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of England, tired with only understanding the half of the Frederick Handel, Esq." The London Chronicle, or Uni. piece, found it more convenient not to understand any." versal Bvening Post, for the 14th to the 17th of April, says Rinaldo, however, in spite of Addison, was performed the same thing, “Saturday last and not before." “ Thisfifteen times in succession, and revived in 1713, 1714, adds M. Schoelcher—"was still inexact." "He expired," 1715, 1717, and even as far on as 1731, besides being says Burney, “on Friday, the 13th, 1759, and not on produced at Naples and Hamburg, with the same result. Saturday, the 14th, as was at first erroneously engraved on The first representative of the personage of Rinaldo was his monument. There is indisputable authority for the conthe famous Nicolini (Nicolini Grimaldi - upon whom, as trary; as Dr. Warren, who attended Handel in his last an actor, Sir Richard Steele wrote a glowing panegyric sickness, remembers him dying before midnight, on the 13th, in the Tatler) & castrato, who came to London in 1708, Good Friday." and played it at Naples, 1718. The same part was afterwards assumed in London by Mrs. Barbior. The most
To the Editor of the Musical WORLD. popular pieces in Rinaldo were the cavatina, “Cara sposo;" a march (which was performed by the band of the Life Guards CIR,Mr. Boucicault states most truthfully that while every day at parade for forty years, and subsequently used D "progress" has been the motto with every business of by Dr. Pepusch, for the chorus of Highwaymen, “Let us | late years, the internal arrangements of our theatres show take the road," in The Beggar's Opera); a bravura for no improvements, and are still the most conservative and Nicolini. “ Il tri cerbero humiliato," which was afterwards old-fogiefied of any of our institutions. The entrances are set to the English bacchanalian, “Let the waiter bring clean mean, narrow, and totally unsuited for the prompt admission glasses," and was sung for many years at almost every con- or egress of a crowd; they are abominably ventilated, or vivial meeting throughout the kingdom; “Hor la tromba," rather unventilated; they are too hot in summer and too another air for Nicolini, with trumpet accompaninent; and cold in winter; they are miserably deficient in acoustic the song of the Siren, “Lascia ch' io pianga," the Siciliana properties, and many of them so badly constructed that from so frequently heard at concerts. The other singers in the some portions it is impossible to see the stage. Then again, opera were Signor Valentini, Boschi, and Cassani ; Signoras both before and behind the curtain, comfort is a rarity, and Boschi, Isabella Girardeau, and Elizabetta Pilotti Schia the writer in the Saturday Review-who recently denounced vonetti, belonging to the service of the Elector of Hanover. our wretchedly uncomfortable pews-would find admirable The English translation of Rinaldo was done by Aaron Hill scope for his wit in dilating upon the miseries of a playgoer himself, who dedicated it to Queen Anne
at many of our most popular theatres. Mr. Boucicault “ MADAME.- Among the numerous arts and sciences which now
speaking from a large experience both at hoine and abroad distinguish the best of nations, under the best of Queens, Music, the
1-says, also, that behind the curtain our theatres are behind most engaging of the train, appears in charms we never saw her wear the age. The machinery is old-fashioned, heavy, compli. till lately; when the universal glory of your Majesty's illustrious namecated, expensive, and ineffective, and even in Mr. Webster's drew hither the most celebrated masters from every part of Europe. I model theatre—the New Adelphi-the consumption of gas
MADAME.-- This opera is a native of your Majesty's dominions, and is 100.000 feet per week, while in a larger theatre, built by was, consequently, born your subject,” etc.
Mr. Boucicault in New York, it was only 20,000 feet per Walsh was believed to have netted no less than £1500 week. Mr. Boucicault also states that in his New York profit by the sale of Rinaldo. That this was not precisely to theatre his staff of gasmen, carpenters, &c., was far less than the taste of Handel may be guessed from Handel's own in English theatres, in consequence of his making use of words (addressed to the lucky publisher) : “My dear sir, various simple but efficient mechanical contrivances for as it is only right that we should be on an equal footing, you saving labour. The text of Mr. Boucicault's sermon upon shall compose the next opera, and I will sell it."
our theatrical shortcomings is the building new theatres “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 is quite plain that people will have amusement, and as have disappeared almost without the fact being noticed." theatres offer the best medium of both amusing and inOn the 7th of April, the Public Advertiser announced The structing the “masses," this question of theatre construction Messiah, at the Foundling Hospital, for “ the 3rd of May at is one of national interest. Here, in Liverpool, for instance, 12 o'clock, under the directien of G. F. Handel, Esq.” On the pungency of Mr. Boucicault's satire, and the truthfulness Thursday, the 12th, the same Journal inserted the following of his complaints, will be most readily appreciated, for paragraph, without making any allusion to his illness : nowhere is the want of a first-class comfortable theatre more * From the trustees of the Westminster Hospital-Earl of a desideratum for which our playgoers have long been hopeLincoln, president. The anniversary sermon at St. Margaret's lessly pining. Church, and dinner at the George Tavern, on Thursday, We have in Liverpool as many as four theatres and a 26th of April. Mr. Handel's new Te Deum, the grand circus, and we appeal to every one who has visited the theatres chorus, “For the Lord God,' from The Messiah, and the of Paris, Brussels, Berlin, New York, and even Melbourne, il Coronation Anthem, 'God save the King,' will be performed, the wretched buildings in this great town are not a disgrace under the direction of Dr. Boyce. The public rehearsal to to us, and totally unsuited to the purposes for which they are be at the church, on Monday, 23rd, at ten o'clock.” On the used. First, as to locality. What can be worse than the following day, Friday, the 13th of April, there was another locales of the Theatre Royal and the Royal Amphitheatre ? announcement of The Messiah, “under the direction of the Every sense is offended as the visitor approaches them. author," at the Foundling Hospital, on the 3rd of May; and, The stenches from market refuse and close, dank, reeking side by side, this simple line, “Yesterday morning died, streets are even dangerous to health, while the sights and G. F. Handel, Esq." The fatal news was anticipated by a day; sounds are so offensive that hundreds of ladies are denied for, on Monday the 16th, the Public Advertiser said:"Last the pleasures of theatrical entertainments in consequence of Saturday, and not before, died, at his house in Brook Street, the certainty of having their eyes and ears polluted in a Grosvenor Square, that eminent master of music, George manner which will be well understood, by mere allusion. The same may be said of the Adelphi Theatre, which few THE friends of Mdme. Anna Bishop, the eminent vocalist, respectable ladies will visit, let the attractions be what they were thrown into consternation on Monday by the may. Next, as to unfitness. What can be shabbier, statement which appeared in the American correspondence meaner, or more unsuitable for a large public building of the morning papers, to the effect that she had died on than the entrances to our two principal theatres ? They the 15th of October, from injuries caused by her clothes, are narrow, dirty, and badly lighted. There is no proper taking fire. Of course not the least doubt was entertained provision for the care of external articles of clothing-no of the truth of the story until Wednesday, when the following decent foyer, or refreshment saloon; nothing, in fact, but letter from her son appeared in the same journals :- : narrow, cheerless, ill-lit lobies, paltry rooms, and draughty Sir,-With reference to the report of the death, by fire, of the above staircases. As to the interior accommodation, the idea lady, my mother, which appeared in your paper of yesterday, I am that it is requisite to sit at ease to thoroughly appreciate 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 a performance seems to be as little understood by theatrical
decease in the original authority for the report_viz., the St. Louis managers as by clergýmen and churchwardens. At the Republican of Oct. 23. Theatre-Royal, the chairs in the dress circle are hard
I am, Sir, your obedient Servant, and far too small, and the sitting room in other parts of the Nov. 11.
AUGT. BISHOP. house as beggarly and comfortless as possible. At the Mr. Augustus Bishop's letter is conclusive as to the story Amphitheatre matters are even worse, and in the dress and being a mere canard, originated for what purpose it is side boxes more particularly, human ingenuity could not
impossible to surmise. That the report should have been invent anything more miserably deficient in every quality a withou
without foundation must be deeply gratifying to the friends comfortable seat ought to have. Then, again, the ventila- and admirers of the lady, but that so heartless a joke should tion is wretched. In summer the ardent playgoer is par- | be perpetrated must excite the indignation of all right. boiled, and the only relief is a tic-doloureux-giving blast of minded persons. cold air; while, in winter, the gusts of icy air from both
MOLLE. TITEŅs and SIGNOB GuiglỊNI left London yesterday for stage and lobbies is enough to freeze even a polar bear.
Liverpool, where they are engaged for a series of operatic repre Behind the curtain matters are even worse. The stages, sentations. both above and below, are encumbered with useless anti MDME. MARIETTA GRISI, mother of Mdmes. Carlotta and Ernesta quated old machinery; the dressing-rooms are the veriest
Grisi, has just died at a very advanced age at the Villa Grisi, near
Geneva. dog-holes; while the whole place dangerous from absence
Mr. LEECH's collection of sketches in oil has been removed from of light-is pervaded by noisome smells, which, in the the Egyptian Hall to Bartholomew Lane, not to Cornhill, as at first Theatre-Royal, must be injurious to health. That the intended. Some new pictures have been added. . musicians--whose wretched fate is to sit in the orchestras,
MR. W. VINCENT WALLACE has completed another opera. are ever free from colds and rheumatism speaks wonders for
| MR. CAMBRIDGE, of Atherstone, has been appointed organist of
St. Columba's College, Rathfarnham, Dublin. the acclimatizing powers of human nature. The Prince of Mr. CHARLES E. STEPHENS has been appointed organist of St. Mark's Wales' Theatre has the advantage over its competitors as to Church, Hamilton Terrace, St. John's Wood. locality, but the stage is far too small and confined for the L. SADLER'S WELLS THEATRE.—The English Opera Company have effective display of scenery. As to ventilation, it is a little
been playing here with great success. The Trovatore and Maritana
have been given during the week, supported by Madmes. Tonnelier and better, except in the boxes, where, though the heat is
here, though the heat 18 | Emma Heywood, Messrs.. Rosinthal, Haigh,' &c. We perceive that unbearable when they are full, the draughts are fearful when Martha, and other operas, are to be given next week, when we shall they are “slack.” As to sight, there are also great defects
speak more fully of the company's proceedings. in the Prince of Wales ; for unless the spectator has the luck
PexZANCE.- The members of the Penzance Choral Society gave a
most successful Concert at the Assembly Room, Union Hotel, on to spend a useless half-hour, and so secure one of the limited
Tuesday evening, November 4th; on which occasion Dr. Bennett's supply of front seats the moment the doors are opened, it is International Exhibition Ode, and Mr. Henry Leslie's cantata, The impossible to enjoy a comfortable and uninterrupted view of
Daughter of the Isles, were performed. The performance altogether what takes place on the stage.
was most satisfactory. Mrs. Nunn sung the solos in the cantata, also a
song by Mr. Hatton, “ Children," which was encored. Mr. John H. All these facts being patent and undeniable, why should
Nunn (A. R. A.) conducted. The room was well filled. not Liverpool, “the first seaport in the world,” &c., &c., TRURO–(From a Correspondent). It is seldom that our Assembly have at least one first-class theatre, which is neither a Rooms can boast of so much talent, as that by which they were Turkish bath nor an ice-house; where everybody can see
honored on Tuesday evening (Oct. 21st), when a Grand Concert of
vocal and instrumental music was presented. The names of the artists and hear what takes place on the stage; where you can will, at least in the Musical World, liberate us from entering into enter and leave with ease and comfort; where you can leave particulars. These were Mad. Arabella Goddard, Mad. Gassier, Mr. your hat and coat with safety for a penny; where you can Swift, Herr Joseph Hermanns, M. Sainton, and Signor Bottesini. Our lounge pleasantly between the acts and procure decent
London readers need not be told what all and each of them ean do. It
only remains for us to speak of the performance. The pieces which refreshment, without either the alternatives of making your
created the greatest sensation were Wolf's Ne plus Ultra, played by self ill with unripe fruit, bad pastry, and horrid lemonade, Mad. Arabella Goddard-an example of highly finished pianoforte or the necessity of taking poisonous wines, spirits, and beer, playing hard to surpass; the pianoforte fantasia on Lurline by D. at adjacent 66 bars?" Above all, why cannot we have a | Ascher, performed by the same artist, and rapturously encored, when
Heller's “ On Song's bright pinions” was substituted; Mozart's sonata theatre where safety, in case of fire, can be combined with
in B flat for piano and violin, by Mad. Goddard and M. Sainton; thorough ventilation, comfortable sitting accommodation, and Bottesini's Duo Concertante for violin and contra-basso, played by the efficient acoustic properties ? That such a building can be composer and the eminent violinist just named; scena caracteristique erected, we have proof in our Philharmonic Hall, and that
“La Bohemienne de Castille," by Mad. Gassier; aria, 60 mio
Fernando," from the Favorita, by Malle. Marie Cruvelli; and song the architect is a resident townsman is a fact of which any
from Marilana, “ Yes, let me like a soldier fall," by Mr. Swift, Much continental city would be justly proud. PORCUPINE. more might be cited, but these will suffice, especially to well-stored P. S.-With your permission, Mr. Editor, I shall again
musical understandings. Mr. Land proved himself a good conductor,
and a useful singer in the bargain.-7.B. address you on the subject, discussing its more general bear
BRUSSELS.— The programme of the coming winter season at Brussels ings, and especially with reference to the metropolis. P. announces, among other operas to be given for the first time there, La Liverpool, Nov. 5, 1862,
Reine de Saba, by M. Guonod, and Herr Wagner's Rienzi.
Boyal English Opera.
a basis that their periodical re-occurrence is looked forward to with
unfeigned interest by amateurs of music in and about London. More. The success of Love's Triumph increases with each representation,
over, he may be said to have created" an orchestra for his own special and the improbabilities of the plot are overlooked in the beauty of
uses, and trained it to such strict discipline that anything approaching the music and general excellence of the performance. This week
an unfinished, much more a careless or a slovenly performance, is
scarcely within the limits of probability. The players in this orchestra the new opera was given three instead of four times, in consequence
obey the indication of their conductor's stick as closely and exof the services of Miss Louisa Pyne and Mr. Harrison being re
peditiously as Ariel the wand of Prospero. In short, not to mince quired at Liverpool on Wednesday evening for a charitable per- words, the band of the Crystal Palace, although less in number than formance. Love's Triumph continues to be alternated with the by many could be wished-fewer than the "60" pronounced “enough" most popular works of the repertory in which Malle. Parepa can by Beethoven-is inferior in quality to none with which we are actake part, such as The Bohemian Girl, Dinorah, Maritana, and quainted. Not merely does it play well when engaged solely on its Fra Diavolo.
own account, as in overtures and symphonies, but accompanies well
where singers or instrumental soloists are concerned. This, it must be MONDAY POPULAR CONCERTS.
allowed, is too rare an accomplishment not to be accredited, with all
due honour. In short, Herr Manns has done justice to his employers At the fifth (107th) concert, on Monday, St. James's Hall was 1 and won a musical reputation for the Crystal Palace. He has a right, crowded to the doors. The concert was one of the most attractive therefore, to claim the support and encouragement of those whom he ever given. Besides the quartets—and there were two on this serves with so much zeal and honesty of purpose. The winter concerts occasion-and besides the fiddle solo (J. S. Bach, of course) the (of 'good" music) are the medium through which alone he has any chance vocal department assumed a new importance. Mr. Sims Reeves of obtaining public recognition, while at the same time he is upholding made his first appearance since the summer, and was welcomed the dignity of that art of which he is a truly devoted follower, with acclamations. Both his songs—"Gentle airs" and “Adelaida". The programme at the first concert was as follows:
Symphony No. 4 in B flat
N. W. Gade. were rapturously encored, and, in great good humor (no wonder,
Rondo_"Pensa alla Patria" (Mademoisele Zeiss) ... Rossini. at such a reception), the valiant champion of the "no encore" Serenade" Oh, Moon of Night" (Mr. Santley)
A. Manns. system complied in both instances. His voice was in first-rate Concerto, violin, in E (Herr Joachim)
Cavatina—“Ah! quel giorno" (Mademoiselle Zeisse) ... Rossini. condition (thanks, in a measure, to the air and early hours—if not
Song "Bliss for ever past" (M
Balfe. to the water- of Ilkey Wells), and he sang his very best, Verbum Overture-"Der Freischütz"
. Weber. sat. In the air from Handel's Athaliah, Sig. Piatti played the
The symphony of M. Niels Gade-that Danish composer whom, violoncello obbligato ; in “ Adelaida” Mr. Lindsay Sloper was at the
nearly twenty years since, Mendelssohn, always more alive to talent in
others than desirous of exhibiting his own, so generously took by the pianoforte; in each the combination was irreproachable.
hand-was given for the first time in England, but not, we may be sure, *. The other vocalist was Miss Martin, for whom were set down
for the last, if Herr Manns is left to decide. It is one this conductor's Schubert's “ Aufenthalt" (the English version - Torrents whose
characteristics that he is no exclusive past-worshipper---perhaps not at waves,") and Mendelssohn's " Zuleika" (No 2-in E major), Both
all times sufficiently reserved, indeed, when surveying the productions are impassioned songs, and therefore unsuited to Miss Martin, who, of the modern school of writers (Germans especially), of whom M. though she sings well, sings without passion.
Gade, though by no means a composer of genius, is one of the sanest. The quartets were Beethoven's No. 7 (“Rasoumoffsky," in F), Spohr's violin concerto, in some respects his best, was the most striking and Haydn in C major (No 3, Op. 33);
feature of the programme—and this owing even more to the superlative execution of Herr Joachim than to the admirable beauties of the work. Without applying a string of laudatory epithets to this unequalled artist
of which he stands in no want-we may add, in a sentence, that the concerto could not possibly have been played better. The audience listened to it from one end to the other with marked attention and evident delight, applauding and recalling Herr Joachim, at the termina
tion of the last movement, with downright enthusiasm. The overture Joachim (we can't say "Herr " Joachim) was superb in the
to Der Freischülz-zeither movement of which contains more ideas than " Rasoumoffsky," superb in the “Haydn," and superb in the Bach
the allegro, andante, scherzo, and finale of Gade put together was a (Prelude, Loure, two Minuets, Gavotte and Rondo-the Bourre
genuine triumph for Herr Manns and his orchestra. Weber himself being omitted):
would have been more than satisfied, and have gathered some compensation for the torture to which he was occasionally subjected during the preliminary rehearsals of his Oberon, nearly 40 years since, at Covent Garden Theatre.
The vocal music was unimpeachable. Mr. Santley (we need not In every instance he excited the enthusiasm of the audience to
praise Mr. Santley,) took equal pains with the serenade of Herr Manns,
P “ fever point."
and the ballad from The Puritan's Daughter (one of Mr. Balfe's happiest
inspirations), and was heartily appreciated in both. Mademoiselle The pianoforte sonata was one by Cherubini, in B flat (from a
na Zeiss-a new contralto-has a flexible voice, with considerable ease of set of six), the pianist Herr Pauer, who also played Hummel's
vigour and delivery. She aimed high in selecting two of Rossini's brilliant trio in E, most brilliantly—with Herr Joachim and Sig.
most difficult airs, but was cordially encouraged, and indeed deserved Piatti. Of Cherubini's sonatas we intend to speak on another the applause she obtained. “God save the Queen," and the “ Danish occasion.
National Air," arranged for the occasion by Herr Manns, brought the The concert was altogether delightful. At the next, Herr concert to an end. The room was so inconveniently crowded that the Joachim (among other things) will lead Mozart's divine quintet in act of closing the staircases leading to the galleries immediately after G minor and Mr. Sims Reeves will sing the not less heavenly the commencement amounted to arbitrary despotism. , At the beginning Liederkreis of Beethoven.
of each piece such a precautionary step may be advisable; but we question the expediency, not to say the right, to bar the ingress
and egress of visitors during the entire performance. Good taste should CRYSTAL PALACE CONCERTS.
prevent any part of an audience froin disturbing the enjoyment of The commencement of the winter musical season at Sydenham must
attentive listeners; but surely those who pay for admission are entitled not pass without a word or two of recognition. The uniform excellence to the privilege of hearing as much or as little as they think proper.* of the first concert, both with regard to programme and execution, After the concert the new gas candelabra in the nave were lit up for showed Herr Kapellmeister Auguste Manns determined to sustain the the promenade, during which Mr. James Coward, organist to the credit of an institution which, under his fostering care, has grown to Crystal Palace, with his accustomed skill, gave selections from Handel, such importance. The performances of the “Crystal Palace Philhar Mozart, Beethoven, Mendelssohn, and Meyerbeer (besides an impromonic" (why not?) are, indeed, equal to anything this music-loving visation), on the great organ in the Handel orchestra. Altogether the country can boast. They are model entertainments of their class-neither entertainment was one of the most delightful that can be imagined. too long nor too short, almost invariably well made out, and quite invari.
At the second concert (to-day) Herr Joachim is to play Mendelssohn's ably well presented. How much of this is due to the conductor we
violin concerto. need hardly insist. Herr Manns has laboured assiduously at his task, fought, with a perseverance derived from inward faith, against more • The director of the Monday Popular Concerts has found a way to' than one prejudice, and ultimately established his concerts upon so firm obviate inconvenience on either side.
Letters to the Editor.
LOVE'S TRIUMPH* The libretto of Mr. Wallace's new opera, entitled Love's Triumph, is founded on a French comedy entitled Le Portrait Vivant. The daugh.
ter of a Dutch burgomaster is the “living portrait" of a French TO COMPOSERS.
princess, or, rather, a French princess is the “ living portrait" of a Sir,-Can you inform me (through the medium of your valuable Dutch burgomaster. Indeed, she (the French princess) is so like her paper) of the names of any composers who purchase songs and poems (the Dutch burgomaster's daughter), or vice versâ, that even the to set to music. The terms I should wish to make for certain poems audience, who are of course supposed to be more or less in the author's of mine (some of which, I think, are well suited for music) would be confidence, are sometimes puzzled by the resemblance. In the original very liberal; and, in addition, the choice of tunes would be in the piece an inanimate picture and the “living portrait" are introduced: composer's hands as well as the selection of pieces. Yours obediently, but in Mr. Planché's operatic adaptation the burgomaster's daughter
PINDARUS. comes bodily on to the stage in one scene, and the princess in another
until—as both personages are represented by the same performer-one CHARLES AURCHESTER.
feels considerably puzzled at last as to the identity of the principal
character or characters, and inclined to call, not for the author of the SIR,Can you, or any of your numerous readers, inform me whether libretto, but for the author of “Who's Who ?” to explain to us what an English edition of the above is published, and if so, the name of the | the libretto, with its princess and its burgomaster's daughter, really publisher? I have a New York copy, sold at 25 cents; but a friend of mean. The most fatal notion to conceive in connection with this inine, wishing to procure a copy, has been unable to meet with one mysteriously-constructed but clearly and cleverly written little drama is, here. Yours faithfully,
G. F. G. that the princess is, somehow or other, the daughter of a burgomaster. [Charles Aurchester is published by Messrs. Hurst and Blackett. The hypothesis is not utterly absurd ; but it is altogether untrue. The -ED.]
princess and the burgomaster's daughter are two distinct individualities, though both are represented by Miss Louisa Pyne, who, as one or other, is
fortunately for the success of the opera, constantly appearing on the stage. PARIS.
The burgomaster's daughter--Theresa by name is engaged to (From our own Correspondent.)
marry Count de Canillac, but is in love with and beloved by Adolphe Paris, Nov. 13th.
de Savigny. Adolphe, instead of standing his ground like a man, runs
off in despair, like an operatic lover, to join the army. Before reaching Still the musical world of Paris is sufficiently dull in actual accom
the camp, however, he meets with some adventures at the court, is plishment, and my letter, in a great measure, must relate to what is introduced to Malle, de Valois (the princess), is of course struck by her likely to take place. Nothing new at the Grand Opera. M. Michot, marvellous resemblance to Theresa (she is, in fact, as much like her as having recovered from his recent indisposition, has reappeared as
Miss Louisa Pyne is to Miss Louisa Pyne), saves her life at a hunt, Manrique in the Trouvère. The debuts of M. Bonnesseur, the new
inspires her with something more than interest, convinces her by the pensionnaire of the opera, will be made shortly in St. Bris, in the
ardour with which he kisses what appears to be her portrait (but which Huguenots. Mario will appear most probably on Sunday in the Muette.
is, in fact, that of Theresa) that he is passionately in love with her, and This is the extent of my hebdomadal budget anent the doings of the
finally is enabled, by her noble generosity, to marry her rival, who to Académie Impériale de Musique et de Danse.-The tidings about the
the audience appears to be no other than herself. All this is very Théâtre-Italien are equally in prospectu. To-night the Cosi fan tutte
provoking. Adolphe, in the eyes of the audience, is beloved by one will be produced for the first time, I believe, in Paris. You shall
and the same young lady throughout, Call her the princess, or the have a full and true account of the performance in my next. A
burgomaster's daughter, or Theresa de Valois, or Son Altesse Royale priori I cannot anticipate a very favorable reception for Mozart's
la Princesse van Groot, we always know her to be the same by her exquisite and too much neglected work. The French have but
beautiful soprano voice and her exquisite singing. We feel no comlittle liking for "absolute music," as Richard Wagner says. Mozart
miseration for the princess when she gives up Savigny without losing is too ideal, too abstract for them, and appeals too much to the | him : nor can we congratulate Theresa when, never having lost him. intellect to gratify those who are pleased mostly through the senses. I she receives him back. In short, Mr. Planché has made an important I shall be glad to write myself down in error, but verily I have I dramatic mistake, which is the more to be regretted inasmuch as bis my fears. The debut of Malle. Adelina Patti is fixed for the 16th. | libretto is incomparably superior, in a literary point of veiw, to the La Sonnambula, I hear, will be the opera. This is a better choice I
great majority of such productions. think, than the Barbiere, which was spoken of, but which I can hardly
The effect of hearing Mr. Vincent Wallace's opera once has been to fancy was ever in contemplation, else why give the opera so frequently I make us anxious to hear it a second time, but not to enable us to give with Alboni, whose Rosina is incomparable. The rumour was incom- | a full account of it. To form a thorough acquaintance with a picture Patti-ble with reason. Malle. Patti has arrived in Paris. Semiramide so as to be in a position to pronounce a decided opinion on its merits was given on Sunday for the first appearance of Signor Agnesi. I was may be the affair of a minute or of any longer period. To a person unable to attend, but shall be in my seat at the next representation, and who can judge at all, a single inspection must be as good as a great send you my report. I hear from many that the new baritone is good, many—simply because it may be prolonged indefinitely. But in listenif not great; an acquisition if not exactly a Filippo Galli nor an Antonio ing to a new opera one has to catch the sounds as they fly; for it can-, Tamburini. -A new opera in one act, entitled Le Cabaret des Amours, I not be expected, unless the music be very impressive, and the memory the libretto by MM. Barbier and Carré, the music by M. Pascal, has equally retentive, that they will fix themselves on the mind's ear been produced at the Opera Comique with success. I may allude to I (surely the mind has an ear as well as an eye) all at once. There is no this further in my next.-The Théâtre Lyrique has commenced its going back to a remarkable passage, except in the case of encores campaign with brilliant eclat in its new abode. After two successful honours which are generally accorded to most unimportant pieces, the representations of the Chatte Merveilleuse, M. Maillart's pleasing and I mere insignificant hors-d'oeuvres in the great operatic feast; or, perhaps, popular opera Les Dragons de Villars was reproduced and played several we should call them entrées, those ballads that are introduced on all times. M. Buvard, the new tenor, appears to much advantage in the possible occasions, and which, like the notorious side dishes of the character of the hero. and Malle. Girard sings and acts most charmingly
London pastrycooks, are all served up with the same sauce. There in the part of Rose Friquet. Madame Viardot has appeared in Orphée
are, indeed, many points of resemblance between an opera and a dinner, with all the usual effect. The general performance of Gluck's grand
from the overture, which may be compared to the soup, to the inevitable old work is extremely good. A new opera in four acts by Prince
bravura for the prima donna at the end-which, of course, is the desert. Poniatowski is announced. The principal characters have been assigned
There are operas in which we could point distinctly to the souffle, the pudto Madame Marie Cabel, M. M. Battaille, Monjauze, Sainte-Foy and
ding, the roast beef, the goose. Then like a dinner, no opera is considered Balanqué. By the way, Madame Miolan Carvalho will play the part
complete without the introduction of “ wine, wine, wine," or " the gloof Arline in the French version of Mr. Balfe's Bohemian Girl.
rious vintage of champagne," to say nothing of punch,"and the “ porterbeer" celebrated by the young man with the baritone voice in Martha.
Love's Triumph is a repast of a light and elegant kind. It seemed New ORATORIOS.-Three new oratorios are talked of in the German to be highly appreciated on Monday night. It was applauded from musical papers :-A St. Elizabeth, by Dr. Liszt (not yet produced); a
beginning to end, and to some of the dishes (chiefly the aforesaid Raising of Luzarus, by Herr Vogt; and a St. Peter, by Herr Berthold of
entrées), the public insisted on being helped twice. After one or more St. Petersburg. This last announcement makes it expedient, in avoid repetitions of the entertainment, we shall take upon ourselves to speak ance of future question, to state that Mr. Benedict's oratorio, on which
of it in detail. At present we can only record its complete success, he has been for some time engaged, is on the subject of St. Peter,
and, in a general way, the gratification which it afforded us personally, arranged for music by Mr. Henry F, Chorley, with words from Holy Writ,- Athenæum;
. From the Ilustrated Times,
St. James's HALL.-Malle. Louisa Van Noorden gave a concert on Clementi, J. B. Dando, Carl Goffrie, H. Weist Hill, — Jacquin, F. W. Thursday evening, which was well attended, considering the state of Kreutzer, Adolphe Pollitzer, Louis Ries, E. W. Thomas, Max Vogel, the weather. The fog indeed within was almost as dense as the fog J. T. Willy, J. B. Zerbini.-Second Violins-Messrs. William Watson, without, and must have been anything but encouraging to the visitors (Principal), S. Bort, A. Burnett, J. J. Calkin, E. T. Chipp, Mus. Doc. or acceptable to the singers. The vocal artists, with Malle. Van Cantab., Ć. Colchester, F. R. Folkes, J. M. Marshall, J. Newsham, Noorden, comprised Malle. Giorgi, Miss Leffler, Mr. Sims Reeves, and Edward Payton, Edward Perry, Alexander Simmonds, Alfred Streather, Signor Fortuna. Malle. Florence Lancia's name was in the bills, but Heddegham Van, Thomas Watson, Henry Wheatley, Jun.-Violasthe lady was indisposed and could not appear. The instrumentalists Mr. R. Blagrove and Mr. W. H. Webb, (Principals), Messrs. George were Messrs Charles Salaman, P. E. Van Noorden and pupil (piano Alsept, J. Brodelet, _Glanvill, R. Hann, H. J. Trust,' w. W. Waud, forte), Herr Pollitzer (violin), and Herr Lidel (violoncello). A strong T. Westrop.-Violoncellos—Messrs. George Collins, (Principal), W. H. infusion of the classic element was one of the features of the programme. Aylward, Horatio Chipp, Hugo Daubert, H. W: Goodban, Alfred Beethoven's trio in B flat, Op. 11, for piano, violin, and violoncello, Guest, Charles Quld, G. Paque, Walter Pettit, R. H. Reed. - Double executants Mr. Charles Salaman, Herr Pollitzer, and Herr Lidel, and Basses-Messrs. James Howell (Principal), William Castell, Thomas Mozart's sonata in E minor, for piano and violin, Mr. P. E. Van Noorden Edgar, Arthur Howell, John Reynolds, Charles Severn, Joseph Waud, at the piano, were both excellent performances, and were most liberally A. C. White, A. Winterbottom.-Flutes-Messrs. R. $. Pratten, R. S. applauded. The singing was very effective. Mr. Sims Reeves, who, Rockstro. - Piccolo - Mr. J. Schmidt. – Oboes— Messrs. A. R.M. by his stay in the porte seems to have gained new strength and wealth Barret, Alfred Nicholson.-Clarionets-Messrs. Henry Lazarus, F. of voice, a very scorner of fogs on Thursday night, sang gloriously, and H. Maycock.- Bassoons-Messrs. F. Hausser, J. G. Waetzig. with as much freedom and power as though he were inhaling the clear Horns-Messrs. Charles Harper, J. W. Standen, T. E. Mann, R. atmosphere of the south, in place of the condensed smoke and, cloud Keevil.- Trumpets-Messrs. Thomas Harper, R. J. Ward. -- Trombones of an English November atniosphere. This scorner of his native fogs -Messrs. J. Hawkes,-Antoine, W. Winterbottom.--Ophicleide-Mr. S. gave the song from W. Balfe's Cantata Mazeppa - She walks in queen Hughes.- Cornets--Messrs. Stanton Jones, F.J. Sutton.-Drum--Mr. C.F. like grace," not only as well as ever but better than ever, if that were pos. Horton.-Bass Drum and Cymbals-Mr. R. W. Seymour.--Side Drum sible (which it is not) and was recalled tumultuously. He also sang a Mr. Pheasant.-Triangle-Mr. Horton.-Harps-Messrs. Edward Perry, ballad from Herr Meyer Lutz, cantata, Herne the Hunter, “Sweet flow'ret, H. J. Trust. Librarian and Copyist for the Orchestra, Mr. C. F. Horton. leave me not thus lone," which was rapturously and most deservedly THE MUSICAL SOCIETY OF LONDON.--The second trial of new encored. Mr. Reeves also joined Miss Van Noorden in two duets, “ Pangi, Chamber Compositions took place at the Marylebone Institution, on O cara” from the Traviata and “Tornami a dirs" from Elisir d'Amore, Wedneday Evening, when the following works were tried :-Quartet, both of which pleased infinitely. Malle. Van Noorden has a powerful The Life of a Musician, in E flat, two violins, viola and violoncello, soprano voice, which we think would be very effective on the stage. Her (1. Allegro — The Start-Perseverance and Progress.” 2. Vivace solos were Paceni's cavatina “ Il soave bel contento" and Eckert's " Echo _" Anxiety." 3. Andante Hope." 4. Finale - Disappointment Song," in both of which she was highly successful. The Concert was and Despair-Ultimate Success and thanksgiving"-composed by H. brought to a conclusion at a reasonable time—a special recommendation. F. Schroeder, and performed by Messrs. Louis Ries, Carrodus, Webb,
** RUMOUB," writes the Alhenaeum" has many things to say concerning the and Lidel; Quartet in G, two violins, viola, and violoncello, coinposed Limited Liability English Opera Company. Some aver that nothing is by James Lea Summers, and performed by Messrs. Carrodus, Louis decided beyond the postponement of every attempt for the present;- Ries, Webb, and Lidel; Quartet in E, pianoforte, violin, viola, and others declare that Robin Hood is to be the first opera, given as on its violoncello, composed by Oliver May, and performed by Messrs Oliver production, by Madame Lemmens-Sherrington and Mr. Siins Reeves, May, Louis Ries, Webb, and Lidel; Quartet in D, two violins, viola, as hero and heroine, and with one of the Messrs. Braham as leading and violoncello, coin posed by Miss Alice Mary Smith, and performed baritone. 'Time is going by: if the projected undertaking is to have by Messrs. Carrodus, Louis Ries, Webb, and Lidel ; Quartet in G any season, it is high time that the public should hear something more minor, two violins, viola, and violoncello, composed by Henry Baumer, than rumours-none, possibly, of which are correct.” [The Athenceum and performed by Messrs. Louis Ries, Carrodus, Webb, and Lidel. may read our correspondence.--Ed.)
Mr. Oliver May is a fellow of the Society; the others are all associates. DRESDEN.–The prospectus of six orchestral concerts to be given Bath. (From a Correspondent).-Mr. H. Simms gave a concert at during the coming winter at Dresden undertakes for the performance the Assembly Rooms on Saturday (Oct. 25) the members of the of works by Haydn, Mozart, Beethoven, Weber, Spohr, Handel (his “ Land" touring party being the attraction. The programme was of “Water-Music"), Mendelssohn, Lindpaintner, Schubert, Berlioz, Rietz, unusual excellence and variety. Such instrumental talent as that of Rubinstein, Schumann, Gade, Bargiel, Veit, Reissiger.
Madame Arabella Goddard, M. Sainton and Signor Bottesini, could CHELTENHAM.-Two concerts took place on Tuesday week at the not easily be surpassed; while the vocal force, comprising Madame Montpellier Rotunda, and were well attended. The only drawback Gassier, Mdlle. Marie Cruvelli, Mr. Swift, and Herr Joseph Hermanns, was the indisposition of Madame Gassier, who, however, sang at the (Mr. Land conductor) was by no means to be despised. The great morning concert, but was too unwell to sing in the evening. Notwith-performance of the Concert was Woelf's pianoforte Sonata Ne plus standing this, a concert with such singers and instrumentalists as ultra, by Madame Arabella Goddard, whose incomparable execution of Madame Cruvelli, Mr. Swift, Herr Herinanns, Madame Arabella God- | this most difficult work created a profound sensation. I need not dard, Mons. Sainton and Signor Bottesini, could not be othewise than describe to your readers the characteristics of her performance; all gratifying to the audience. It would be a bold act to criticise the who are in the habit of frequenting the Monday Popular Concertsperformances of the three last named eminent musicians, even if the which means all musical London-must be familiar with them. Enough critic felt himself equal to the task, and it will therefore suffice to say that Madame Goddard played to perfection and was recalled with that the rendering of the pieces set down for them in the programme enthusiasm. Many would fain have had the variations on “Life led gave unbounded satisfaction to all present. In particular, may be us Cherish” repeated; but Madame Goddard merely bowed her mentioned the Fantasia on Scotch Airs, by M. Sainton, the pianoforte acknowledgments. In Ascher's fantasia on Lurline, however, the 'variations on “Life let us cherish" by Mad. Arabella Goddard, and demand for a repetition was so vehement, that she oould not choose the Fantasia on the double bass by Signor Bottesini, all of which were but comply, and accordingly, after some slight demur, she reseated characterised by the well known and marvellous execution of their herself at the piano and played Stephen Heller's " improvisation” on respective performers. The singing of Madame Cruveli, who pos- Mendelssohn's "On Song's bright Pinions," which delighted the audience sesses a clear and powerful voice, was loudly applauded, and she com. in even a larger measure. The other performance of Madame Goddard plied with more than one demand for a repetition. Mr. Swift, too, has was in Mozart's Sonata in B flat, for piano and violin, with M. Sainton, a powerful tenor voice, and sang with great animation. Altogether, the a splendid exhibition on the part of pianist and violinist. M. Safnion concerts were a great treat.
was also heard in his own capital fantasia on "Scotch airs," and in a On Monday last, Mr. Ricardi Linter gave a pianoforte “recital” at duet for violin and contrabasso with Signor Bottestni, both of which his house. There was a numerous and fashionable attendance. The were loudly applauded. The solo on the contra-basso, an airs from programme was good, the classical music not being so disproportionate | Lucia, by the great Italjan virtuosa, was a truly surprising display, and to that of a lighter description, as is generally the case. The Andante created unbounded astonishment. Of the vocal performance I can in F, of Beethoven, and the Prelude and Fugue in E minor, of Mendels- only say that Madame Gassier sang with brilliancy a Scena by one sohn, were beautifully rendered. Mr. Linter also played four of his Chiaromonte, and a rondo with variations from Vaccaj's Pietro il Grande own compositions, which afforded considerable gratification, particularly that Mdlle. Marie Cruvelli was highly effective in the aria, “ ( Mio the fantasias on Norma and Martha : also two by M. Thalberg, viz. | Fernando," (La Favorita); that Mr. Swift was thoroughly energetic Home Sweet Home and Don Pasquale. Cheltenham Times.
in the song from Marilana « Yes, let me like a Soldier fall;" and that Musical SOCIETY OF LONDON.—The band for the ensuing series of Herr Hermanns showed a good deal of humour in the song of Falstaff concerts (under the direction of Mr. Alfred Mellon) will comprise from Nicolai's Merry Wives of Windsor. Mr. Land condụcted and eighty-eight performers :- First Violins-Mr. H. G. Blagrove and Mr. I joined in some of the concerted pieces, proving himself equally P. Sainton, (Principals); Messrs. J. Banister, J. T. Carrodus, R. l efficient as singer and conductor,
I. PT 8.