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blend together as only the voices of sisters can. In the duet from town on the lake, of course, and with its manuscript mass-music, the Matilda di Shabran they were equally effective, and murmurs of ap- Parisian vagabond man of letters could not fail to be as familiar as if plause were audible towards the close of each brilliant passage.”
Meersburg was Montmartre or Montmorency. The Times writes as subjoined:
Be these things as they may, our anecdote of the sleep-walker was
dressed up in the form of ballet some thirty-five years ago, by M. “The sisters Carlotta and Barbara Marchisio, about whose duet- | Scribe. As a French ballet. La Sonnambula had not a long success. singing fame has recently been so eloquent in Italy, Germany, and
The Italians prefer for their ballets incidents which admit of strong and France, who have won laurels at the great lyric theatres of Venice,
mute action. The French are not thus constructed. There is small Berlin, and Paris, and been honoured by the special and distinguished
space to dance upon in the story of the peasant girl, who, by perilling approval of Rossini, appeared last night for the first time in this country
her neck over the old mill-wheel, cleared herself from her lover's jesat 'a grand evening orchestral concert, organised by Mr. Land, the | lous suspicions. But there is room in it for passionate and pathetic zealous and intelligent director of the London Glee and Madrigal So
waariga no- gesture; and the incidents are not crowded so closely together as ciety. Although the programme, which brought so large an assembly, they are in other dramatised ballets, such as the Sylph and the Gipsy, of amateurs to St. James's Hall, was otherwise rich in attractions, both | both of which (no offence to the music of Mr. Barnett and of Mr. vocal and instrumental, the chief interest naturally centred in the two
Balfe) made bad opera books. Thus it fell out that in 1829, or thereyoung strangers whom musical London has long been anxious to hear.
abouts, a gentle and graceful young Sicilian composer, Bellini, chose Their reception was in the highest degree encouraging, and their suc
this subject for music. From his first outset in art-unable to compete
this subiect for music from his first cess unequivocal. While report is unanimous in stating that the sisters with Rossini in versatile richness of melody, he conceived the idea of Marchisio are entitled to the favourable consideration of judges as solo devoting himself to dramas of greater pathos, force, and feeling, than performers, their renown having been principally carned by their duet- l those which had been taken hold of, with a carelessness savouring of arsinging. Mr. Land, perhaps, acted judiciously in confining their share rogance. by his predecessor. Further, Bellini had to write for the of last night's concert to pieces in which their talents were simultane
greatest actress who had yet trodden the opera stage. For Pasta, when ously employed. Two of the most elaborate and magnificent of the
in the prime of her power, was La Sonnambula written. But the noblo operatic duets of Roseini-Ebben 'a te, ferisci'(Semiramide), and . No,
and gifted woman, whose Norma, Semiramis, Medea, Anne Boleyn, Matilde ; non morrai' (Matilda di Shabran)-together with Gabussi's
were creations each differing from each in its regal pomp and majesty, pretty duettino, Le Zingare,' were set down for them; and in each and
could hardly look the part of Amina; and though Pasta acted it, as she all of these they raised the enthusiasm of their hearers. Both voices did everything she touched, consummately, the delicacy of the music are good that of Mlle. Carlotta a clear and powerful mezzo
and the compass of its melodies were calculated to betray the peculiar soprano,' that of Mlle. Barbara a contralto' of fine quality
defects of her voice, which, never agreeable by nature, was always and extended compass. In solo passages their execution is rather
liable to be out of tune. Amina, then, was one of Pasta's less fortu. noticeable for vigour, dash,' and brilliancy than for extraordinary
nate impersonations. She placed it on the stage, however, and with it, finish ; but its effect' is undeniable. On the other hand, in passages
as with all her other characters, a host of those traditions and suggeswhere the voices are combined, they blend delightfully together, and a
tions which have been invaluable to all destined to succeed her. The precision, light and shade, and variety of expression are obtained, ap
influence of Pasta, to name one instance distinctly to be traced, proaching very nearly the perfection of art. Thus, in the duet from Semiramide, the well-known • Giorno d'orrore,' and in that from Matilda,
throughont the long and glorious career of Mad. Grisi, has never died
out, in spite of the notoriously ephemeral duration of singers' inthe less familiar though hardly less beautiful “Vanne, o caro, a te
fluences. m'affido,' might fairly be admitted to represent the beau ideal of duet
If Pasta brought La Sonnambula to the Italian stage, Malibran singing. Here to gradations were as skilfully managed as the senti
The critics of ment was glowing and the consentaneity unerring.
popularised the music and the legend in England. The irreproachuble
Pasta's day, who had not even then thoroughly recognised Rossini, delicacy with which these exquisite slow movements were delivered,
being strong in the convenient and national mania of liking as few brought out the fire and animation of what came before and after not
things in art as possible, would not hear the pleasant freshness and withstanding its comparative lack of refinement, in all the more striking
simplicity of Bellini's music; they denounced it as weak and trifling. relief ; so that the entire performance of each duet left an impression
But how astonishingly were the Italian words “ done into English !” as vivid as it was satisfactory. There was no mistaking, indeed, the
Of many similar versions, the book of La Sonnambula is the most abgenuine character of the applause that thundered forth at the conclu
surd perversion. That wonderful explanatory couplet which occurs sion from every part of the hall, adding the hearty approval of .John
just before the closing scene, Bull' to the flattering verdicts of the Continent. After these grand displays, the duettino of Gabussi was of little moment ; nevertheless, “ And this, sir, you must know, though remarkable it seems, it was so admirably rendered that the audience would gladly have
That sonnambulists they're called, because of walking in their dreams," listened to it again.”
is only a sample of the entire book. Then, Malibran was badly supAt the morning concert, to-day, the sisters are announced to ported on the English stage. Peace to the memory of her ungainly repeat the “Giorno d'orrore;" but the other duets will be new. middle-aged opera-lover, with a poor voice through his nose, whom
she drove about the stage like a whirlwind, and whom, by her vehe
mence of action, she absolutely made seem to act! No matter. A AMINA AND THE MILL-WHEEL.
pathetic drama, wholly conducted in music and acted with energy, was WHEN some one asked Byron whether he did not find the acting of new to English playgoers; and there were an exuberance of fire and Miss Kelly in the Maid and the Magpie deeply true to nature, Childe of feeling in Malibran's acting, a daring and a passion in her singing, Harold replied: “I don't know. I was never innocent of stealing a which, while she was before us, entirely carried off her extravagances. silver spoon.” But, in spite of the sharp saying, the story of the girl Never has opera-queen, singing English, transported her subjects as of Palaiseau, falsely accused of theft, and saved by an extraordinary she did. Hers, however, was no Swiss Amina, but a southern peasant, accident, still lives on the European stage; so, in this country, does with a brilliancy in her delight and a reckless abandonment in her hour the memory of the cordial and pathetic actress with whom the drama of distress, that gave the part an intensity of colour, and a sharpness is associated.
of contrast, neither “calm nor classical," which seized us with a reMore powerful still to move, more universal to charm, is the story | sistless fascination. In the chamber scene, where the sleeping girl unof the peasant girl who saved her good fame by walking in her consciously enters with the light, Malibran was not equal to other sleep over the mill-wheel. Some such exploit, no doubt, hås been Aminas, who have held us fast to the situation by their ghostly quietreally told and believed somewhere as a thing which once happened; ness. Her despair, in the instant of her detection and abandonment by and the tale has spread from one country to another, even as the tale her deceived lover, was terrible. She would not let him leave her: of the traveller who fainted dead on seeing by morning light the broken clung to him, pursued him, twined herself round him, and could only bridge he had safely ridden over in the dark--what shall we say? be flung loose to endure her agony when the strength of her misery as all real stories do. Let the true origin and locality of the transac would avail her no more, and she was left and broken (it seemed) for tion be suggested as a matter of shrewd investigation and amicable | ever. Then the walk over the mill-wheel, which vindicates the hero. quarrel to those who make “ Notes” on “Queries,” seeing that, now ine's virtue, was protracted by her with almost a cruel relish. She did a-days, the business of criticism is to prove that everything must have her best to terrify her faithless lover into the keenest spasm of fear and been something else. The Marseillaise Hymn, one Herr Hamma as remorse, as though sleep had brought with it the counsel of heartily Bures us, is a barefaced plagiarism by the Dibdin of France, Rouget punishing him for his suspicions. All this was to lead to that burst of de Lisle, from the “Credo” of a dry German mass, written for an ob- ecstasy with which she flung herself into his arms in the “ frantic cerscure village town in a corner of the Lake of Constance, with which tainty of waking bliss." The final rondo (one of the happiest ex
pressions of joy ever ponred forth in music) was not so much sung by than this, nothing in the art which conceals art is seconded by Malibran, though in it she heaped vocal change on change, triumph congenial nature, could be conceived. The soft, sad, slow notes on triumph, as thrown out in the irresistible abundance of a new buoyant seemed to flow from lips as totally unconscious as were the fingers delight and relief. London was never tired of Malibran's Amina; nor which let slip the flowers, that poor, battered, treasured token-nosegay, even when she had grasped “the town” by another remarkable per- last forlorn relic of Amina's betrothal (her token ring having been reft sonation, totally different, that of the devoted prisoner's wife in from her). There was a wondrous fascination in that musical scene, Beethoven's Fidelio, could the one success efface the other. There must not wholly belonging to the singer, nor to her looks, nor to her voice, have been something true and permanent in the peasant story and the but in part, too, to the story and to the music. In the last joyous outdespised Italian music, after all.
break which follows this dream, Mlle. Jenny Lind was inferior as a The next Amina on the long list who is worth remembering, for singer to Persiani, and as an actress-and-singer-in-one to Malibran, qualities entirely different from those of the gifted and fervid Spanish Next came Malibran's younger sister, one of the greatest artists of woman of genius-was Persiani ; Grisi having, in the interval, at | any time, happily still living to show the world how genius can be lord tempted the opera and laid it aside. She was never beautiful, she can of all, when the expression of a dramatist's thought, or the representahave never looked young, she in no respect showed herself a great ac tion of a musician's ideas, are in question. Her Amina was remarktress; as a singer, she had been born with an ungracious though ready able, not for its musical treatment (because consummate art is, in music, voice (a “bitter voice,” Mendelssohn called it), a voice always more or synonymous with the name of Viardot), not for her voice, not for her less false; nevertheless, considering the part musically, Persiani was the pleasant demeanour (infinitely simpler and less feverish than her best Amina among all the Aminas who have been heard here. This sister's), but because of the wondrous deadness of the sleep thrown by not only because she was accustomed to the power of working every her into the scenes of the girl who had to walk over the mill-wheel to phrase and note of the music to its remotest corner, leaving nothing for clear herself. Without Lind's long respiration, without rare beauty of the apprehension to desire in point of skill; not only because her com- tone-with something by nature quick and impulsive in her southern mand over the graces and resources of ornament was limitless, but from composition-Viardot worked out another corner (till then unexplored) a certain conception of the sentiment of the situations in the story, of Bellini's opera. which stood her in stead of apparent freshness or originality, whether There may be twenty (for aught the Sybils know) new renderings of studied or instinctive. Great singers among her comrades, tired, and the hopes and fears of the singing sleep-walkers to come. Ere we name in their great coats, ready to go home or to go out to supper, might be the last and youngest, it should be told that Sontag, too, after breaking seen waiting in the wing” till she had sung the final rondo. Per her twenty years' silence, was tempted by the tale and the music on her siani's version of that air lives among the most complete of musical return to the stage ; too late, as it proved, though her excellent tact satisfactions recollected. Its fascination was strong enough to enthral always bore her above failure—that the genial Alboni was fascinated even such opera-goers (their name is Legion) as care only for a pretty into forgetting every disqualification of voice and figure, in the hope of voice or a pretty woman. The conquest told much to “ the score” of making so favourite a part her prize. A vain fancy ! Not even her Persiani, something, not less real, to the story on which was built the beautiful, full, languid contralto tones, and her faultless execution, could score of Bellini,
carry the enterprise through. It was more curious than exciting to see Next came an English Amina, not merely an Amina in English, with what solid and demure carefulness she braved the ordeal of the competent in right of natural dramatic genius, powers acquired for its perilons walk above the wheel, holding steadily on to the projecting rail expression, to compete with any of the Italian singers at any time,--the of wire which no eyes are expected to recognise, and relieved appalast of the great Kemble race. Here again, however, as in Pasta's rently when the terra firma of the stage was once more under her feet. case, nature had set her face against the Maid on the Mill-wheel. | Amina was no more possible for her to conquer than the Sylph who disForm and features were opposed to the attempt. There was a certain tracted her lover by her aerial exits up the chimney, or her gambols heaviness in the quality of Miss Kemble's voice which has nothing to do with dramatie versatility.
from flower to flower, would have been. What spell is there that will Those laugh the best on the stage who can cry the best. Pasta's smile was us givutvuw od metal -2.. ma
defend singing women and playing men against the disappointment of
şuch mistakes? When will the Listons cease from wearying to be Orwas subduing, as her wrath was appalling ; but the smile was on the landos and Romeos ? noble and serious features of the Muse of Tragedy ; and the many are And now--at this time present, though it might have been fancied apt to read such smiles as mere grimaces. Miss Kemble's Amina, that all the changes conceivable would have been rung on Bellini's admirable in many respects, was the least admirable among the few present opera---when half a dozen musical dramas, fifteen years more parts played by her during her bright and brief career on the English recent, prodigious and terrifying, have become stale, past the power of opera stage.
the most wondrous genius to revive them-has come the youngest Writers of musical history will find a wondrous theme in the story of Amina of all, though assuredly not the most gifted-and at once, and the next Amina, the Swedish lady, who, on our Italian stage, made play. without a single note of prelude or preliminary trumpet, has stirred up going London, whether grave or gay, madder than London has been the tired town to an enthusiasm recalling the days when Malibran totmade mad since the opera days when (as Byron said in his stinging tered across the stage in haste and frantic grief, and when Lind (with lines) crowds jammed into the pit, country ladies fainted and were an Ophelia touch in the thought) breathed out her whole soul of sadness carried out, and dandies were civilly rude to the same provincial over the flowers, as, leaf by leaf, they mournfully dropped on the females, in the eagerness of their worship of (sic in Byron) “Catalini's stage. Born in Madrid, Italian by parentage, trained exclusively in pantaloons." How the Lind-fever was begotten, how nourished, on | America, Mlle. Adelina Patti, on her first evening's appearance at our what basis the excitement rested, are so many facts of no importance to Italian Opera-nay, in her first song-possessed herself of her audience this sketch. That it lured scrupulous divines out of their churches, with a sudden victory which has scarcely a parallel, the circumstances that it threatened, for a nine months' wonder, the whole rival dynasty considered. Old and young are now treating as conspiracy and treason of opera with revolution, shame, and overthrow, are truths which any looking back to past Aminas-any comparisons. This new singer, have nothing to do with the real musical genius of an artist, even of in her early girlhood, is (for them) already a perfect artist-one who is genius as singular, as successful as she was. Without doubt, Mlle. to set Europe on fire during the many years to which it may be hoped Jenny Lind, with her large and speaking eyes and her clustering fair her career will extend. Nor is their delight altogether baseless. Mlle. hair, will be remembered as the type of the Swiss peasant-girl, real and Patti's voice has been carefully and completely trained. Those who rustic, in all her simplicity and sincerity. Her northern voice, too, was fail to find it as fresh in tone as a voice aged nineteen should be, must admirably suited to Bellini's music ; the power which she possessed of be struck by its compass, by the certainty in its delivery, by some drawing out its tones to any required strength and softness, made her quality in it (not to be reasoned out or defined) which has more of the more fit to present what may be called the ventriloquism of the sleep- | artist than the automaton. She has a rare amount of brilliancy and walking scenes than any one before her or since. She could act flexibility. She has some “notions” (as the Americans have it) of further, just to the point of sorrow and gentle woe which the situations ornament and fancy which are her own, if they be not unimpeachable, of the tale demand. She could take, moreover (this was less fair), say the Dryasdusts, in point of taste. If not beautiful, she is pleasing what was not her own, in the fulness of her determination to “have and to see ; if not a Pasta, a Malibran, or a Lind in action, she is possessed to hold ” her audience. In the chamber scene of her detection, by way with her story. There is nothing to displease, if not much to move, in of showing the splendour of her upper notes, she quietly appropriated her version of the sorrow so mysteriously caused-of the joy which poetical the music of her lover's part, choosing to dominate in the moment of justice has laid out so incomparably for a felicity-rondo to close a sentia her disgrace and suspense, rather than to be struck down by them. I mental opera. For the moment, the newest Amina has the ear of Lona This usurpation passed undiscovered. It was in some measure re- don; in the future, Mlle. Patti may become worthy of having her namo deemed by the extreme and touching beauty of her second sleep-walkwritten in the golden book of great singers. Meanwhile, what a tale is here ing scene, just ere Amina wakens. Nothing more carefully deyised told, not merely of her great and welcome promise, not merely of her posa sessing that talent for success - charm—which is born into few persons, and which cannot be bought or taught, but of the lasting truth and attraction of the music to which Bellini set the story of the innocent girl who walked across the mill-wheel in her sleep! The moral should pot be lost on composers of music to come, nor on those who dream of stories for stage-musicians to compose. — All the Year Round.
the Advertising Agency of THE MUSICAL WORLD is established
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6d. To PUBLISHERS AND COMPOSERS.-AU Music for Review in The MUSICAL WORLD must henceforward be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Satur
day following in THE MUSICAL WORLD. To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform
ance, except of general interest, unless previously Advertised, can be reported in THE MUSICAL WORLD.
DRURY LANE THEATRE-ROYAL.
LESSEE_MR. E. T. SMITH.
The Musical World.
TOMIME every Wednesday at Two o'clock.
LONDON: SATURDAY, JANUARY 4, 186 2.
THAT we are to have three Italian operas in London this Bob Ticket, Mr. Atkins : Paguash, Mr. Barsby: Mr. Skinner, Mr. Hope ; Susan 1 season is beyond a doubt; that we are to have one EngSweetapule, Miss Keeley ; Miss Wadi, Miss Stuart : Miss Tibbit, Miss Bland; Mss Gimp, Miss Harfleur: Deborah, Mrs. Dowton. After which will be produced, with that
lish opera is not at all likely. Is this a manifestation of attention to completeness in every departinent by which the Christinas Annuals of this Theatre have been so pre-eminently distinguished, the New Grand Comic Pantomime,
musical progress?. Is it a sign merely that English music is entitled
acceptable when none other is to be had ? Is it a proof Harlequin and the House that Jack Built;
only that the public has no national feeling on the subject ? OR, OLD MOTHER HUBBARD AND HER WONDERFUL DOG. Unfortunately, the real effect of English opera, represented “If a man do build a dwelling upon common land from sunset to sunrise, and enclose in the most advantageous light, cannot be tested. Either a piece of ground, where in there shall be a tree, a beast feeding, a fire kindled, a chimney smoking, uid provision in the pot, such dwelling shall be freels held by the builder,
| our artists will not coalesce, or managers are afraid to emanything herein to the contrary nevertheless i otwithstanding."-old Forest Charter. bark in the expense of securing the best talent. Compare
'I he novel effects and splend'd scenery by William Beverley, assisted by Messrs. C. Pitt. Crave, Brew, ac. Maks, symbolic devices, personal appointments, and designs the constitution of our National Opera with that of the for the costumes by the celebrated Dykwy kyn. The overture and music composed and arranged by Mr. J. H. Tully. The machinery by Mr. Tucker and assistants. The
Grand Opéra, or Opéra Comique, of Paris. In our opera tricks, properties, changes, and transform tions by Mr. Needuani, assisted by Messrs. on. -. oro fios mato vingers only are engaged; while in Clindon, H. Auto, 11. Langham. KATH and Mr. Paliner. The Ga, Appointments by Mr. Hinckley. The Choregraphic Ar Paris, at either of the national establishments (there are rangements by Mr. Cormack. The Harlequinade and Cumic Scenes by Messrs. Cor.
two), all the available talent is secured. mack and B Tones. The Perfu ne of the Flowers supplied by Rimmel's process. The
The consequence Grutesque Burie: que Opening invented and written by E. L. Blanchard. And the is that both theatres flourish, and both are kept open nearly whole arranged and produced under the immediate superintendence of Mr. Robert Roxby.
throughout the entire year. Let us suppose an English Harlequins, Messrs. Cormack and St. Maine; Columbines the Misses Gunniss ; Pantalvons, Messrs. G. Tanner and Morley ; Clowns, Messrs. Forrest and Huline Gru.
manager to have the means or the will to procure the followtesque, Signor Lorenzo; 1861.62, Mr. Stut. Sprites, by the Ridgways and Suwell
ing company of native artists :- Soprani – Mesdames Louisa Family:
Pyne, Florence Lancia, Lemmens-Sherrington, Parepa and Doors open at hall past 6, to commence at 7 o'clock. Tickets for boxes, pit, and galleries s, pit, and galleries may be had at the box-office before the opening. Guerrabella; Tenors-Messrs. Sims Reeves, W. Harrison,
Swift and Haigh; Basses-Messrs. Santley, Weiss, H. Corri, ST. JAMES'S HALL,
G. Honey, Patey, &c. ; Contraltos- we say nothing of con
traltos, since there is no first-class singer of that register on Regent Street and Piccadilly.
the stage ; but one or two we have no doubt could be enticed MONDAY POPULAR CONCERTS from the concert-room. Let us fancy this company established
at one of the great theatres, and all bent on aiding in the
general completeness of the performance, in place of being THE Sixth Concert of the Fourth Season (70th Concert
| absorbed entirely in considerations of self or eaten up with 1 in St. James's Hall) will take place on Monday Evening. January 13, 1862, on which occasion Signor Piatti, Mons. Sainton, and Madame Sainton-Dolby will make
jealousy and spleen. What might be anticipated as the their first appearances.
result? A veritable National English Opera—a goal to PROGRAMME. PART 1.-Quartet, in E minor, Op. 45, for Two Violins, Viola, and Violoncello
stimulate young artists in their studies.-- a legitimate (Spohr). MM, Sainton, L. Ries, H. Webb, and Piatti. Song, "Name the glad day" success for the undertaking. In Paris, each of the national ipussek). Miss Banks. Song.“ Divinities du Styx" (Alceste) (Glück), Madame Sainton-Dolby. Sonata Caracteristique, in E. fat, Op. 81 (Beethoven), Mr. Charles
theatres we have mentioned engages a double company of Hallé (first time at the Mondas Popular Concerts).
singers, from which these benefits accrue ;-the principal Part II.-Sonata, in F major, for Pianoforte and Violoncello (Beethoven), Mr. Charles Hallé and Signor Piatti. Song, "Never forget” (G. A. Macfarren), Miss | artists, upon whom falls the chief labour of sustaining the Banks. Song. “In a drear-nighted December" (J. W. Davison), Madame Sainion. Dolby. Trio, in G major, for Pianoforie, Violin, aud Violoncello (Haydo), MM. Hallé, Sainton, and Piatti. Conductor, Mr. Benedict. To commence at eight o'clock precisely.
singing every night, and a performance is never postponed NOTICE.-It is respectfully suggested that such persons as are not desirous of remain
in case of the illness of a singer, as another is always ing till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish
prepared to take his place. Do our English managers ever to hear the whole may do so without interruption.
reflect upon these manifest advantages? We fear not ; in* Between the last vocal piece and the Quartet, an interval of Five Minutes will be allowed. The Concert will tinish not later than half-past ten o'clock.
deed, we are rather inclined to think that they trust too Stalls, 58.; Balcony, 3s.; Admission, ls. - Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly ; CHAPPELL and co.
much to providence in their race for fame and for lucre. 50 New Bond Street, and of the principal Musicsellers.
In their visit this year to England foreigners will natu
rally desire to take back to their distant homes a knowledge regards other details: but Herr Richard Wagner refused the offer of a of what English music is like, and how English composers
sum to be paid him on account, in consequence of the production of his write. They will naturally take up the MUSICAL WORLD or
work being postponed. It strikes me as being hardly worth while to re
fute the idle reports circulated respecting the general rehearsal, which, as the Times to instruct them where the national opera is being
is well known, was most brilliantly successful, although the unbecoming performed. On investigation of either of these journals mention of a patroness of princely rank, as well as the suspicion cast they will ascertain that the Traviata is being given at Her upon the zeal and good feelings of the members of the company, deserve Niajesty's Theatre, Rigoletto at Covent Garden, and the our censure. Herr Ander may have been guilty of inconsiderate and Trovatore at Drury Lane. Perchance the Bohemian Girl
stupid statements in private, but the deplorable state of his health, and his
profound anxiety to preserve the remains of his voice (Material'), once or Maritana is being perpetrated at the Surrey Theatre or
so brilliant, demand, on this point, our indulgence. The accuracy of all at the opera in Shoreditch; and seeking in either of these the above facts is vouched for by the editor's most obedient servant, temples of the Muses to obtain some idea of national genius Hans von Bülow, Royal Prussian Court Pianist.” and national enterprise, the strangers will return home with So, the Viennese will have to listen to Tristan und Isolde, no very exalted impression of English composers, English after all! And Herr Ander?we wonder if he can singers, English orchestras, and English managers.
survive Herr Hans von Bülow's cutting allusion to “the Is any body to blame for this state of things? Who is to remains of his voice once so brilliant ?” We for our own blame for it? We put these interrogatories because we our parts are not surprised that the unhappy tenor should feel selves cannot answer them. Time was when Braham, disinclined to sing in Herr Richard Wagner's last chefSinclair, Kitty Stephens, Mary Paton, and a host of no mean d'auvre, which, according to its composer's own confession, vocal talents were wont to appear in the same opera at Drury excels even Lohengrin and Tannhäuser in “Futurity." If Lane or Covent Garden, and the word rivalry was never he does sing in it, there is one thing very certain, — that he uttered by the public, nor dreamt of by the critic. Are will no longer have the remains” of a once splendid voice ; artists now grown so diffident that they fear to provoke | he will possess only the manes of “the remains" — the recomparison ? or have they become so assured of their merits sidue of the remainder. Peace then to his manes ! that they would fain convince the public of their superiority by arguments more potent than singing ? Let us do our English singers justice. In most instances excepting,
A CORRESPONDENT of a theatrical turn of mind is of course, a few of our best vocalists -- their education has A desirous to know whether “Rose Chéri " was the real been so restricted to their art and advancement in their pro- or the assumed name of the late popular and much regretted fession, that no opportunity has been afforded them of con- | French comédienne. Well then, her real name was not Rose sidering anything without themselves. This eternal rotation
Chéri, but Rose Cizos. Her father and mother, Jean of self-communion has naturally engendered great reliance, Baptiste Cizos and Juliette Garcin, were, thirty years ago, profound knowledge of their own capabilities, with, in most strolling players, known principally at Etampes and Chartres, respects, total ignorance of other's merits ; so that it inevi.
but they afterwards travelled much in the southern protably follows they entertain a thorough conviction of their vinces. Their daughters. Rose and Anna, were brought individual worth, and act upon that conviction irrespectiveupon the stage when mere babies. One day, at Perigueux, of any ulterior consideration : all which demonstrates the celebrated Prefect Romieu, seeing the two girls playing that we possess no true school of English vocalisation, together, exclaimed, “ Quelle jolie paire de Cizos” (Ciseaux) and that until we do we cannot expect singers to display -- what a pretty pair of scissors! This official pun had great those liberal impulses and unselfish acts which should stimu success, but the father was vexed at it, and ever afterwards late and govern the disciples of pure. a noble, and a took the name of Chéri, which was simply a common term of refining Art.
endearment used towards him by his wife and children. M.
Romieu amply indemnified M. Cizos for the liberty taken with
his patronymic, by giving him a letter of introduction to Bayar, IT may be remembered that some weeks back a report came the dramatist, then in vogue in Paris. This circumstance led I from Vienna (which was alluded to and commented on into the removal of the family to the capital, and was the one of the letters of our Berlin correspondent), to the effect foundation of their fortunes. that Herr Richard Wagner's opera of Tristan und Isolde On April 5, 1842, the favourite piece of La Jeunesse would not be brought out at the Imperial Opera (the Karnt- | Orageuse was in the bills of the Gymnase, and the house was nerthor). This report, however, has since elicited a rejoin | crowded. After the performance of the opening interlude, der from that preux chevalier de l'Avenir, Herr Hans von an unusually long pause ensued, during which the audience Bülow, in a letter which a spirit of justice prompts us to became impatient ; and at length M. Monval, the manager, reproduce in the MUSICAL WORLD. After begging the editor came forward to say that Mlle. Nathalie, who was advertised of the paper to which it was originally addressed to insert for the principal part, was suddenly taken ill; but that in it, Herr Hans von Bülow proceeds as follows:
order that the public might not be disappointed, a young “The correspondence in question commences with the news of Herr
lady, unknown in Paris, had kindly consented, &c., to unWagner's departure for Venice; Herr Wagner is at this moment still in dertake the character. This announcement was received Vienna. As far as regards any pecuniary compensation, either already with murmurs. Presently a beautiful, modest-looking girl, paid, or to be paid, to the composer by the management, for a forced
| almost a child, came forward, and at once prepossessed the
almost a child name forward and at once renunciation on his part, of the performance of his new work, such a
audience in her favour. Her soft, yet penetrating voice, and thing is, even presumptively, alıngether out of the question, since the opera of Tristan is definitively accepted. The sole point remaining to
charming manner gained all hearts as she went on, and at be settled is the period of performance. This depends entirely upon the fall of the curtain she was unanimously called for. the time which may elapse before the management are enabled to secure“ What is your name?” inquired M. Monval, as he prepared the services of a tenor, the necessary steps having already been taken. to lead her on the stage. " Rose Cizos." " That name will On the occasion of the production of the opera being postponed, in con.
never do,” said the manager hurriedly; "the public will sequence of Herr Ander's continuous indisposition, definite terms were | agreed on, between the management of the Imperial Opera House and | laugh at it-give me another.” “My father called himself Herr Richard Wagner, as regards the sum he was to be paid, as well as Chéri in the provinces," said the timid débutante and
thereupon the name of Rose Chéri was for the first time ing English “virtuosa," played together with Marchisio-like unaproclaimed in that Gymnase Theatre, of which she was nimity, as if they had been playing together, and doing nothing else, ever since the principal ornament.
for the last twenty years. I have never listened to a more adOne morning, in the year 1847, the Cizos family was
mirable performance. There must surely have been an electric
current incessantly passing from the ten fingers of the lady to the assembled in its little drawing-room, when Scribe, the great
ten fingers of the gentleman. And how thoroughly was the music dramatic author, came in with a look of importance, and I of Mozart appreciated! Such applause when his two gifted interdressed with scrupulous care. “Good morning, M. preters appeared on the platform! Such attention throughout the Scribe," said Rose, shaking him by the hand; “have you entire sonata! And such a burst of delight from the united brought me a new part?” “ Yes, mademoiselle, I have audience at the end of all! Bravo, old cotton-spinning Mancome to offer you a part which you ought to have had before
chester! Miss Arabella Goddard (a distinguished favourite here, this.” “Ah! what is the catastrophe ?” “Wait till you
by the way), had already achieved a triumph in the first part, with know the beginning ;" and then making a bow to M. and
Liszt's fantasia on the quartet in Rigoletto, a more perfect exMad. Cizos, M. Scribe formally and solemnly demanded the
ample of dexterous, brilliant, and at the same time elegant manipu
lation than which I cannot call to mind. The hearers, enraptured hand of their eldest daughter for M. Lemoine-Montigny,
with the young performer, whose agile fingers ran like lightning manager of the Gymnase. The proposal was accepted, but up and down the key-board, summoned her back with acclamathe marriage was put off for two months for the following tions, and would not be satisfied until she had resumed her seat at reason, Mlle. Rose Chéri's dramatic services had been too the instrument. Then she treated them to Mr. Benedict's vigorous much needed by her family for them to suspend them even
and admirable “ Erin ”-how she plays which I need not inform for a short period, and the country priests with whom Cizos
the readers of the MUSICAL WORLD. It was, in short, from first to had been in contact would not administer the “first com
last, a concert to remember.
xx. munion”- that grand ceremony which must precede a
Moseley Arms, Manchester, Jan. 3. Catholic marriage - so long as the girls were on the stage. Monseigneur Affre, the late lamented Archbishop of Paris, took a more liberal view of the dramatic profession in rela Her MAJESTY'S THEATRE.--Some difference is still pending betion to religion, and during two months Rose and Anna Chéri tween the noble proprietor and Mlle. Sarolta (or M. Bagier) were wont to hurry away from rehearsal to receive religious respecting the contemplated arrangements for the season. The instruction from the vicar of St. Elizabeth. They subse- difficulty is merely a pecuniary one, and will probably be settled quently received their first communion in the church of St. / to the satisfaction of lessee and undertaker. Roch, and on May 12th, Rose Chéri was married to M. Le
MADAME LIND GOLDSCHMIDT and Mr. Sims REEVES are agreed moine-Montigny, and her sister, Anna, to M. Lesueur, the
upon another tour (of one fortnight's duration) in the country. !
Miss KATE Rande. — The name of Kate Ranoe cannot be well-known actor at the Gymnase.
unfamiliar to our readers. We had occasion to mention the young lady in no measured terms of approbation, when she appeared as
a singer at Jullien's Concerts, and at the Surrey Music Hall. MUSIC AT MANCHESTER.
| Since then Miss Ranoe has been acting and singing at the PlySir,-Being at Manchester for a day or two, I was glad to mouth Theatre, with a success that has reached even the Metroavail myself of the opportunity of attending one of M. Hallé's | polis. The effect she created as Eily O'Connor in the Colleen Bawn, concerts in the Free-Trade Hall. Luckily the programme on when that ubiquitous drama was produced at Plymouth under the Thursday was one of more than ordinary interest; and as you direction of Mr. Newcome, induced the management of the New cannot receive the Guardian until too late for your current num Adelphi Theatre to engage her, and she accordingly appeared on ber, I, as a contributor to the MUSICAL WORLD of some years Saturday week as the heroine of the Colleen Bawn, Mrs. Boucicault standing (although tant soit peu idle of late), claim the privilege being prevented from sustaining her original character by indispoof forestalling your hebdomadal extract from that well-conducted sition. Miss Ranoe made a decided hit both as actress and singer, sheet.
and we have no doubt that she is destined before long to take a The Hall was crowded, and no wonder, the sterling nature of prominent position among the leading comédiennes of the day. the attractions considered. M. Hallé, I was told, had created' A Good EXAMPLE. - Mr. George Crawshay, of Montagu Street, an orchestra for Manchester. A provincial orchestra! Rara | Russell Square, has, in consequence of the embarrassed state of avis ! Nothing more true. Only the best of London orchestras the funds of St. Mark's Hospital, Paddington, placed in the hands could have given a more striking performance (a better read, or of the secretary a cheque for 5001. This liberal donation, the felt, I could not have desired) of the magnificent C minor sym- | largest ever received since the opening of this charity, which, like phony of Beethoven. And, then, it was listened to throughout with the Royal Free Hospital, Gray's Inn Road, depends on voluntary an attention that would have done credit to the intelligent music | contributions for the vast amount of relief afforded, is in acknowloving crowds that flock to the Monday Popular Concerts. | ledgment of professional services rendered to one of Mr. Crawshay's Equally good was Spohr's fine overture to Jessonda, Hector domestics, while under the care of Mr. Ure, a surgeon to the Berlioz's ingenious arrangement of the Invitation pour la Valse hospital. This must be exceedingly gratifying to that gentleman's (Weber), and Auber's graceful prelude to Le Lac des Fées, with feelings, for it is too often the case that medical officers get little which the entertainment brilliantly concluded. M. Hallé is a | more than thanks for their very arduous and attentive labours. first-rate conductor, as well as a first-rate trainer.
EXETER HALL.–At the performance of the Messiah by Mr. G. W For singer there was the clever Mlle. Parepa, who gave Martin's National Choral Society, last Monday, as a tribute to the late “Ocean, thou mighty monster," and the grandest of the two airs of Prince Consort, the side galleries and front of the orchestra were draped Astriaffamente (Die Zauberflöte) with splendid energy, besides with black, the base of the organ being festooned in like manner, the treating the audience to a ballad of Whittaker's (encored), and sombre colour heightened (or rather deepened) by a narrow white border Paer's sparkling variations on “La Biondina,” so recently “re
running round the “sable livery of woe.” To the music desks were vived” at the Monday Popular Concerts. The old English ballad
appended black bows and streamers; all the principal singers and many was welcome in its place, and so were the Italian variations.
of the chorus wore deep mourning, while none were entirely without For solo-players we had “the pianist of the Monday Popular
some mark of respect. Add to this a densely crowded audience, almost Concerts," as the Times somewhere christened Miss Arabella God
without exception clad in the same sombre attire, and it must be owned dard and M. Charles Hallé — twin-stars of classical pianism,
that the general effect was of a depressing character. Although, no “Gemini," "Castor and Pollux," or whatever you please. . At any
doubt, excellent in intention, we question the taste of draping the hall
in a manner which would have been appropriate enough before the inrate, in Mozart's superb duet-sonata in D major, for two piano- l terment of the Prince, but seemed rather out of date a week after the fortes, the great Teutonic "virtuoso," and the young and captivat- | ceremony. The oratorio was preceded by the “ Dead March” in Saul