had been accustomed. This being the final concert, the national tributed to the present year being of an exceptional character, the anthem, as a matter of course, formed the conclusion, and, equally, | Exhibition drawing from most their spare cash, while the distress as a matter of course, it was sung as indifferently as it usually is in Lancashire and various other public contributions have helped upon such occasions, a want of understanding, and absence of to diminish the superfluous resources of the charitably inclined. proper arrangement, being the almost invariable characteristic. Gloucester, however, deserves great credit for having kept up the Although the ball was absolutely crowded to the doors, and even honour of the festivals, and not abandoning the meeting for such standing room was an impossibility, yet the numbers present were paltry excuses as have caused the suspension of Leeds and Bradford only 569, another curious illustration of the literally) spread of last year and this. That there is distress in the North we are fashion, inasmuch as in 1856 the same room accommodatad 757, at once prepared to admit, but it is in the cotton rather than the while in 1859 only 635 could find room, and should the ladies woollen districts, and with the former prevails only with the very persist in the same ratio, and continue proportionally to make classes that the high prices of admission would, under any circumbroad the hem of their garments,” there is every probability that stances, preclude from attending; indeed, if the Times is to be at the festival of 1868 not more than a hundred of the fair sex will taken as an authority, (and nobody has yet disproved the truth of be included within its walls.

their leading article some few weeks since), the cotton lords have As anticipated, this morning's performance of the Messiah has made more money by the famine than by the abundance of that attracted an audience doubling the number of either previous at- staple commodity, of which the Americans will find they have fortendance. In the nave, reserved seats were improvised in gang- | feited the monopoly by the time they have concluded their ways until all passage became impossible ; the gallery from base to

| wretchedly suicidal war. Altogether, then, there is good reason apex was closely packed ; the aisles overflowed to the very doors; to be satisfied with the Gloucester Festival of '02 in a financial and the choir (where by far the finest effect is obtainable, but | point of view, as it will yield at least a thousand pounds to the which is usually deserted) numbered its occupants spreading to the charity, while the musical success in the Cathedral has more than very steps of the altar rails. If Mendelssohn is the composer for

made ample amends for the occasional defects at the evening conmusicians, as some assert, there is no denying that Handel is

certs. Meanwhile, it is gratifying to learn that Worcester is up essentially the people's favourite, and it is instructive to notice on and doing, the Rev. Robert Surjeant (to whose idefatigable zeal the Messiah day the numbers of vehicles pouring in from the and energy the surplus of 1860 is due) having already secured country roads bearing the farmers' wives and daughters, to whom, several stewards for their meeting which takes place next year. perhaps, other oratorios are unknown even by name, but who have ! The grand ball which terminates the festival proceedings took a traditional and sincere regard for this great sacred epic, which place on Friday night, and was kept up with unflagging spirit induces them regularly to attend its performance at each music to the enlivening strains of Adams' band, until the grey break of meeting. To attempt anything like a detailed criticism of the morn gave warning that it was time these gay doings should be at Messiah would be under any circumstances unnecessary, but in an end. Tasteful decorations of banners and flags, evergreens, this instance more particularly so, inasmuch as from first to last plants, and flowers of various kinds relieved the generally cold and it was in the highest degree commendable, a fact which is so much comfortless appearance of the Shire-llall, and a supper provided the more gratifying to record, as we have been compelled more on a liberal scale satisfied the cravings of those who found (like than once to speak in anything but favourable terms of some of the David Copperfield, when Dora drew the pencil line down his nose, evening concert displays ; indeed, it is singular that there should

by way of compensation for absence of dinner-it was very nice, have been such a vast difference between the morning and evening but he could'nt dine off it), that bright eyes, slender waists, neat performance, the one being as uniformly good as the others were

ankles, and ample crinolines, after all, are not sufficient to sustain generally indifferent.

the loss of “ tissue” consequent upon a series of rapid deux temps, Malle. Titiens sang the whole of the principal soprano music,

galops, polkas, &c., and that somewhere towards the commenceand although frequently brought into comparison with Clara

ment of the small hours" a little more substantial refreshment Novello, whose name at these meetings was so long and intimately

is a necessity. The ball-stewards seemed to be quite unaware that associated with the principal airs, in no way suffered in the esti

an essential part of their duty consists in seeing that none who mation of the good people of Gloucester, who will warmly wel

desire to dance shall be unprovided with partners, and it must have come the Teutonic songstress whenever she re-appears amongst

fared but ill with the unhappy stranger who had paid his money them. The pathos and tenderness with which Mr. Sims Reeves

in the fond hope of an introduction to some of the fresh and comely sings “Comfort ye,” and the vigour and energy with which

Gloucestershire beauties, for he might as well have been in Timhe declaims “ Thou shalt break them," are only equalled by the

buctoo, as far as any chance was concerned of his desire being touching expression of “Thy rebuke," and the subsequent air,

gratified, the worthy gentlemen in rosettes footing it most assiduand, indeed, the whole chain, commencing with “ All they that

ously with their friends, and acting upon the motto of "every one laugh him to scorn," and concluding with “But thou didst not

for himself, and God for us all.” leave,” all of which were given as Mr. Sims Reeves alone can give

At every public meeting it is always the custom to propose a them. Nor would it be possible to find any artist more thoroughly

vote of thanks to the president " for his able conduct in the chair," capable of interpreting the moving air, “He was despised,” than

and so at every festival it is customary to conclude with a neatly Madame Sainton Dolby, who has seldom, if ever, sung with more

turned compliment to the secretary. Few, however, think of the thoroughly devotional feeling. The little that fell to Madame

enormous amount of work that has to be got through by the genLaura Baxter was irreproachably given, while Mr. Weiss in “ Be

tleman who occupies that onerous post, the correspondence which hold darkness," and "Why do the nations," sustained his name

begins months before and lasts for months after the meeting, the as one of the first of English basses, and Mr. Winn's delivery

advertisements in endless papers, the ramification of huge posters of " The trumpet shall sound," shared the honours with Mr.

at half the railway stations in the kingdom, the manifold accounts, Thomas Harper, whose marvellous trumpet obligato rang through

the numberless committee meetings to be attended, the not easily the cathedral, creating a wonderful impression. The choruses one

satisfied applicants for tickets, all, of course, wanting the best and all went well. The Hallelujah, at which all rose, according to

places, the general supervisor over the staff of attendants, the host the custom that has prevailed ever since its first production, must

of arrangements necessary to be made for the convenience of the have roused the most cold-blooded listener. The collections, which

public, and other duties innumerable, but which will suggest themhave hitherto been below the average, this day showed a far more

selves to those who have had any experience in such matters, when satisfactory result, amounting to £448 18s. 3d., in which sum was

we say that all these have been performed by Mr. Brown, not only included the stewards' donations, making the gross total of the four

in such a manner as to call forth no complaint, but to give most days £950 15s. 6d. To this farther donations will doubtless be

unqualified satisfaction, his urbanity of manner being only equalled added, although it is hardly expected that the charity will benefit

by his energetic business habits, we think that on behalf of the to the same extent as in 1859, when upwards of £1,150 was the

Press and the public we can do no less than compliment him most final result of the meeting. Neither will the stewards escape

highly in the more than efficient discharge of his multifarious from a further call, although the deficit will be comparatively

duties, and hope that for many festivals to come the Gloucester speaking unimportant. That there should be a necessity to make

stewards may enjoy the advantage of his invaluable services. any demand upon them is to be regretted, but this must be at- |

II. C.


were those of the Duke and Orsino, entrusted, respectively, to Herr

Robinson and Mlle. De Ahna. Mlle. Antoinui, whose debut as a bravura (From our own Correspondent.)

singer I duly chronicled, and as duly criticised, to the best of my I am far from laying claim to anything like infallibility, so boldly | ability, has demanded, and received, leave of absence for a considerable arrogated-in common with his Holiness the Pope-by the mysterious period. Her object is to rest her voice, and thus restore its strength. gentlemen who advertise in the English papers, and promise any one She, herself, considers the latter to be merely temporarily impaired. who will forward them a post-office order, for a greater or less amount, Plút au ciel qu'il en süt ainsi. In my opinion, the voice is gone altothat they will name the winner at the next Spring meeting, St. Leger, I gether; worn out and ruined by an injudicious course of study. or any other race, in fact, whenever or wherever to be run. That these | However, we shall see, if we live long enough. gentlemen make money must be, I should say, highly probable, or else! A new danseuse has appeared with success, in the person of Mlle. they would not continue, year after year, to insert their advertisements, Clovelli, from the Grand Opera, Paris. She is a charming artist, and which, of course, cost them something. If they make money, it must her good looks are undeniable. The old favourites, Mlle. Marie be, I am also inclined to believe, because their correspondents find by Taglioni and Herr Charles Muller, have returned to the scene of their experience that they really do name the winner on every occasion, and former triumphs, and been received as warmly as ever. redeem their pledge. But, then, again; if this is the case, how is it The Friedrich-Wilhelm-stadtisches Theater was crammed in every that every one does not back the same horse? How is it that any body nook and corner the other evening, to witness the first appearance, ever loses? How is it that hundreds and hundreds of thousands of this season, of Herr Wachtel, as Chapelon, in Le Postillon de Lonjumeau. pounds change hands in the course of every racing season? How is it This gentleman had already created a great sensation in the part last that so many high-minded, spirited young gentlemen suddenly levant / year. The fact is, he really possesses a voice, and that is saying a great and appear no more at Tattersall's or in the park; at the opera, at the | deal, when we bear in mind the vocal powers of too many of our tenors theatres, at balls, dinner parties, pic-nics, or any other social and festive at the present day. However people disagree here on other matters, gathering they were wont to gladden with their conversation, and cheer they agree, at any rate, on one point, namely, that Herr Wachtel is by the display of their faultless toilets? I ask these questions in a one of the finest histronic vocalists on the German stage. On his spirit of total ignorance, and innocent enquiry, for, I blush to confess it, entrance, he was nearly overwhelmed by a shower of bouquets and I know nothing about the turf. I should be absolutely unable, if called flowers, flung from all parts of the house, while the orchestra brayed upon, to say in what year Eclipse won the Derby, it, indeed, he ever out a fanfare, or “ Tusch," as the Germans call it an honour which I won the Derby at all, a fact of which I am by no means certain. The never knew paid to any other artist. It is rather late in the day to only solution I can imagine to the more than Elusinian mystery in enter into a detailed criticism of his Chapelon. I will, therefore, which the whole matter is involved; the only supposition which strikes content myself with observing that it was as attractive as ever; that me as at all compatible with veracity on the part of sporting prophets, the singing was perfect, and the acting full of spirit and intelligence; and pecuniary loss (occasionally) on the part of their patrons, is that the indeed, everything that could be desired.

indeed, everything that could be desired. Herr Wachtel was called prophets honourably do perform their part of the contract, and really on—well, I hardly dare tell you how many times in the course of the name the winner at each race, but that, in their zeal, and in order to evening. According to report, he will repeat the character twice or make assurance doubly sure, they name, also, every horse that is entered, thrice, and then appear in several others. The remaining parts were a plan not unattended with embarrassment to their correspondents, who filled up in the saine way as last year. Mlle. Ungur was a charming do not always feel competent to fix on the winner after all, though the Madelaine, and Herr Schindler a most diverting Marquis. The said wimer must have been named, since the name of every horse orchestra and chorus seconded the principal singers with laudable spirit entered was duly and conscientiously mentioned. Thus, the “ Prophets," and precision. we cannot avoid owning, cannot be wrong. I myself, as I began by Herr Formes will shortly make his reappearance in Herr Richard observing, am far from laying claim to infallibility, either in the way | Wagner's Lohengrin.--This is all I have to tell you for the present. of prophecy or aught else, yet I, also, now and then, venture on à Next week I hope to send a longer communication.- Vale. “ tip”-that is in the technical word, I have been informed-and I cannot refrain from indulging in a little honest pride when one of my predictions is fulfilled, although the pride I experience in my own

Sept. 15th. powers of vaticination is tempered considerably in the present instance I have just received my number of the Musical World for last by regret that they should be so undeniable. You may remember-| week, and perceive that my letter is not inserted, I presume this indeed, you must remember, if you read my letters with aught approach was on account of the long notice of the Gloucester Festival ing the attention they deserve—that, last week, when speaking of the taking up so much room. The letter was a short one, as this also debut, at the Royal Opera House, of a lady named Mad. Richter, I will be for there is but little going on, in a musical sense, in Berlin Turecast her failure. I am sorry-I am always sorry to chronicle a liust now Please look upon the present communication, therefore, failure, especially when a lady is concerned-to say that I was right, and that my prediction has been verified by the result. As Rezia, in

1 as a postscript to the last, the two together will form a letter of Oberon, and Lucrezia Borgia, in Donizetti's opera of the same name,

the ordinary length. Mad. Richter was not more successful than in the previous parts she had l At the Royal Opera-House, a young lady of the name of Mlle. sung here. Her vocal and dramatic deficiencies appeared to increase in Voggenhuber-Vilma, has made her first curtsey before a Berlin lumber at every performance. There is a long and arduous course of audience, and promises to become a really valuable addition to the study before her, ere she can expect to occupy an important position at company, as far as it is possible to judge from hearing her only any first class theatre. She was particularly weak in the first act of once. She is an importation from the Theatre at Pesth. The Oberon. Her vocal powers struck me as totally unequal to the grand part she selected for her début, was that of Recha-or Rachel-in air of the second act, while her dramatic impersonation of the part was Halésy's Juive. She possesses, beyond a doubt, considerable natural unimpassioned, and her conception of it obscure. She was least unsuc

powers. Her voice is a rich and sonorous mezzo-soprano, of a cessful in the “F minor cavatina," in the third act. After what I have said, you will easily believe that Mad. Richter did not efface from the

noble and sympathetic character, at once enlisting the audience in minds of the audience the performances of her fair predecessors as the

its favour. In addition to this, it is distinguished by that versafamous, or rather infamous, Duchess of Ferrara. She wanted force,

tility which enables it to mirror correctly every phase of feeling. vigour, vocal finish, and, indeed, almost every requisite. In Weber's

Its compass is considerable. Mlle. Voggenhuber-Vilma does not, chef d'auvre, Herr Woworsky was especially good as Huon. He gave

it is true, always employ her natural gifts in an artistic manner. all the really difficult, and by no means thankful, music-I mean For instance, she indulges in a very strong tremolo especially in thankful as far as regards the singer-with great judgment, consummate the recitative-which becomes, in the long run, exceedingly disclearness, and excellent effect. His acting and appearance were far agreeable. But let me be just, as well as critical; in fact, true from diminishing the favourable impression produced by his singing criticism is based upon justice, without which, it is not worth a Mlle. Mik was highly entertaining as the waiting-woman, Fatima, dump, a doit, or a rap. The tremolo may have been the result of and infused a vast deal of quiet humour into the part. She is rapidly nervousness. It is no slight task to face, for the first time, that rising into public favour, and realising the good opinions formed of her. I dazzling row of lights, yclept the " float," with the consciousness, Herr Krause, as Sherasmin, and llerr lirilger, as Oberon, the fairy king, contributed their full share to the dramatic and vocal success of

that, behind it, there sits a strange audience, not always too well the performance. In Lucrezia Borgia, I cannot conscientiously affirmu

inclined towards strangers, and having the power to ruin, in a single that Herr Woworsky was as much at home as in Oberon. The music night, all those fond hopes of success, fame, and wealth, but more of Gennaro is not particularly well adapted for his voice, and, conse- especially, with all real artistic natures, of fame, what have buoyed quently, exert himself as he may, he is unable to give it the full etlect, up the poor singer, through all the hardships and ordeals of a jrowhich, in other hands, or, rather, in another throat, it is capable of vincial career. Again, Voggenhuber-Vilma is rather given to producing. The best sustained characters, “ all the world to nothing," l exaggeration. Tameness is bad enough, but rauting is, I think,

worse. This, however, is another fault which may be attributed pity that she has not more frequent opportunities of exhibiting to nervousness, the fear of doing too little frequently causes an that talent. The two Bravos were ably represented by Herren artist to do too much. The best bits in the débutante's perform Leinauer and Brenner. According to report, the next characters ance, were the romance : “ Er kommt zerrück," and the charming in which Herr Wachtel will appear, are the bandit-chief, in Fra cantilena, (D flat major) in the trio of the second finale. In Diavolo, and Count Almaviva in I Barbiere. addition to her other advantages, by the way, I may mention that As you may have gathered from my letters, the operatic perMlle. Voggenhuber-Vilma has youth and personal appearance formances at Krall's theatre have, this year, enjoyed a far more in her favour. The audience seemed to like her more and more than average amount of public patronage. This gratifying result every successive scene, so that, at the fall of the curtain, she had has been generally attributed, in a great measure, to the untiring, produced an impression on which she has every reason to con- and well calculated efforts of the director, i, e., chef d'orchestre, gratulate herself. Herr Formes, who played Eleazar, was welcomed Herr Dumont, and of the stage-manager, Herr Othmer. In recogwith long and continuous applause at his entrance. The part is nition of the valuable assistance rendered by these two gentlemen, one of the best in his repertory. His voice seemed to have gained the managers gave them the other evening, a full benefit. The fresh strength, sounding remarkably fresh and full. Herr Fricke opera was Lortzing's Beide Schützen. The theatre was crowded. was especially good as the Cardinal, a part he has made quite his By the way, the whole of “ Krall's " was lately knocked down, at own upon these boards. To Mlle. Marcon, from the Königsberg public auction, to Herr J. Engel, for the sum of 109,000 Thalers, Theatre, was allotted the character of the Princess Eudora, but as when the enterprising “ Music-Director," to-wit, Herr Engel, in all probability she will never play or sing it again at the Royal | aforesaid, was warmly congratulated by a large number of his Opera House at Berlin-she neither played nor sang it on the occa- friends, who were present. sion to which I am referring, I beg to observe, parenthetically-I The Liederkranz at Riga, in consideration of the great services will say no more about it. All I will observe is, that one of the best rendered to the cause of German male school singing, or Mäunerthings Mlle. Marcon could do, would be to study her profession gesang vereine, by Herr E. Mücke, have just presented him with a under a competent master, but that the best thing of all would most elaborately written diploma, constituting him an honorary be to abandon singing altogether.

member of the society. The same mark of distinction was Since writing the above, I have heard La Juive again, as it was simultaneously conferred on Herr Dorn, who was formerly consubstituted for Der Troubadour, in consequence of the indisposition ductor of the Liederkranz. With this scrap of news I beg to of Mles. De Ahna and Mik. I still adhere to all I have advanced, conclude my postscript. concerning Voggenhuber-Vilma, and Mlle. Marcon. For some

SACRED MUSIC IN MAYENCE.* reason, to me unknown, Herr Ferenzy appeared, instead of Herr Formes, as Eleazar, and made quite, what in modern parlance is

It is a well known fact that the majority of Roman Catholic styled, a “sensation.” During the last few months he has improved

Bishops in Germany wish to banish instrumental music from the wonderfully, both as an actor and a singer. This was triumphantly

church. Unfortunately, they have carried out their resolve almost proved by his impersonation of Eleazar. I cannot say who gives

everywhere, so that, with the exception of Vienna, Munich, him “lessons on elocution, to fit him for the stage," as the adver

Dresden, and Salzburg, few large German cities can boast of a tisements of a well-known member of the theatrical profession in

regular orchestra for the performance of sacred music, and, conse

regula England have it, but I know that the gentleman whose advice and quently, the rich stores of sacred instrumental compositions beassistance he has been wise enough to seek in vocal matters is the queathed us by our best masters lie, unplayed, and almost unknown Capellmeistor, Herr Dorn, and anyone better qualified to discharge to the rising generation

charce to the rising generation, in the various libraries. Even in Cologne, so responsible a task it would be difficult to find. · Herr Ferenzy

the ecclesiastical authorities are beginning to close the doors of the deserves to succeed, for he has not allowed his head to be turned

cathedral on these chefs d'ouvre, while, with regard to our golden by the flattery of well-meaning, but stupid friends. He had the

Mayence, the golden age of sacred music has long since past, and, good sense not to shut his eyes to his own shortcomings. “0, si

| instead of hearing, under the roof of our magnificent cathedral, sic omnes." But it is useless to sigh for impossibilities.

the elevating strains of the grand creations due to Mozart, Haydn, The following will be the cast of M. Gounod's Faust. Faust,

Cherubini, &c., we have to put up with the by no means edifying Herr Woworsky; Mephistopleles, Herr Solomon ; Gretchen, Mlle.

singing of the seminarists. In spite of all this we have, however, or Lucca ; Valentin, Herr Robinson; Sybel, Mlle. de Ahna; Martha,

rather we had, an Association for Sacred Music, but that Association Mlle. Gey ; and Brandor, Herr Bost.- Mlle. Artôl is engaged for

in consideration, probably, of the fact, that, in consequence of the three months. She will appear late in the autumn, or, if you prefer

churches being hermetrically sealed against it, there was no field left it, early in the winter ; some time about November, I suppose.

for the exclusive cultivation of sacred music, was, a short time since, She will sing in German, which language she has been studying

rechristened the Cecila Association (for mixed choral singing). It is assiduously, for a considerable period. Herr Taglioni's new ballet:

but rarely that it has an opportunity of stealing into one of the Die Sterne, will be produced about the same time, namely: No

smaller parish churches and performing an instrumental mass. vember, since the talented maître de ballet will profit by his leave

One of these opportunities of rare occurrence is the birthday of the of absence, which begins in December, to be off to Milan, and

Emperor of Austria, which is solemnised by high mass in St. Peter's superintend the rehearsals of his Ballanıla.

Church. The said opportunity was seized on, this year, by the At the Friedrich-Wilhelm-städtisches Theater, Herr Wachtel

director of the Cecila Association, Herr Friedrich Lux, to perform still continues his successful sway, indeed, say, his triumphant

a grand instrumental mass, his first essay in this branch of his art. career. After charming the public by his chapelon in Le Postillon

It is a difficult, if not an impossible, task to produce anything de Longjumeau, he has been delighting them by his impersonation

absolutely new of the kind, and we cannot designate the work in of the hero of Herr von Flotow's Stradella. The part was con

question as strikingly original. It struck us, however, that while sidered last year, as one particularly adopted to Herr Wachtel, and

purposely imitating the dignified clearness which distinguishes the people are like those " convinced against their will," mentioned

incomparable models left us by the great German masters, the by our friend, Hudibras-Butler, or Butler-Hudibras" Of the

composer has, like Cherubini, profited by the richness of modern same opinion still.” The invariably broad cantilena affords the

instrumentation, and the advantage of dramatic expression. The artist an opportunity of displaying the rich and varied treasures of

"Kyrie,” treated in a strictly contrapuntal style, produced in the his voice; the frequent high passages are overcome like mere child's

like mom child's hearer an appropriately serious and devout frame of mind, while a play ; they are, to use a vulgar expression, “knocked off " with

feeling of joyful faith and veneration finds vent in the “Gloria" such marvellous facility, that there appears nothing difficult about

and - Credo,” The “ Et incarnatus est” is most impressively them; nay, Herr Wachtel would seem to prefer such passages to

effective. Especially original and full of tenderness is the all others, for it is evident that he purposely sustains, and dwells

" Benedictus," for soprano solo, and chorus of female voices, with upon certain notes, over which other tenors pass as gingerly as a

organ accompaniment, worthily followed up by the “Agnus Dei," cat would over a hot plate. The hymn in the last act was mag

and “Dona nobis." The interest, too, is never weakened by nificently given, and brought the house down in fine style. Mile.

wearisome length. On the occasion of the uncovering of the Ungar was as excellent and graceful as ever, in the part of Leonore.

Schiller Monument, on the 18th October next, our Liedertafel, in She possesses a talent hors de ligne, for what are here termed

conjunction with the Damengesangverein, and the Wiesbaden Speilopern-play operas, gallicè : operas-comiques, and it is a great

* From the Süddeutsche Musik-zeitung.

Cecilia Association, will perform Handel's Judas Maccacebus. | by both the artists, had to be repeated. The following scene, in Mile Artôl will fulfil a starring engagement here at the commence

which the people celebrate the praises of the artist, Scopas, and the ment of October.

priestess of Apollo (Mad. Geoffry) also praises him in a speech,

treated melodramatically, is by no means to our taste. The MUSIC AT BADEN-BADEN.*

developed figure of the "Paris piper," with the big drum (a strong

reminiscence, we may observe, by the way, of the Gipseys in The second novelty here has been E. Reyer's new and unpublished

Preciosa), produced a more humorous than solemn effect; the opera, Erostrates, composed expressly for the Baden-Baden melodramatic element plays a too independent part (oboe solo with Theatre. We may congratulate any composer, who enjoys on harp accompaniment) while it does not sufficiently justify its his début, the services of such distinguished artistes as those melodic existence. In the finale which now follows, begins the 'engaged by M. Benazet. M. Reyer, by the original peculiarities dramatic conflict, affording the composer an opportunity for dis

of his aim, deserves that we should enter somewhat into detail playing, energetically, and fully his powers. After a pretty instruwhen speaking of him ; his work is neither to be characterised in a

mental notturno, accompanying the slumbers of Athenais, the few words, nor to be judged in an off-hand manner. It is rejected Erostrates (M. *Cazaux) enters the chamber, while the another question whether he has effected what he wishes, and Oceanides" (chorus behind the scenes) in vain endeavour to we cannot disguise the fact that his creative power is not fully fright him from the maiden's couch. When Athenais awakes, there

equal to the task he has imposed on himself. That which interests ensues a duet of considerable dramatic power; indeed, we consider : us more especially in M. Reyer is the path he has struck out in the end, where the curse uttered by Athenais is united with the order to do full justice to the requirements of tragic opera. This chorus of the Oceanides, as, musically, the great point in the opera. path is that of the declamatory-musical style, first introduced into The second act commences with a successful grand scene of the

opera by Gluck, carried still further by Weber, and distorted to its despairing Erostrates, which, extremely well sung by M. Cazaux, ", utmost limits by Wagner M. Reyer's musical tendencies are, was loudly applauded. The next scene, between Erostrates

therefore, essentially German, and, in a certain sense, reforma- , and the slave, Rhodina (Mule. Favre) is treated altogether tory. On this account alone, the opinions on his opera must vary, in the declamatory style ; it went off without producing the according as the person who judges is in favour of, or opposed to, slightest impression. All the more remarkable is the followthis reform, which is creating in Germany just as much commotioning grand duet, between Scopas and Athenais, in which we as strife. In order, however, to follow triumphantly the by no learn that an envious god has annihilated the fame of the artist means thornless path of musical progress, two principal qualities and that of the latter's beloved simultaneously, by shivering to are requisite :--the energy of consistency, and an enormous pieces with lightning the statue of Venus which Scopas has intensity of musical power, evidenced, more especially, by genial chiselled. Athenais breathes vengeance; she wishes Scopas to invention. Without denying that M. Reyer possesses these re

Vithout Genying that M, Reyer possesses these re- penetrate into the most sacred recesses of the temple, and destroy quirements, we must confess that he does not possess them in a the statue of Diana there. Scopas refuses compliance, and Athesufficient degree to maintain an independent position of his own nais banishes him, in conseqence, for ever from her presence. The as a reformer. His style is still vacillating ; at some times he above duet contains some fine points, and culminates in a unisono reminds us of the Gluckian and Weberian models, and at others, finale, which called forth a storm of applause. This broadly of traditions of French grand opera. The last would not weigh treated and effective scene is, undoubtedly, the second great feature materially with us, but the want of unity, which is the result, in the opera. Unfortunately, the further gradual and requisite must be designated a fault of construction. His invention, more-climax up to the end was beyond the composer's powers. over, even where it stands forth independently of others, is not yet Erostrates, who has overheard Athenais, advances, and offers to concise and varied enough. From the first cause, it sometimes

carry out her plan for revenge. He sets fire to the temple, the bears the peculiar character of an improvisation, without a centre, marvel of the ancient world, and, in return, Athenais bestows on properly so-called; while, from the last, it cannot be absolved him her hand, The conclusion of this duet forms a kind of of a certain monotony, exhibited theoretically in a too persevering - Restoral,” which we do not think is here in its fitting place, and adherence to a few motives ; harmonically, in certain pet modula- | which we should prefer to see omitted. The development of the tions; instrumentally, in a particular partiality for solo instru-action, now drawing to a close, is unnecessarily delayed, without ments, and, generally, in a too uniform admixture of the various our receiving any musical compensation. Scopas enters. He has kinds of sound, which, though sometimes original, cannot be hastened before the enraged people, who demand the death of the always pronounced happy. M. Reyer's orchestra has, in the incendiary. He offers to save Athenais. She refuses to flee ; she strict sense of the term, no polyphonic character, yet the instru- will die with Erostrates. The people flock in-every one expects mentation frequently overwhelms the singers, who require the the two offenders will be buried under the ruins of the burning powerful voices of the “Grand Paris Opera ". not to be utterly temple, or struck down by the populace. Instead of this, the latter discomfited. If we pronounce a sterner judgment on the character

are contented with the arrest of Athenais and Erostrates, and the of the work, as a whole, than the talented composer may think we opera winds up with a solemn ensemble, more like a hymn than'a are justified in pronouncing, he must not overlook the fact that chorus for revenge. This conclusion strikes us as being, musically an eulogy is contained in this more than usually serious and and dramatically, a mistake; it neither befits the excitement of searching criticism of his work. We should have disposed of a the situation, nor does it satisfy the requirements of tragic exmore unimportant composer more superficially ; but M. Reyer is a piation. We must, at present, give up all idea of entering into a composer of sufficient importance to challenge criticism, and more detailed criticism either of the music or of the libretto. We require it to follow up his reformatory intentions, and to will content ourselves with observing that the choice of a subject examine more sharply what he has done, as something excep- taken from antiquity is, perhaps, never without danger for modern tional, precisely because he does not proceed by the broad and

not proceed by the broad and composers. The great models of Gluck and Spontini are rather well-trod road of traditional forms and phrases. Our Ger- obstacles than aids in their path, since these masters created for man composers have not, in this respect, been exactly spoilt their purpose a style of their own, which it is as dangerous to in Paris by too much praise. With regard to detached imitate as to neglect. We cannot, moreover, deny the fact that portions, there is much to commend in Erostrates. After a short the taste of the present day inclines rather to the Romantic than instrumental introduction, we hear, behind the scenes, a chorus of to the Antique, and hence the interest of the public is excited the priestesses of Diana, which pleased us far better than the only in exceptional cases by the customs and peculiar sentiments subsequent female chorus (in the old operatic style) on the stage. of a period of civilization, which has long disappeared, and The following scene of the ambitious Athenais (Mlle. Sax)-who

which differs too much from our own to be transferred abloves the sculptor, Scopas, only because he has immortalised her by ruptly into the modern train of thought As we have already a statue-was successful, and, still more so, the following grand stated, the result of Mr. Reyer's opera was successful. At the duet between Scopas (M. Michot) and Athenais, which, introduced conclusion of the second act, all the artists were called on, after by an almost Gluck-like entrata with the following air of Scopas,

every important point had been greeted with hearty applause. The is very effective; the conclusion of this number, admirably rendered performance itself (under the direction of the composer) was

admirable, the orchestra contributing not a little to the general • From the Neus Berliner Musik-Zeitung.


The Musical World.


neither the gratitude of managers nor the friendship of To ADVERTISERS. --Advertisers are informed, that for the future actors; but surely that should have been left for another

the Advertising Agency of The MUSICAL WORLD is established pen to record in befitting terms of praise. at the Magazine of Messrs. DUNCAN DAVISON & Co., 244, Admitting. ex. gra., the universal demoralisation of our Regent Street, corner of Little Argyll Street (First Floor). very pleasant monitors, the theatrical critics of the daily Advertisements can be received as late as Three o'Clock P.M., on press, we are still of opinion that the writer who puffs, Fridays but not later. Payment on delivery.

' quand même, the play of a brother scribe, even though that pues Two lines and under ... ... ... 28. 6d.

brother scribe be a personal friend, is infinitely less culpable, TERMS Every additional 10 words

infinitely less than the writer who, about to deal severely ... ... 6d.

with others, blows a preliminary flourish of trumpets in his To PUBLISHERS AND COMPOSERS-A01 Music for Review in The own honour. · "The genial atmosphere of the tavern"

MUSICAL WORLD must henceforth be forwarded to the Editor, (which, by the way, can hardly be very strange to one who care of Messrs. DUNCAN DAVISÓN & Co., 244, Regent Street has so carefully observed its effects as the dramatic reporter A List of every Piece sent for Review will appear on the Saturday for the Budget) at the most would seem to have engendered following in THE MUSICAL WORLD.

a sort of philanthropy inclining to mild rather than “savage" To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform-exercise of the critic's office, inducing a habit of seeking ance, except of general interest, unless previously Advertised, can rather for the good than the bad points of a work, and thus be reported in The MUSICAL WORLD.

tempering wholesome animadversion with no less wholesome kindliness, whereas “the tranquillity of the forenoon" apparently encourages the weakest failing of our common nature—that proneness to self-glorification which, unless

vigorously checked, leads men to thrust themselves and LONDON: SATURDAY, SEPTEMBER 20, 1862. their virtues forward under any and every pretext. “ Se

onorate sarè parerè bon," says the honest Bettina, in her THERE is nothing, after all, like independent criticism.

modest sonnetto having exemplified the truth of the 1 We have (as our readers know) always preached, and maxi

maxim by her own behaviour throughout the play.* If (as our readers know) always practised it. It is easy

the dramatic critic of The Literary Budget is so much enough, moreover, to do both, without aspersing others.

superior in all respects to his brethren, let him show it in This does not seem to be the opinion of a writer in The

his criticisms. Literary Budget, from whose musical columns we delight to quote passages that might even have originally been

TT is announced in the Parisian papers that, after the intended for our own columns. The dramatic notices of the

botices of the 1 forthcoming season, Alboni retires into private life. Budget, if from the same pen, are not imbued with the same

The cause of this resolution has not transpired. If the spirit. They occasionally remind us of the "grapes-are

report be true the Opera could not have received a greater Bour” school—the school of dramatic authors, who, them

blow. Alboni constituted the last link of that glorious selves unsuccessful, are envious of the successes achieved by

chain of singers which commenced with Banti, and gave to their contemporaries. This is the very smallest and worst

the world, in almost uninterrupted succession, Catalani, school of criticism, and in no way to be depended upon.

Fodor, Grassini, Camporese, Pasta, Colbran, Pisaroni, BramAn energetic, fearless, and uncompromising report, however

billa and Grisi. Who is to succeed Alboni-unless it be the unfavourable, must command respect; but its authority is

young and hopeful Trebelli—we have no guess. Alboni is gravely perilled when it is rendered an indirect medium

emphatically one of the most gifted and perfected vocalisers of questioning the integrity of others. Here, for example,

the Opera has ever seen. Her voice is of peerless beauty, is a case in point:

and of marvellous facility. It has not, indeed, the sonority " After reading the accounts in the daily prints of the production of new of Pisaroni's voice, nor the metallic ring of Malibran's, theatrical pieces, invariably concluding with a handsome eulogy upon every

which seemed, so to speak, to carry its own echo with it; thing and everybody concerned in them, we are disposed to parody the saying

but it is richer, rounder, more voluptuous than either of her of the little boy among the encomiastic tombstones, and ask in what theatres all the bad plays are brought out. There are no less than three "unequi- predecessors, and, above all, is more unmade and untutored. vocal successes" --so say the morning critics--which we ought to record in the Alboni, in fact, possesses the most natural organ in the dramatic chronicle of this week. We are sorry not to be able to say Amen to world. Not that art has not done a great deal in com. all these laudatory verdicts. The discrepancy between them and our own

pleting and finishing it since nature, however bountiful opinions may be partially accounted for by the fact that while the latter are arrived at in the tranquillity of the forenoon, the former are hastily delivered, and peculiar in her gifts, requires government, method, and after having been still more hastily concluded in the excitement of the evening, coercion to accomplish her ends. In reality, whoever hears and before the echo of the popular applause has had time to escape from the Alboni can imagine that the singing never cost her the critic's brain. The genial atmosphere of the tavern in which so many of these criticisms are composed gives a flavour to the style and a tone to the senti

slightest effort. This is a great mistake. The most exments which, though calculated to secure the gratitude of managers and the quisite voice, the most facile means, the finest intelligence friendship of actors, are not particularly conducive to the formation of sound would be at fault, without the qualification of knowing judgment.”

how to turn all to the most valid uses. And this is what The last dramatic column of the Budget is prefaced by the Alboni has done. She has left nothing to mere chance, or above, which is virtually nothing more than a puff upon nature, or whatever you may choose to call it. She ha3 the article that follows, applied, too, by the writer of the studied, and studied sedulously, and, with her voice, her article himself. It may be consoling to the admirers of talent, and her powers, of course has become one of the great unprejudiced criticism to know that there is at all events one vocal mistresses of the age. It is all nonsense to fancy that reporter who rises betimes and prepares his articles in the any amount of natural gifts could enable an artist to sing a3 “ forenoon;" who does not frequent taverns, and courts Alboni does, without intense schooling and application. That • The "morning critics ” said nothing of the kind.

. Goldoni's “ La Putta Onorata.

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