is the man. Charming master! who enchanted our youth, throw away the heroic trump which distends your cheeks so frightfully, and, above all, do not meddle with the harp of the Prophets; resume your shepherd's pipe; tell us, once more, one of those tales, slightly drôlatique, which you tell so well; remain one of the beloved children of France who, despite of all that may be done and all that may be decreed, will always love a laugh, even on Sunday."* In 1856, M. Auber brought out, at the theatre of the OpéraComique, a new work in three acts, Manon Lescaut, the words of which were by his inseparable collaborateur, Scribe. "The patriarch of the French school," we remarked in reference to this work, "has just committed a fresh error of youth. It is called Manon Lescaut. Indefatigable, and always in the breach, the author of so many light scores, which have charmed an entire generation, will not withdraw from the lists, where he still appears to advantage. Man is a spirit, served by a machine contracting habits, which become, at last, a second nature. The interruption of these habits, the fact of changing the pace of one's steed, and making it walk, when it has galloped all its life, produces a shock which is invariably dangerous. M. Auber, who has been an elegant horseman, and who takes his little ride in the Bois de Boulogne every day, trotting along and enjoying the fresh air, together with the gentle melodies, which he hastens to put down in a pocket-book kept for the purpose-M. Auber will not yet sing with a certain refined poet, from whom he has caught some of his amiable weak nesses: Tireis, il faut penser à faire la retraite : La course de nos jours est plus qu'à demi faite; It is true that the light bark of the author of Le Maçon never encountered any very severe tempests, and, consequently, never had to repair any very great damage. M. Auber has not cared to venture too far from the banks of the Seine, and if, by an excess of temerity, he has happened to do so on one or two occasions, after the Enfant Prodigue, which dragged him to Egypt, where he was lost, he soon returned, protesting that he would never be caught doing such a thing again. The subject of Manon Lescaut, altogether French by the grace of the mind which conceived it, was of a nature well calculated to tempt the coquettish muse of Auber. We are even astonished that he should have waited so long before singing the caprices of this mad-brained Mimi Pinson, this Frétillon of the eighteenth century, who ended as they all end, without a roof to shelter her. M. Scribe, who is an ogre, a vampire, living on the blood of the finest chefs d'œuvre of French literature, has treated the Abbé Prévost's work as he treated the Bible in L'Enfant Prodigue. Thus, the Manon he has given us is no longer Manon; no, no, it is no longer Lisette,' and but for the final catastrophe he was compelled to retain, the title would be the only thing in common between his three acts and the admirable episode which has immortalised the name of the Abbé Prévost." After having minutely analysed the score, and carefully pointed out the most striking pieces, such as the couplets, "Manon est frivole et légère;" a charming duet between Manon and Desgrieux, "Lorsque l'orage gronde;" and, above all, the final prayer of Manon, expiring in the midst of the desert, we concluded in the following words :By this last page of music, M. Auber has raised himself almost to a level with the noble emotion produced by the chef d'œuvre of the Abbé Prévost, and has proved in opposition to the usual tendency of his ready genius, that the impression of love is more difficult to imitate than the fancy." แ "To speak of M. Auber," I observed, when noticing La Circassienne, "is an easy and agreeable thing for a critic who has not imprisoned his taste in one particular school, or in one exclusive form of art. If it suited us to reply to opponents of no authority, we could easily prove to them that no artist of merit ever found us insensible to his efforts, and that no one feels enthusiasm more readily than ourselves for things and men worthy of admiration. Extravagant encomiums, uttered on every occasion, and without An allusion to a resolution for the observance of Sunday, then under discussion in the Legislative Assembly. moderation, will never be confounded with the judgments of wellconsidered criticism, which knows whence it sets out and what end it would attain. "France may have produced greater musicians than M. Auber, such as Méhul, and, above all, Hérold, but she has never found a composer more sympathetic, more inspired with her amiable, gay, and railing spirits, or more clever in expressing musically, not the profound sentiment of love and the stronger passions of the human heart, which are hardly in keeping with her temperament, but that exquisite gallantry which has reigned in the language and the nation ever since the formation of polite society. "The author of Le Domino Noir and Fra Diavolo, of the Muette and thirty other works, which are well known and have become popular, possesses a joyous and ready imagination; he is an elegant musician, full of happy melodies; an exquisite harmonist, and a wit, tempered by grace, angry at nothing, and easily consoled; who amuses and charms us without violent transports or loud bursts of laughter. Were the last two acts of La Circassienne equal to the first act, M. Auber might boast of having written, when eighty years of age, one of his best operas. It is a meritorious work, worthy, to some extent, of the master whose life it crowns; I mean of the most charming and youngest of French composers." Born at Caen, the 29th January, 1782, M. Auber is eighty years old. He is the son of a printseller, in very easy circumstances, who intended him for trade. He studied music as an amateur, and went out into society, where his wit, his agreeable manners, and his taste for the art which was destined to render his name illustrious, procured him a warm welcome. He was favourably known among the artists and amateurs of the day by romances and a few pieces of instrumental music, when he produced, at the Théâtre Feydeau, in 1813, a one-act opera, Sejour Militaire. This attempt did not satisfy the confidence his friends had in his talent. After some years of silence, and a reverse of fortune experienced by his father, M. Auber found himself obliged to look for the means of livelihood to that art which had previously been only a source of amusement for him. He brought out, at the Opéra-Comique, in 1819, Le Testament et le Billet-doux, a one-act opera, no better received than the first. It was by La Bergère Châteleine, a comio opera in three acts, represented in 1820, that M. Auber became favourably known to the Parisian public, whom he was to charm for so long a period. Emma, ou la Promesse Imprudente, a threeact opera, performed in 1821, confirmed the reputation of the new composer, then thirty-nine. The first work M. Auber composed, in conjunction with Scribe, was Leicester, a comic opera in three acts, belonging to the year 1822. After this essay, which was a complete success, the minds of these two men, so marvellously able to understand and assist each other, produced a series of chefsd'œuvre, of which it will be sufficient to mention Le Maçon, in 1825; La Muette de Portici, in 1828; La Fiancée, in 1829; Le Domino Noir, in 1837; Les Diamants de la Couronne, in 1841; La Part du Diable, in 1843; La Sirène, in 1844; and Haydée, in 1847. The world has rarely seen such an example of productiveness, so constantly successful, as that of these two illustrious men, whose partnership was brought to a close only by the premature death of Scribe. People have frequently compared the one with the other, and it has been said that, both by the good qualities, as well as by the defects, of their common productions, they were made to amuse and divert a rich bourgeoisie, which does not boast of a very severe taste, and whose favour they enjoyed; that their art is deficient in truth, elevation, and sentiment, and that both of them, cherished children of fashion and caprice, would last only as long as a rose, or the passing tastes of the day. Without denying that a portion of this rather severe judgment may be founded in truth, we must at once acknowledge that, by elegance, flexibility, and correctness of style, M. Auber is an artist of a superior order to Scribe, who never knew how to write. The musical science of M. Auber is much more real than that of Halévy, of which people were constantly speaking, in order to excuse the monotony and fewness of his ideas. M. Auber is an exquisite musician; a charming painter of the petty passions of the heart, and of the coquetry of the mind; a Frenchman né malin, and of the family of Voltaire; a true Parisian, with his joyous humour, his gallantry, and his amiable carelessness. His works will live, in their essential parts, because they are the truthful expression of an entire generation, and because, among them there are numerous pages of that unal No. 6. "Afternoon in February." Song. Words by LONGFELLOW. Music by ARTHUR COTTAM. (Rudall, Rose, Carte, and Co.) No. 7. "Home of all I love, farewell." Song. Words by G. COMELATI. (English version by CHARLES PELHAM MALVANY). Music by OSCAR KRAHMER. (John B. Bray, Dublin.) No. 8. "The sky lark." Song. Words by the ETTRICK SHEPHERD. Music by JOHN RAYMOND. (Joseph Williams.) Our London readers need scarcely be reminded that "Tamo" (No. 1) is the beautiful romance composed by Mr. Benedict expressly for Mr. Santley, and which that gentleman introduced with such success at the Monday Popular Concerts. Its merits were acknowledged at the time, and good opinion is confirmed by closer acqaintance. "Lo Sguardo" (No. 2) is an elegant canzone, also composed for and sung by Mr. Santley. The second verse has two accompaniments one in chords (like the first), the other in arpeggio. In "When shall we pray?" (No. 3) Mr. Handel Gear is earnest and not inexpressive (by which we mean expressive). Here is a progression, nevertheless, to which Albrechtsberger or Fuchs might take exception :- written, but not at all original. Is it pardonable, in the year 1862, to commence a melody thus ? Far, far a - way, my love Nor can the poetess, Caroline Giffard Phillipson, be fairly extolled as an "original." "Far, far away, my love!" Oh, fye! "Afternoon in February" (No. 6) is an unaffectedly beautiful song. Who does not know and admire the lines beginning"The day is ending, The night descending, The marsh is frozen, The river dead "? Well, Mr. Cottam has made music quite worthy of such poetrygenuine music, too, correct no less than expressive, and, we may even add, original. "Home of all I love, farewell" (No. 7), composed for and (it is stated) "sung by Mdlle. Titiens," is melodious and graceful, somewhat sentimental, but generally unobjectionable. The music is suited equally well to the Italian and the English words-to "Comelati" and Mr. C. P. Malvany. "The Skylark" (No. 8) is more of a mud-lark, or muddle-lark, to test it by the subjoined: Thy lay is in heav'n and thy That unhappy progression to D minor gets Mr. Raymond's "Lark" into a couple of thick fogs, whence he issues forth in comfortless cacophony. "The Burlington Album of Pianoforte, Vocal, and Dance Music for 1863." (ROBERT COCKS & Co.) The annual Christmas presentation book prepared by Messrs. Cocks & Co. is, as usual, not merely ornamental, but serviceable, and, as usual, not merely serviceable, but rich in musical variety. The illustrations, ten in number, are for the most part, elegant in drawing, and brilliant in colouring. The picture of the branch of cherries, with a bullfinch in the act of pecking at them-illustrative of Les Cerises, a spirited waltz by Alphonse Leduc-is strikingly natural and effective. As a matter of course, the landscapes are superior to the portraits, although the portrait of Her Royal Highness the Princess Alexandra, which sets off the Alexandra March of Carl Faust, is capitally drawn and full of life. The view of Heidelberg Castle is beautiful, and that of Dumbarton Castle almost as good. These two pictures, indeed, might be framed and hung up in any amateur's room to advantage. Not to speak further of the pictorial merits of the work-except to point to the frontispiece and presentation page as alike worthy especial com In the prelude to "Meeting and Parting" (No. 4) we come upon mendation-we may felicitate the Messrs. Cocks on the appearance the following examples of inharmoniousness: No. 1. No. 2. To the first of these, Fuchs, to the second Albrechtsberger might have objected; to either or both Albrechtsberger and Fuchs might have objected. "Far, far away, my love" (No. 5), to speak frankly, is secondhand German Lied-musik. It is graceful and extremely well of one of their most elegant and tempting musical annuals. The "Album" contains a dozen vocal and instrumental pieces, all by different hands. Among them we may cite as particularly noteworthy a rondino for pianoforte on "Bonnie Prince Charlie," by Mr. Vincent Wallace; a "transcription," for the piano, of "I know a bank," by Mr. Brinley Richards; Kücken's song, "When loving ones are parted;" Franz Abt's romance, "Angel's Visits;" and The Gipsey's Quadrilles, by Stephen Glover. In short, the "Album" is commendable in every way, and needs only a glance to bear us out in our strongly-expressed opinions. ANDREW'S "GUIDA MANO," class 29, B. 5,449, International Exhibition, for giving a correct position to children while learning the piano, viz., of the hand, arm, wrist, and fingers; also to give strength to the touch. It is self-supporting, and does not require to be fastened to the piano, MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. ON MONDAY EVENING, NOVEMBER 17, 1862. LAST APPEARANCE BUT THREE OF HERR JOACHIM. MM. Joachim, L. Ries, H. Webb, Hann, and Piatti. LIEDER KREIS Mr. Sims Reeves. SONATA, in D minor (Op. 49) for Pianoforte alone Mr. Charles Hallé. PRELUDE AND FUGUE, in A minor, for Violin alone SONG, "The Message ".. TRIO, in G major, Op. 1, No. 2, for Pianoforte, Violin, and ... MM. Charles Hallé, Joachim, and Piatti. The Musical World. LONDON: SATURDAY, NOVEMBER 15, 1862. THE HERE is a talk of producing one of Handel's operas, in a French dress, at the Parisian Théâtre Lyrique, and the choice, it is rumoured, may fall upon Rinaldo. This Rinaldo was the first of thirty-nine Italian operas composed by Handel for London, and his fourth work of this description, the first being Rodrigo (produced at Florence, in 1706), the second, Agrippina (Venice, 1707), and the third, Silla (composed for Rome, in 1708, but never given in public). The plan of the libretto of Rinaldo was sketched by Aaron Hill (at that time manager of the theatre in the Haymarket), C. M. Von Weber. from the episode of Rinaldo and Armida in Tasso's cele brated epic. The Italian version was made by Giacomo Rossi, who, with Nicolo Haym, was chief poet to the establishment previous to the arrival of Rolli. Mozart. Bach. Blumenthal, Beethoven. To commence at Eight o'Clock precisely. Sofa Stalls, 5s.; Balcony, 3s.; Admission, is. CHAPPELL & CO'S., 50 New Bond Street. TO CORRESPONDENTS. WATERCARRIER.-Mozart was born in 1756, Cherubini in 1760, TITIENS' APOLLO.—Mdlle. Titiens, or Tietjens, or Tietjens-Titiens, In consequence of the amazing rapidity with which Handel composed, Rossi had to perform his task in a great hurry. His apology to the reader (as recorded by Sir John Hawkins in his History of Music) is worth eiting: "Gradisci, ti prego, discretto lettore, questa mia rapida fatica, e se non merita le tue lodi, almeno non priverla del tuo compatimento, che dirò più tosto giustizia per un tempo cosi ristretto, poiche il Signor Hendel, Orfeo del nostro secolo, nel porla in musica, a pena mi diede tempo di scrivere; e viddi con mio gran stupore in due sole settimane armonizata al maggior gradi di perfezzione un opera intiera."+ Rinaldo was the third opera composed and sung entirely to Italian words in this country. It was produced on the 24th of February, 1711, with great splendour; and, "among other innovations," says M. Schoelcher, "the garden of Armida was filled with live birds," with which Addison, then the determined enemy of Italian opera (whose English Rosamond, the music by Thomas Clayton, brought out in 1707, at Drury Lane Theatre, had been a complete failure), makes merry in his most entertaining style. In the Spectator, Addison, and Steele, in The Tatler, used to ridicule those English and half in Italian, and with excellent reason. But performances (previous to Rinaldo) which were half in when this barbarous practice was abandoned, and the opera given exclusively in Italian, Addison wrote “ the amateurs Trionfo del Tempo, Handel's first oratorios, both composed for and • Silla was written in the same year as I Ressurezzione and П performed at Rome. A great part of the music of Silla was used by Handel some years afterwards, in Amadigi, his seventh Italian opera, which was produced at the King's Theatre, in the Haymarket, in 1715 (just before Handel's reconciliation with the King), and two years later at Hamburgh, under the name of Oriana. In 1737, Handel, although of the Italian Opera for a committee of noblemen, who by the consent attached to the chapel of the Duke of Chandos, undertook the direction of George I. (himself a subscriber of £1,000 out of the £50,000 which had been raised for the purpose) adopted the title of "Royal Academy and Faustina, who afterwards married Hasse, the composer, together of Music." During this enterprise, Senesino, the famous male soprano, with Cuzzoni, and other celebrated Italian singers, were brought over by Handel, who himself made a journey into Italy in search of a troupe. The squabbles between " the Cuzzoni" and "the Faustina" created much excitement at that time, and the respective adherents of either Gluckists, in Paris, nearly half a century later. Faustina played the prima donna raged as furiously against each other as the Piccinists and part of Admetus in the very successful opera of that name. "Signor Hendel, the Orpheus of our age, in setting to music this lay from to my great astonishment, an entire opera harmonized to the last degree of Parnassus, has scarcely given me time enough to write it, and I have beheld, perfection, in the short space of a fortnight, by this sublime genius. I pray you then, discreet reader, to receive my rapid work, and if it does not merit all your praises, at least do not refuse it your compassion-I would rather say your justice, remembering how short a time I have had to write it in,— Schoelcher's Life of Handel, of England, tired with only understanding the half of the piece, found it more convenient not to understand any." Rinaldo, however, in spite of Addison, was performed fifteen times in succession, and revived in 1713, 1714, 1715, 1717, and even as far on as 1731, besides being produced at Naples and Hamburg, with the same result. The first representative of the personage of Rinaldo was the famous Nicolini (Nicolini Grimaldi-upon whom, as an actor, Sir Richard Steele wrote a glowing panegyric in the Tatler)-a castrato, who came to London in 1708, and played it at Naples, 1718. The same part was afterwards assumed in London by Mrs. Barbier. The most popular pieces in Rinaldo were the cavatina, "Cara sposo;" a march (which was performed by the band of the Life Guards every day at parade for forty years, and subsequently used by Dr. Pepusch, for the chorus of Highwaymen, "Let us take the road," in The Beggar's Opera); a bravura for Nicolini, "Il tri cerbero humiliato," which was afterwards set to the English bacchanalian, "Let the waiter bring clean glasses," and was sung for many years at almost every convivial meeting throughout the kingdom; "Hor la tromba," another air for Nicolini, with trumpet accompaninent; and the song of the Siren, "Lascia ch' io pianga," the Siciliana so frequently heard at concerts. The other singers in the opera were Signor Valentini, Boschi, and Cassani; Signoras Boschi, Isabella Girardeau, and Elizabetta Pilotti Schiavonetti, belonging to the service of the Elector of Hanover. The English translation of Rinaldo was done by Aaron Hill himself, who dedicated it to Queen Anne "This Frederick Handel, Esq." The London Chronicle, or Uni- - To the Editor of the MUSICAL WORLD. SIR, Mr. Boucicault states most truthfully that while "progress" has been the motto with every business of late years, the internal arrangements of our theatres show no improvements, and are still the most conservative and old-fogiefied of any of our institutions. The entrances are mean, narrow, and totally unsuited for the prompt admission or egress of a crowd; they are abominably ventilated, or rather unventilated; they are too hot in summer and too cold in winter; they are miserably deficient in acoustic properties, and many of them so badly constructed that from some portions it is impossible to see the stage. Then again, both before and behind the curtain, comfort is a rarity, and the writer in the Saturday Review-who recently denounced our wretchedly uncomfortable pews-would find admirable scope for his wit in dilating upon the miseries of a playgoer at many of our most popular theatres. Mr. Boucicaultspeaking from a large experience both at home and abroad "MADAME.-Among the numerous arts and sciences which now distinguish the best of nations, under the best of Queens, Music, the-says, also, that behind the curtain our theatres are behind most engaging of the train, appears in charms we never saw her wear till lately; when the universal glory of your Majesty's illustrious name drew hither the most celebrated masters from every part of Europe. MADAME. This opera is a native of your Majesty's dominions, and was, consequently, born your subject," etc. Walsh was believed to have netted no less than £1500 profit by the sale of Rinaldo. That this was not precisely to the taste of Handel may be guessed from Handel's own words (addressed to the lucky publisher): "My dear sir, as it is only right that we should be on an equal footing, you shall compose the next opera, and I will sell it." the age. The machinery is old-fashioned, heavy, complicated, expensive, and ineffective, and even in Mr. Webster's model theatre-the New Adelphi-the consumption of gas is 100,000 feet per week, while in a larger theatre, built by Mr. Boucicault in New York, it was only 20,000 feet per week. Mr. Boucicault also states that in his New York theatre his staff of gasmen, carpenters, &c., was far less than in English theatres, in consequence of his making use of various simple but efficient mechanical contrivances for saving labour. The text of Mr. Boucicault's sermon upon our theatrical shortcomings is the building new theatres is quite plain that people will have amusement, and as theatres offer the best medium of both amusing and instructing the "masses," this question of theatre construction is one of national interest. Here, in Liverpool, for instance, the pungency of Mr. Boucicault's satire, and the truthfulness of his complaints, will be most readily appreciated, for nowhere is the want of a first-class comfortable theatre more a desideratum for which our playgoers have long been hopelessly pining. "This man" says M. Schoelcher, in his Life of Handel-containing all recent improvements in construction. As it "whose music and whose name filled all England, seems to have disappeared almost without the fact being noticed." On the 7th of April, the Public Advertiser announced The Messiah, at the Foundling Hospital, for "the 3rd of May at 12 o'clock, under the directien of G. F. Handel, Esq." On Thursday, the 12th, the same Journal inserted the following paragraph, without making any allusion to his illness: "From the trustees of the Westminster Hospital-Earl of Lincoln, president. The anniversary sermon at St. Margaret's Church, and dinner at the George Tavern, on Thursday, 26th of April. Mr. Handel's new Te Deum, the grand chorus, For the Lord God,' from The Messiah, and the Coronation Anthem, 'God save the King,' will be performed, under the direction of Dr. Boyce. The public rehearsal to be at the church, on Monday, 23rd, at ten o'clock." On the following day, Friday, the 13th of April, there was another announcement of The Messiah, "under the direction of the author," at the Foundling Hospital, on the 3rd of May; and, side by side, this simple line, "Yesterday morning died, G. F. Handel, Esq." The fatal news was anticipated by a day; for, on Monday the 16th, the Public Advertiser said:"Last Saturday, and not before, died, at his house in Brook Street, Grosvenor Square, that eminent master of music, George We have in Liverpool as many as four theatres and a circus, and we appeal to every one who has visited the theatres of Paris, Brussels, Berlin, New York, and even Melbourne, if the wretched buildings in this great town are not a disgrace to us, and totally unsuited to the purposes for which they are used. First, as to locality. What can be worse than the locales of the Theatre Royal and the Royal Amphitheatre ? Every sense is offended as the visitor approaches them. The stenches from market refuse and close, dank, reeking streets are even dangerous to health, while the sights and sounds are so offensive that hundreds of ladies are denied the pleasures of theatrical entertainments in consequence of the certainty of having their eyes and ears polluted in a manner which will be well understood by mere allusion. The same may be said of the Adelphi Theatre, which few respectable ladies will visit, let the attractions be what they may. Next, as to unfitness. What can be shabbier, meaner, or more unsuitable for a large public building than the entrances to our two principal theatres? They are narrow, dirty, and badly lighted. There is no proper provision for the care of external articles of clothing-no decent foyer, or refreshment saloon; nothing, in fact, but narrow, cheerless, ill-lit lobies, paltry rooms, and draughty staircases. As to the interior accommodation, the idea that it is requisite to sit at ease to thoroughly appreciate a performance seems to be as little understood by theatrical managers as by clergymen and churchwardens. At the Theatre-Royal, the chairs in the dress circle are hard and far too small, and the sitting room in other parts of the house as beggarly and comfortless as possible. At the Amphitheatre matters are even worse, and in the dress and side boxes more particularly, human ingenuity could not invent anything more miserably deficient in every quality a comfortable seat ought to have. Then, again, the ventilation is wretched. In summer the ardent playgoer is parboiled, and the only relief is a tic-doloureux-giving blast of cold air; while, in winter, the gusts of icy air from both stage and lobbies is enough to freeze even a polar bear. Behind the curtain matters are even worse. The stages, both above and below, are encumbered with useless antiquated old machinery; the dressing-rooms are the veriest dog-holes; while the whole place-dangerous from absence of light is pervaded by noisome smells, which, in the Theatre-Royal, must be injurious to health. That the musicians whose wretched fate is to sit in the orchestras are ever free from colds and rheumatism speaks wonders for the acclimatizing powers of human nature. The Prince of Wales' Theatre has the advantage over its competitors as to locality, but the stage is far too small and confined for the effective display of scenery. As to ventilation, it is a little better, except in the boxes, where, though the heat is unbearable when they are full, the draughts are fearful when they are "slack." As to sight, there are also great defects in the Prince of Wales; for unless the spectator has the luck to spend a useless half-hour, and so secure one of the limited supply of front seats the moment the doors are opened, it is impossible to enjoy a comfortable and uninterrupted view of what takes place on the stage. All these facts being patent and undeniable, why should not Liverpool, "the first seaport in the world," &c., &c., have at least one first-class theatre, which is neither a Turkish bath nor an ice-house; where everybody can see and hear what takes place on the stage; where you can enter and leave with ease and comfort; where you can leave your hat and coat with safety for a penny; where you can lounge pleasantly between the acts and procure decent refreshment, without either the alternatives of making yourself ill with unripe fruit, bad pastry, and horrid lemonade, or the necessity of taking poisonous wines, spirits, and beer, at adjacent "bars?" Above all, why cannot we have a theatre where safety, in case of fire, can be combined with thorough ventilation, comfortable sitting accommodation, and efficient acoustic properties? That such a building can be erected, we have proof in our Philharmonic Hall, and that the architect is a resident townsman is a fact of which any continental city would be justly proud. PORCUPINE. P. S.-With your permission, Mr. Editor, I shall again address you on the subject, discussing its more general bearings, and especially with reference to the metropolis. Liverpool, Nov. 5, 1862, P. THE friends of Mdme. Anna Bishop, the eminent vocalist, were thrown into consternation on Monday by the statement which appeared in the American correspondence of the morning papers, to the effect that she had died on the 15th of October, from injuries caused by her clothes. taking fire. Of course not the least doubt was entertained of the truth of the story until Wednesday, when the following letter from her son appeared in the same journals: SIR,-With reference to the report of the death, by fire, of the above lady, my mother, which appeared in your paper of yesterday, I am happy to say that by this mail I have received a letter from her dated Roch City, Oct. 24, nine days subsequent to the reputed day of her decease in the original authority for the report-viz., the St. Louis Republican of Oct, 25. I am, Sir, your obedient Servant, Nov. 11. AUGT. BISHOP. Mr. Augustus Bishop's letter is conclusive as to the story being a mere canard, originated for what purpose it is impossible to surmise. That the report should have been without foundation must be deeply gratifying to the friends and admirers of the lady, but that so heartless a joke should be perpetrated must excite the indignation of all right, minded persons. Liverpool, where they are engaged for a series of operatic repreMDLLE. TITIENS and SIGNOR GUIGLINI left London yesterday for sentations. MDME. MARIETTA GRISI, mother of Mdmes. Carlotta and Ernesta Grisi, has just died at a very advanced age at the Villa Grisi, near Geneva. MR. LEECH'S collection of sketches in oil has been removed from the Egyptian Hall to Bartholomew Lane, not to Cornhill, as at first intended. Some new pictures have been added. MR. W. VINCENT WALLACE has completed another opera. St. Columba's College, Rathfarnham, Dublin, MR. CAMBRIDGE, of Atherstone, has been appointed organist of MR. CHARLES E. STEPHENS has been appointed organist of St. Mark's Church, Hamilton Terrace, St. John's Wood. SADLER'S WELLS THEATRE.-The English Opera Company have have been given during the week, supported by Madmes. Tonnelier and been playing here with great success, The Trovatore and Maritana · Emma Heywood, Messrs.. Rosinthal, Haigh, &c. We perceive that Martha, and other operas, are to be given next week, when we shall speak more fully of the company's proceedings. PENZANCE. The members of the Penzance Choral Society gave a most successful Concert at the Assembly Room, Union Hotel, on Tuesday evening, November 4th; on which occasion Dr. Bennett's International Exhibition Ode, and Mr. Henry Leslie's cantata, The Daughter of the Isles, were performed. The performance altogether was most satisfactory. Mrs. Nunn sung the solos in the cantata, also a song by Mr. Hatton, "Children," which was encored. Mr. John H. Nunn (A. R. A.) conducted. The room was well filled. TRURO-(From a Correspondent).-It is seldom that our Assembly Rooms can boast of so much talent, as that by which they were honored on Tuesday evening (Oct. 21st), when a Grand Concert of vocal and instrumental music was presented. The names of the artists will, at least in the Musical World, liberate us from entering into particulars. These were Mad. Arabella Goddard, Mad. Gassier, Mr. Swift, Herr Joseph Hermanns, M. Sainton, and Signor Bottesini. Our London readers need not be told what all and each of them can do. It created the greatest sensation were Wolf's Ne plus Ultra, played by only remains for us to speak of the performance. The pieces which Mad. Arabella Goddard-an example of highly finished pianoforte playing hard to surpass; the pianoforte fantasia on Lurline by M. Ascher, performed by the same artist, and rapturously encored, when in B flat for piano and violin, by Mad. Goddard and M. Sainton; Heller's "On Song's bright pinions" was substituted; Mozart's sonata Bottesini's Duo Concertante for violin and contra-basso, played by the composer and the eminent violinist just named; scena caracteristique Fernando," from the Favorita, by Mdlle. Marie Cruvelli; and song La Bohemienne de Castille," by Mad. Gassier; aria, "O mio from Maritana, "Yes, let me like a soldier fall," by Mr. Swift, Much more might be cited, but these will suffice, especially to well-stored musical understandings. Mr. Land proved himself a good conductor, and a useful singer in the bargain.—T.B. BRUSSELS. The programme of the coming winter season at Brussels announces, among other operas to be given for the first time there, La Reine de Saba, by M. Guonod, and Herr Wagner's Rienzi, |