nothing to remark, beyond the fact that Il Ballo in Maschera, certainly one of Sig. Verdi's most genial operas, is slowly and surely winning ground; and that, while Sig. Ronconi's Rigoletto was as greatly missed as his Figaro, no one has been able to supply the place of Mad. Bosio in Gilda nor Mad. Miolan Carvalho, nor the new lady, Mlle. Battu, another French singer in all respects her inferior.

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With reference to the "engagements" the one exception (Sig. Ronconi) allowed for the pledges of the prospectus have been` ful- | filled to the letter. We have had even more than was set down. Mad. Csillag, the German, Mad. Penco, the Italian, and Mad. Rudersdorff, the Russian -"prima donnas" in the serious line- were further strengthened by the cooperation of Mlle. Antonietta Fricci, another Teutonic singer, who, at intervals-in Alice (Robert), Leonora (Il Trovatore), and Donna Anna, replaced the two first-mentioned - besides making her debut as Valentine in the Huguenots, and who, being young and promising, will doubtless be heard of next season, and by a Mlle. Dottini, who came chiefly into vogue as the occasional substitute for Mad. Carvalho and Mlle. Battu. The list of tenors, at the head of which stood Sigs. Mario, Tamberlik, and Gardoni-the first two being repeatedly heard in some of their most celebrated parts, the one by his Almaviva, the other by his Arnold (Guillaume Tell), presenting examples of the two opposite styles of Rossinian singing that defied competition -was thoroughly efficient. A more painstaking and conscientious second-tenor than Sig. Neri Beraldi, or one more capable of undertaking a first-tenor part at an emergency, could not easily be met with. The barytones and basses including Sigs. Graziani, Polonini, and Ciampi, MM. Faure, Tagliafico and Zelger, Herr Formes, &c.—not to forget Sig. Delle Sedie, a thorough artist, whose Renato (Il Ballo in Maschera) is a first-class performance, and whose only misfortune it was to be obliged to officiate for the absent favourite Sig. Ronconi in one or two highly important characters were adequate to all the demands of the establishment; while the clever and intelligent Mad. Nantier-Didiée, as usual, did excellent duty as "contralto." Of the three "new comers "" Mlle. Gordosa (soprano), Sig. Nanni (bass), and Herr Wachtel (tenor)—it is enough to say that they appeared and disappeared; while, with regard to Mr. Santley, the eminent English barytone-who met with so flattering a reception as the Comte di Luna in Il Trovatore, and who shortly after went over to the Opera House in the Haymarket-we can only express our surprise and that of the musical public that, after so decided a success, he should either have been allowed to sccede, or have seceded of his own accord, from a theatre where so brilliant a career seemed to await him.

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The ballet has remained in statu quo. Mlle. Salvioni, the principal dancer, has shown by her impersonation of Fenella (Masaniello) that, while she could dance to perfection, she could do something else quite as gracefully; while Mlle. Esper, the worthy head of a very efficient Terpsichorean corps, and her associates, have sustained their reputation and that of the establishment in this agreeable department, more particularly in the divertissements which confer so much animation upon the long French spectacle-operas. To the band and chorus, to their indefatigable chief, Mr.Costa, to M. Sainton, his occasional and thoroughly able substitute, to Mr. Augustus Harris, stage-manager, and to Mr. W. Beverley and Messrs. Grieve and Telbin, heads of the "scenic" business, we have repeatedly in the course of the season paid the compliments due to their zealous and praiseworthy exertions. Such officers do credit to an establishment like the Royal Italian Opera, and bear testimony to that state of discipline in every department which is one of the principal secrets of its success.

ROYAL ENGLISH OPERA. SCARCELY more than a week had Covent Garden Theatre closed its doors upon the foreign operatic singers, when already they were opened again for the admission of a well-trained company of English lyric comedians, whose annual appeal to the public does not ordinarily take place until about the middle of October. Miss Louisa Pyne and Mr. Harrison, however, are no doubt resolved to try their chances like the rest in this exceptional year; and it will be strange if none of the crumbs from the amply-spread table of the Great International Exhibition do not fall to their share. The completeness with which their operas are got up, the variety of their repertory, and the excellence of their band and chorus, under the able guidance of Mr. Alfred Mellon, give them to say nothing of their chief performers a claim to support which

is not very likely to be unresponded to at the present time; and the crowded state of the pit and gallery on the opening night was an auspicious "inauguration" of the early season. The opera-Mr. Benedict's Lily of Killarney-was played, two characters excepted, with the original cast, and received with the unanimous favour it has never failed to command. The audience, indeed, was almost as enthusiastic as though the opera had been produced for the first time. Miss Louisa Pyne, Mr. Harrison,, and Mr. Santley were uproariously welcomed, as they successively came before the footlights; the overture was loudly applauded, and no less than six pieces-"The moon hath raised her lamp" (Messrs. Perren and Santley), "It is a pretty girl I love" (Mr. Harrison), "The Cruiskeen Lawn" (Miss Louisa Pyne, a trio), “I'm alone" (Miss Louisa Pyne), the "Lullaby” (Mr. Harrison), and "Eily Mavourneen" (Mr. Perren) — were encored and repeated. On the whole, it must be admitted that this unmeasured approbation was not illegitimately earned, the execution of Mr. Benedict's picturesque work being for the most part highly effective. Of Miss Louisa Pyne's Eily, Mr. Harrison's Miles-na-Coppaleen, and Mr. Santley's Danny Mann, it is superfluous to speak; nor need more be said of the comparatively subordinate parts of Mrs. Cregan, Father Tom, and Mr. Corrigan, than that they were sustained by Miss Susan Pyne, Messrs. Patey, and Eugene Dussek, with their accustomed efficiency. The part of Anne Chute was undertaken by Miss Thirlwall, who exhibited the cleverness and musical efficiency that invariably distinguish her, and are all the more acceptable on account of the unobtrusive modesty with which they are put forward. Mr. George Perren, the new Hardress Cregan, met with a genuine and well-merited success. This gentleman has been for some years favourably known in the concert-room as a singer both of sacred and secular music. On the stage he at present is little better than a novice; but he sings with taste, expression, and finish, and his voice, though not over powerful, is of extremely agreeable quality. Nothing could be more encouraging than his reception. There was an earnestness in his manner which at once made way with the audience, and obtained for him both an attentive hearing and a flattering appreciation. We have already said that he was honoured with two encores, (and have only now to express a hope that last night's probation may merely be the preliminary to further successes, and that Mr. Perren may become what is conventionally styled “a valuable acquisition." At the end of every act of the opera the singers were recalled; and when the National Anthem had been given by "the whole company" (solos, Miss Parepa, Mr. Harrison, and Miss Louisa Pyne), Mr. Alfred Mellon, in obedience to a general summons, was led forward by the manager and manageress. It is intended to present in succession all the original works by native composers that have been brought out since the Royal English Opera was first established. Such a plan, at the present moment, is manifestly judicious.

On Monday, Mr. Wallace's Maritana was given, with Mlle. Parepa as the Gipsy girl, her first appearance in the character, Mr. Harrison playing his old part, Don Cæsar de Bazan; Mr. Weiss, Don José; Miss Susan Pync, Lazarillo; and Mr. John Rouse, Mr. and Mrs. Ansley Cook, the other characters. Mlle. Parepa sang with great brilliancy, and was received with distinguished favour. Mr. Harrison's Don Cæsar is one of his very rarest and most genial impersonations. On Tuesday and Thursday the Lily of Killarney was repeated; on Wednesday Dinorah; and last night Maritana. On Monday Lurline will be produced, with Miss Sarah Dobson, a pupil of Mrs. Wood, in the character of the heroine, her first appearance on the London stage.

DRESDEN. It was exactly a quarter of a century ago, on August 11 last, that Herr Joseph Tichatscheck first appeared here on the stage. He sang the part of Duke Olaf in Auber's Gustavus. He was then in his thirtieth year, having been engaged two years previously as first tenor in Gratz, before which time he sang in the chorus and small parts at the Kärtnerthor Theatre, Vienna. Perhaps this comparatively late commencement of his artistic career, properly so called, at a period when his physical powers were completely developed, will partially account for the durability of his voice, the beauty, vigour, and freshness of which enchanted everyone when he made his debut here. The next parts he played, previously to his becoming a regular member of the company, were Tamino, George Brown, and Robert, in all of which he was so successful, that Herr Von Lüttichau, the DirectorGeneral of the Theatre Royal, engaged him permanently from January 1, 1838. According to report, several operas are again to be performed with the low pitch in the course of next month, when the directors and conductors of the principal operatic theatres in Germany will be invited to attend.

“BEATRICE ET BENEDICT,” BY HECTOR BERLIOZ, AT BADEN.

(From the Baden Illustration.)

THE piece is based upon the Latin proverb, so well-known, and so debatable (I beg your pardon, ladies!), "Si vis amari, ama," "If you wish to be loved, begin by setting the example yourself." The great king, Louis XIV., surrounded by the fascinations of the most beautiful and most noble women of his day, the Lavallières, the Montespans, and the Fontanges, was not proof against the love displayed for him by a mere gardener's daughter. Béatrice is, of course, a thousand times better than a gardener's daughter, but it is solely because Bénédict learns, beyond the possibility of doubt, that she loves him, that he sets about loving her, and vice versa. Now this revelation takes place on the stage for Bénédict, but not for Béatrice. This is an omission which not only flings a certain degree of obscurity on the design of the work, but which ought to have been filled up both dramatically and musically. A female trio, corresponding to the trio of the men, would not have been superfluous, perhaps, to explain the sudden passion of the beautiful and refractory Béatrice, which is the important part of the knot to be untied; for a woman, as far as appearances go at least, is slower to fall in love than a man, and does not surrender without being duly called upon, as it is the right, if not the duty,'of a man to do. This ought to have been sung, because song is the especial and peculiar action of a musical work; and, with all due deference to Beaumarchais and his witty remark at his own expense, it is precisely when things are worth being spoken that they ought, in opera, to be sung.

M. Berlioz will, of necessity, repair the above omission, if, as appears most certain, his new opera is revived this winter and produced in

Paris.

When we recollect that a mediocre libretto has often proved sufficient to mar irrevocably excellent music-such for instance, as that of the Partie de Chasse de Henri IV., of which the marvellous overture alone managed to survive-we must admire and congratulate M. Berlioz all the more on having succeeded in rendering his music effective, connected, as it is, with a series of situations by no means definite or precise. Had he had a clear and amusing book like that of Le Domino Noir, it is impossible to say how successful his opera might have been; even as it is, I believe it will run, and for a long time, too, despite the imperfection of the subject: for it contains a duet, which we must, without being commonplace, designate a chef-d'œuvre, and which will live as long as French music lives. It is already imprinted on the memory of everyone at Baden, as it will speedily be on that of every lover of musical art in Europe. I allude to the admirable inspiration which terminates the first act, and which, having left Baden on August 11 last, will evidently, within the year, make the round of Europe in the concert-rooms most assuredly, and on the stage likewise, I believe. It cannot be compared to "La ci darem la mano," the duet in Guillaume Tell, that in Otello, or aught else known on the stage. It is something standing quite apart. Two charming girls, in a garden at night, sing the beauties of nature, viewed, or rather felt, in the mysterious light: this all, neither more nor less. Eugène Scribe would never have thought of such a hors-d'œuvre, any more than M. Berlioz, as a librettist will ever invent the complications of the Ambassadrice, the Fiancée or Lestocq; but, as a composer, he fully makes up for his deficiency in this respect, for the duo is as fine as-what shall I say?-the Lac, of Lamartine, its congener: here I stop, and, naturally, do not add one word more of praise.

Another charming duet, or, rather, duettino, which ends the piece, was more successful at the pianoforte rehearsal than in performance. It is the duet sung by the principal personages (Héro aside) when they are reconciled and married. Its comparative failure results, I think, from the excessive and too great petulance of the orchestral accompaniment, reproducing the principal motive of the overture, and depressing

the dance-air, eminently corybantic; the male trio, "Me marier, Dieu me pardonne!" Bénédict's rondo, "Ah! je vais l'aimer!" Béatrice's air, and the "Nuptial March," supported by a good orchestral rhythm. All this difficult music, requiring on the part of the executant continual vigilance, attention, and, I will even add, tension, was given most admirably by Mesdames Charton-Demeur, Monrose, Geoffroy, MM. Montaubry, Balanqué, Prilleux, Geoffroy, and Lefort.

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As for the Baden orchestra, I can say no more than that it was equal to that from Carlsruhe, which had been so justly applauded, two evenings previously, for its performance of C. Kreutzer's opera.

The second representation of Béatrice et Bénédict was preceded by La Servante Maîtresse, the music by Pergolese, and the French words a translation of La Serva Padrona. It is a remarkable fact that the same work was revived on the very same day at the Opéra Comique, Paris. The bones of the poor author of the Stabat and so many enchanting "Siciliennes" must have trembled with delight in their forgotten grave a grave which will, probably, never be discovered. Despite the weakness of the accompaniment, a quartet and two bassoons, the old work pleased the audience, and most of the pieces appeared what they really are-fresh and charming. Mad. Geoffroy and M. Balanqué were very spirited in the various comic situations, which are sufficiently amusing. They were supported only by a non-speaking characterScapin-played by M. Geoffroy. This is not because Pergoles ewished to avoid any occasion for writing a trio, which he was very capable of doing, although his famous Stabat is composed for only two voices. It is simply the result of a stupid restriction which oppressed the small theatres at Naples in the year (of little grace) 1781, and which prohibited the appearance of more than two singing characters in any work played at the theatres frequented by the people. After the lapse of a century and a half, or thereabouts, it must be owned that, in this respect, we have not advanced much in France. At the above date, when there were no railways or clectric telegraphs, novelties travelled but slowly; it was not until 1754 that Baurans translated, for the French stage, La Serva Padrona of the young, illustrious, and unfortunate composer of Ancona. His version, written so long after the original, had an immense success. It was the eminently charming Mad. Favart who played the part represented at Baden by Mad. Geoffroy. When the piece had been performed some hundreds of times, Baurans had it printed, and dedicated it, with justice, to the young and seductive actress, with the following quatrain :

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TEACHERS of MUSIC.

Just published, a

the exquisite strains of this final invocation to the god of our soul. M.TSELECT CATALOGUE (enlarged edition) of PIANOFORTE and VOCAL

Berlioz, when writing in future for the human voice-which he has hitherto done too seldom, but will certainly now do more and more will have, I think, to refrain- also more and more-from similar refinements of science, from similar examples of chant contre chant, which

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may sometimes be allowed as curiosities and certificates of knowledge, ROBERT COCKS and Co.'s LIST of NEW MUSIC.—

but which frequently injure each other. He may, also, give himself up with greater confidence to that melodic inspiration which, as we are at present aware, he possesses abundantly, and which (as we learned long

to London, requiring a selection of new music, should apply for ROBERT COCKS and Co.'s QUARTERLY CIRCULAR, just issued, which contains the new works published up to this day, and is supplied gratis and post free.

ago) will always be, in his case, lofty, spiritual, original, and eminently HAMILTON'S MODERN INSTRUCTIONS for the PIANOFORTE, 342d

opposed to commonplace.

The other remarkable pieces in the score are, firstly, the overture, reproduced in the form of a scherzo at the end of the work, beginning à trois temps (three-eight), and finishing à deux temps, like Caspar's famous air in Der Freischütz; the duet between Béatrice and Bénédict;

THE ECONOMICAL WONDER of the DAY. edition (70 folio pages), 4s.; ditto for Singing, 22d edition, 5s. Hamilton's Dictionary of 3,500 Musical Terms, 68th edition, 1s. Clarke's Catechism of the Rudiments of Music, 73rd edition, Is. £25.

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"The above are a few of the prettiest vocal pieces that have appeared during the past publishing season. They are all by well-known and popular composers, of whose talents they are agreeable specimens. Balfe's French romance is in his happiest vein. Our countryman has successfully contended with the Parisian composers on their own ground-witness the reception of his fine operas, Les Quatre Fils Aymon and Le Puits d'Amour, at the Opéra Comique; and in the little song before us he shows how entirely he is at home in the French style. It is tender and passionate, with that infusion of graceful lightness and gaiety which gives the French poetry and music of this class their peculiar charm. Signor Gardoni has sung it in public with delicious effect; but it by no means requires the aid of such a singer to make it charming.-Mr. Alfred Mellon's ballad is worthy of that able and eminent musician. The melody is simple and natural, without heing trite or commonplace; and the whole composition shows that new and striking effects of modulation and harmony may be produced without setting at defiance (as is too often done) the established principles and rules of art. Few vocal pieces of the present time have obtained greater popularity than Herr Reichardt's song," Thou art so near," not only in English, but (by means of its German and French versions) all over the Continent. His new production, Memory," is of a similar character, and bids fair to have a similar success. Mr. Desmond Ryan's verses are elegant, and Reichardt has united them to a melody at once pure, simple, and expressive. Signor Pinsuti's ballad, "Hast thou no tear for me?" has been recommended to the attention of the public by the pleasing performance of Mr. Tennant, for whom it was written, and by whom it has been sung at many of the best concerts of the season. Signor Pinsuti, an Italian, has produced an air of Italian grace and beauty, while he has entirely avoided the faults into which foreign composers so often fall in setting English words to music. The melody not only expresses the sentiment conveyed by the poetry, but does not present a single misplaced emphasis or accent-a most important requisite in vocal musie. Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano or contralto voice. There is a flaw in one place which dims the clearness of the harmony. In bar 8, page 2, G flat in the melody is accompanied by E natural in the bass, creating a diminished third (or tenth)-an interval very rarely allowed, and not, we think, in the present case. There is much that is masterly in Mr. Land's romanza, and Mr. Santley, for whom it was composed, has sung it with deserved success. We could have wished it had been a little less elaborate; that the flow of the melody had been less disturbed by extraneous modulation; and that the pianoforte accompaniment had been lighter and less loaded with notes. It is a fine song, nevertheless, and not unworthy of the author's well-merited reputation."-The Press.

NEW AND REVISED EDITION.
Price 12s.

THE VOICE AND SINGING (The Formation and Cultivation of the Voice for Singing),

BY

ADOLFO FERRARI.

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"Oh! Glorious Age of Chivalry." Duet For Soprano and Contralto "The Solemn Words his Lips have spoken." Grand Air. For Soprano... "The Love you've slighted still is true." Ballad. Sung by Mlle. JENNY BAUR "Stratagem is Woman's Power." Ballad. Sung by Miss EMMA HEYWOOD "Love is a gentle Thing." Ballad. Sung by Miss EMMA HEYWOOD "A young and artless Maiden." Romance. Sung by Herr REICHARDT "There's Truth in Woman still." Romance. Sung by Herr Reichardt "The Monks were jolly Boys." Ballad. Sung by Herr FORMES "In my Chateau of Pompernik." Aria Buffa. Sung by Herr FORMES

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3s. Od. 36. Od.

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"Mr. Glover's operetta is a decided and, what is better, a legitimate, hit.' The songs before us have already attained a well-merited popularity. The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is A young and artless maiden' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils.”—Musical World. London: DUNCAN DAVISON & Co., 244 Regent Street, W.

MEYERBEER.

THE FOLLOWING COMPOSITIONS, by this eminent

Composer, are published by DUNCAN DAVISON & CO.:

VOCAL.

...

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4 0 10

"God save the Queen," for 4 Voices (2 Tenors and 2) Basses), with Piano ad lib. The Lord's Prayer for 4 Voices (Soprano, Alto, Tenor, and Bass), with Organ ad lib. Separate Vocal Parts, each "This house to love is holy." Serenade for 8 Voices Separate Vocal parts, each "Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and I Bass "Here on the mountain," with Clarinet obbligato Violin or Violoncello in lieu of Clarinet, each "Near to thee," with Violoncello obbligato "The Fishermaiden"

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SIX OPERATIC RECITALS for the PIANOFORTE, Sonored by Howtos Luccess by Mile. ADELINA PATTI, for whom it was expressly

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BOOSEYS' SHILLING MESSIAH, complete Vocal

announ

Score, with Accompaniment of Pianoforte cr Organ, demy 4to (size of "Musi. cal Cabinet"). Price 18. BOOSEY & SONS have much pleasure in cing their new Edition of the "Messiah," printed from a new type, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by G. F. HARRIS, from the celebrated Edition of Dr. JOHN CLARK. As a specimen of cheap music, this book is quite unprecedented, and it is only in anticipation of the universal patronage it will command at the approaching Handel Festival the publishers are able to undertake it. Orders received by all Booksellers and Musicsellers. Post free, Is. 4d. An edition in cloth boards, gilt, 2s.

BOOSEY & SONS, Holles Street.

ASHDOWN & PARRY, 18 Hanover Square.

RISSAC.-THE CRUISKEEN LAWN.

BRISSAC.

ASHDOWN & PARRY, 18 Hanover Square.

Price 3s.

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