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in the time and style of the old minuet, with an ingenuity that cannot fail to win the hearty praise of musicians. But the predominant features of the Second finale are the arrival of Mynheer van Groot, the sensation he creates among the courtiers, the impression he produces on the Princess, and the effects of the inebriate condition in which he presents himself, or rather is presented by the Count de Canillac, his intended son-in-law—the ultimate result being considerable hilarity and very general confusion. The cosmic power of Mr. Wallace in the treatment of this situation is most favourably exhibited; and it is difficult to imagine anything more animated, or, in a musical sense, more happily contrived, than the whole scene, from the laughing chorus (" Ha! ha ! ha! he is quite delightful"), to the end, when van Groot, having made himself eminently ridiculous, escapes from the midst of his pitiless tormentors. No wonder that, night after night, this should evoke an uproarious summons for the composer—and, let us add a hearty demonstration in favour of Mr. H. Corn, who is every inch a Dutchman, and very drunk to boot. The third and last act contains no important piece in which the chorus plays a part; but it introduces an accompanied lertet—
11 In mystery shrouded
which would atone for a multitude of ballads (here there are no more than two), and, is in the fullest acceptation of the word, masterly. The principal characters are further developed in certain duets and trios, more or less meritorious, from which we would specially single out, as sterling dramatic music, the trio (" A simple Cymon") where the Marquis de Pons brings Adolph de Savigny under the notice of the Princess, furtively ridiculing his pretensions, while he openly affects to intercede (Act 1.); and that for Van Groot, Cadillac and the page (" Welcome, I am all on fire," Act 11.), ending with the exhilarating brindiii, "For me if you would garlands twine," in which Bacchus is apostrophized with more than ordinary enthusiasm. There is also an unquestionably comic vein in the duet between the Marquis and Adolph ("My poor young friend," Act 1.), where the wily courtier pretends to undertake the fortunes of his unpaid creditor's son; genuine expression in that where the Princess, unseen by Adolph, watches, with womanly anxiety, the effect produced upon him by the miniature, the common likeness of herself and Theresa ("As in a dream I wander," Act II.) ; and vivid dramatic movement in that where the Marquis gives Mademoiselle de Valois the miniature he has obtained from Van Groot ("To the secret of our Cymon," Act Ill.), which, regarded simply as a piece of abstract music, is the most interesting and skilfully conducted of the three. Of the solos incomparably the best is the grand scene of the Princess (" O rank, thou hast thy shackles," Act 11.), which comprises two slow movements of such genuine beauty, so thoroughly expressive and appealing, as not only to redeem the somewhat commonplace brilliancy of the last part (a bravura), but to charm on their own account. The first air of the Marquis ("Patience, prudence") is sufficiently bustling and lively; that of Canillac (" Wayward fortune")—in the style of a polacca somewhat vague in its relation to the personage from whose lips it is made to proceed ; that of Henri de Venneuil ("I'm a model page"), pretty and in good keeping, if not over-refined; that of Van Groot (" I have brought my daughter/Act 11.), quaint and original— in short, another bit of unaffected humour. Of the ballads we prefer "Those withered flowers" (Theresa), being not deeply touched either by that allotted to Adolph in the first act ("Though all too poor"), styled romaraa, nor by that in which Canillac sacrifices Theresa, "Lovely, loving, and beloved." The slow introduction to the finale of Theresa (" It is not in the summer tide"—identical, as we have hinted, with the theme of the clarinet interlude), in spite of its showy coda, in which the flute (Mr. Prattcn) largely participates, is inferior to another excerpt from the overture, first recognized in Adolph's ballad, "Night, love, is creeping," and subsequently as the familiar ■train by which Theresa, in the dress of the Princess, convinces her lover of her iudentity. Much more might be written about the music of Love's Triumph, did space allow of our entering into details; but enough has, we think, been adduced to show that in treating a new kind of subject, Mr. Wallaco has successfully proved the versatility of his powers. On his many admirable qualities as a dramatic composer we have already dwelt more than once and we are glad to recognize their easy adaptability to the expression of light comedy. Love's Triumph, if here and there exception may be found, will add at any rate to its composer's well-earned reputation, as the result of serious thought and well-directed labour, combined with rich fancy and disinguished talent.— Times.
Kablsbche.—Ferdinand Hiller's new opera, Die Katakomben, was given with great success on the 14th instant. The talented composer had previously been stopping here for some time to superintend the stage rehearsals.
PROVINCIAL. From the Halifax Guardian we glean the following particulars of a concert which was given by the Haley Hill Choral Society in the Odd Fellows' Hall, Halifax, on the 10th instant, in aid of the distress in Yorkshire:—
The Haley Hill Choral Society has done a good thing at a good time. In giving a performance of sacred music for the relief of the suffering operatives in the cotton districts, its performing members (who are chiefly working men) have done their duty. And in limiting the relief to Yorkshire distress, they have wisely obeyed the golden rule that " Charity begins at home." There is no doubt that in the Yorkshire vallies bordering on Lancashire there is as much real distress as in Lancashire, and no doubt it is the duty of Yorkshiremen first to stave want and distress from Yorkshire doors before they open their purses to relieve a neighbouring country. The performance on Monday last was the oratorio Judas Maccabeus. Criticism was entirely disarmed by the goodness of the cause which all came forward so readily to aid; but making due allowance for the youth and relative inexperience of some of the singers, there was little that called for r e- mark. Mr. Frobisher conducted and carried with him throughout tin whole evening the 64 vocalists and 87 instrumentalists (18 wind, 18 string, and one percussion), who enrolled themselves under his baton. The vocalists were Miss. Tankard, Mrs. Empsall, Misses Leach. Turner, Tushton, and Messrs. Carter, Briggs, Peace, Mitchell, Townsend, Hoyle, Stork, and E. Sladden. Between the parts E. Akroyd, Esq., president and patron of the Haley Hill Society, briefly thanked the performers for t heir gratuitous Services, and the audience for their attendance. We understand that upwards of £70 nett will be realised by the performance.
Mr. Charles Salaman has been giving two "Musical Lectures" in the city of Northampton with signal success. The Northampton Mercury thus writes of them:—
Mr. Salaman gave two excellent lectures, morning and evening, at the Lecture Hall, in Gold-street, on Monday last. That in the morning was entitled—" A Morning with Beethoven," and consisted of a most interesting and comprehensive, though brief summary, of the principal events in the life of the great "Tondichter"—poet of sounds— and a very clever analysis of his works and of the character of his genius. The lecture was amply and admirably illustrated by Mr. Salaman on the pianoforte, and by Miss Eliza Hughes, who sang with purity and chasteness the song from Wilhelm Meister, "Knowest thou the Land," Goethe's joyous Song of May, Marcelin's song from Fidelia —" What joy were mine," and the "Kleino bltlmen." Mr. Salaman goes through his task con amore, and the attention of his audience in consequence never flags. The evening lecture was entitled—" An Evening with Weber," and in plan was the same as that of the morning. It opened with a very agreeable sketch of the life of " the great artist and good man," as he truly styled the composer of Der Freischulz, including criticisms on his operas, accompanied with illustrations vocal and instrumental. In the first part the selections were wholly from Der Freischutz. Miss Hughes sang the popular " If a youth should meet a maiden ;" the cavatina, '• Though clouds by tempests may be driven;" the ghost story, " My aunt, poor soul," and the rondo, "Let not sorrow," with excellent taste and feeling, and Mr. Salaman concluded with a selection from some of the most popular melodies on the pianoforte, the famous " Jager Chorus," the "Drinking Song," Le. The second part included selections from Prcciosa—the overture, the cavatina, " Lo, the star of eve is glancing;" the animated gipsy chorus "The stars that above us are shining;" from Euryanthe "' Tig May, sweet May;" and the finale to the 1st Act; and from Oberon, the recitative, " Haste, gallant Knight," and air, " Yes, my Lord, my joy, my blessing;" the mermaid's song, " O, 'tis pleasant to float on the sea." In his lectures, as well as his musical illustrations, Mr. Salaman evinced a taste and conscientiousness and a respect for his art which was gratifying to witness. We can imagine nothing more delightful than " an evening" such as Mr. Salaman can give, nothing more beneficial alike to our tempers and our tastes.
Mannheim.—The following notice has been issued by the Committee of Deutsche Tonhallo: "No sufficient majority of votes (in conformity with the" laws of the Society) has been arrived at, by Herren Franz Lachner, Ueiuricli Neeb, and Joseph Swauss, who were duly chosen as arbitrators, with regard to the sixteen four-part settings for male voices of the prize poem of Dr. K. A. Mayer, which were sent in, conformably to our public notice of October, 1861. The work of Herr F. Lux, of Mayencc, obtained, however, one vote for the prize and one " honorable mention;" that of Herr V. E. Becker, of Wurzburg, obtained two " honorable mentions;" while the works of Herren Ed. Guth and Eberhkuhn obtained each one. "Those competitors who desire their works to be returned, are requested to make application to us for them within the next six months, as we cannot be responsible for the said works beyond that period. 23rd October, 1862."
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To Publishers And Composers—All Music for Review in The Musical World must henceforth 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 Saturday following in The Musical World.
To Concert Givers.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.
LONDON: SATURDAY, NOVEMBER 22, 1862.
To the Editor of the Musical World.
ARE there any signs of a musical season to cheer and comfort us through war and party strife? A few scattering ones, at least; some cheerful twitterings of early
birds, enough to justify the early confidence that spring is coming—the musical and social spring and summer, coinciding with the fall and winter of the natural year. Signs an(j beginnings there are, with notes of preparation, warranting assurance that we shall have as much and as good music during the coming winter, as we had laet year, to say the least—possibly more and better. We needed it then; it was so necessary to all peace, and rest, and sanity of mind; so impossible to endure the never ceasing strain and pressure upon every faculty and every sensibility, caused by the consciousness of the fiery trial, the new birth-throes (let us believe), through which our country is passing, without some such diversion, some such harmonizing, tranquillizing, hope and joy reviving angel influence as music. We need it still more now, that we are grown so weary of the protracted struggle, while the call is clearer than ever to flinch not short of the one only glorious conclusion; now while the cry goes up with intenser agony: Will the night soon pass? For health of mind and spirits, to make us feel that we are still ourselves, we must have recreation,—none so pure, so fit, so sweetly restorative as music. The want, then, remains unchanged; the means of satisfying it never yet taxed anybody very heavily, and a thousand costlier luxuries are not yet discarded. Therefore it is pretty certain we shall have it.
To begin with our own city, what beginnings are there? What signs? Such as have already risen on the-field of vision are the following — small ones, perhaps, but yet significant and full of promise. We call it significant, in the first place, that we have a beginning, with the purpose of an indefinite continuation, of classical organ concertsrepresenting one important side of musical culture and enjoyment which has been too long strangely unprovided for among us. Year after year we have been urging our clever organists to do this thing; it is so cheaply done; it serves to keep the organist in practice in the true organ music, such as finds little chance in ordinary church service, and in rapport with the lover's of such music; while it gives the public, however small at first, easy and frequent opportunity to hear, and know, and feel what real organ music is, and how inestimable the treasure bequeathed to the world by such a spirit as Sebastian Bach, if half the pains were taken to know him that are spent upon the empty triumphs of modern virtuosity. This want our young countryman, Mr. John K. Paine, has undertaken in s a modest, simple manner to supply in some degree. Bis two concerts at the West Church, in aid of the Sanitary Commission (one last Saturday and one to-day), are, we are happy to say, but the commencement of a series of organ concerts, which he will give at stated times, to such listeners as care enough about it to pay the very small price, and with a view, not so much of gain, as of keeping the artut alive in himself, and of keeping Art and the interest therein alive in such public as it may command. This is the motive for which the best artists in the German cities give concerts; it is seldom that they hope to make money by them.
On Saturday evening, next week, Mr. Julius Eichbenr will give a soiree at Chickering's, which will have many features to interest the lovers of the beat in music. Beside his own admirable violinism in the Chaeonne of Bacho, and smaller pieces, he will, with Mr. Paine'a assistance, present one of Bach's sonata-duos for violin and piano,—for the firs' time, we fancy, in our concert rooms. Also his own concerto for four violins, which has made a mark before. "There will also be part-singing by the " Orpheus," and songs hy good solo talent, for still further fresh variety. Next in the field will probably be the Mendelssohn Quintet Club, who are preparing to open their annual supply of good things— quintets, quartets, trios, sonatas, &c.—on the 12th instant. It is. their fourteenth season I Among the new works in practice are a quartet by Schumann and another of the so-called posthumous quartets of Beethoven; also some modern varieties, attempts by young composers, &c, will mingle in their programmes and pique curiosity, if nothing more. Mr. Carl Zerrahn informs us that he is in no doubt about renewing his Philharmonic orchestra concerts, and at an earlier day than usual, perhaps before the present month runs out. His materials for an orchestra will be at least as good (essentially the same) as last year, perhaps with some increase of force. We shall not be suffered to forget or miss the inspiration of Beethoven's symphonies—outlive them who ever can as long as there shall be any chance to hear them? Mr. Zerrahn has imported a large and various supply of new orchestral works, overtures, arrangements, dance music, &c, of which he will doubtless give us a taste both in the Philharmonic evening concerts, and in the afternoon concerts of the Orchestral Union, which are sure to follow when the first lead off. As for oratorio and large sacred choral music, we hear of no special movements; but the old Handel and Haydn Society still lives, to which we owe all that we know hereabouts of the Messiah, and Samson, and Judas Maccabceus, and Israel in Egypt, and Jephtha, and the Creation, and Elijah, &c, and doubtless they have something good in store for us. But we need also one or more new choral societies upon a smaller scale, and somewhat different principle, to cultivate acquaintance (and diffuse it as they may have means and opportunity) with such works as the cantatas, masses, "Passions," &c., of Sebastian Bach; and with the works of Palestrina and other old Italian and Flemish masters. Such things will spring up in time; they depend on individual enthusiasm and enterprise; the fit materials may not as yet be numerous, but enough so for a small beginning which may grow.
We shall have semi-private, social concerts, too, given to whole rooms full of friends and guests, by such societies as the "Orpheus," the "Mozart Club," &c, which rank among the most pleasant and profitable of our musical occasions. And it will be strange if out of all this movement there do not spring many occasional, individual good things in the concert line, such as were among the finest grain of last year's reaping. (For instance, Mr. Lang's production of the Walpurgis Night of Mendelssohn; Mr. Dresel's pianoforte soirees, <fec.")
New York unfolds of course a richer programme. Her large German population, and abundant supply of good musicians, make more and larger undertakings in the higher fields of music a necessity. Yet always, until very lately, in symphony, oratorio and classical quartet performances Boston has borne the palm. But New Nork has a permanent orchestral society, on a much ampler scale than ours, which has to be regathered every winter by the individual concert giver. Her noble "Philharmonic" has already had its first public rehearsal (concerts to follow in course); and the bill was good:—Beethoven's 4th symphony, an overture (Christmas Bream) by Ferdinand Hiller, Mendelssohn's violin concerto, &c.—Nor is this the only chance for great orchestral music; Mr. Carl Anschuetz, with his German Opera orchestra, is giving Sunday evening concerts, intending to bring out all the nine symphonies of Beethoven in course, besides a great variety of overtures and other works by older and newer masters, both classical and still debatable. In Brooklyn, which is but the other lobe of New York, the
Philharmonic orchestra has summoned Mr. Theodore Thomas to its conductorship, and will soon again divide attention with the parent Philharmonic on the other side. In New York they have opera—and German opera too—which looks like a settled thing, an institution, where such things are heard as Mozart's Seraglio and Zauberfiote, Weber's Der Freyschiitz, and many a good thing which we only hear about in these parts :—not to speak of the various crumbling kaleidoscope combinations of Italian Opera, chiefly shaken together out of the same old bits of glass by sharp Jew managers, and now and then a peep or two at it peripatetically vouchsafed here in Boston and the larger towns about us. Then there is the "Liederkranz," under the direction of Mr. Paur, announcing four concerts made up of some rare selections; such as: finale from Mendelssohn's Lorelyj Gade's Comala; the "Mignon-Requiem" and the Manfred (melo-drama, solo and chorus) of Schumann; the Lobgesang of Mendelssohn; eight-part choruses by Palestrina and Lotti; Gloria from Beethoven's great mass in D; and Credo from the mass written by Liszt for the Convent at Gran. Truly a tempting feast in these dry times! Of the plans of the Harmonic, the Mendelssohn, and other sacred choral societies, we are not informed. They probably will not be idle. Then there will be the interesting programme of Messrs. MaBon and Thomas's Chamber concerts, which will commence again next month, and doubtless give rich feasts of Beethoven, Schumann, Schubert, Chopin, <fec, not confined to the commonest well-known selections from their works. At least such we take to be the spirit of their enterprise.
In Philadelphia, too, there will probably be no falling off; though we are not yet informed of the intentions of the Oratorio and Musical Fund Societies of that "City of Brotherly Love." Meanwhile it is certain that the popular, in part classical "rehearsals" of the Germania Orchestra, under Carl Sentz, will be resumed on the 22nd of this month. Perhaps they (that is, their audiences) have reached the point where they may assay a whole symphony, instead of only now and then a scherzo or andante as in past years.—Mr. Wolfsohn's classical Soirees will come round again, offering such attractions as Mozart's quintet for piano with wind instruments; his trio for piano, violin and clarinet; Beethoven's trio with clarinet; some of Schumann's compositions for piano and clarinet; a septet by Hummel, &c. Other classical Soirees are announced by Messrs. Jarvis and Cross.
Such are the results of a hasty look-out over the chief points of the field. The report is by no means complete, but there is enough to show that there will be a " musical season." Whether it will be marked by real musical progress, whether the standards of true art will be borne farther forward, remains to be seen.
J. S. Dwight.
EVERY age has its special characteristic. That which more particularly distinguishes our own is the tendency to go a-head, to make use of a Yankee term. We live in precipitate times. To hurry onward in a headlong course is the endeavour of all classes in every art and every profession. To outstrip his fellows in the great race of life is more than ever the aim and object of adventurous and impetuous man. The very elements seem to conspire with his necessities and discovery to keep pace with his aspirations. The electric telegraph and steam would almost appear providential concessions to.his thirst for knowledge and his eagerness to communicate it. The epithet "fast," a modern coinage, expresses with sufficient felicity the power which more than any directs and sways his desires and operations. Shakspere himself—or Ulysses for him in Troilus and Cressida—no mean authority, seems to counsel this struggle for precedence and advances passing shrewd reasons in support of it. The lines are not unworthy citation as pertinent to the subject:—
"Take thou the instant way;
For honour travels in a strait so narrow,
Where one but goes abreast; keep then the path;
For emulation hath a thousand sons
That one by one pursue. If you give way,
Or turn aside from the direct forthright,
Like to an enter'd tide they all rush by
And leave you hindermost; and there you lie,
Like to a gallant horse fall'n in first rank,
For pavement to the abject rear, o'er-run
And trampled on." But there is limitation to all things and haste is as likely to defeat accomplishment as delay. The express train may be too fast as well as the modern dandy, or " swell," and the fable of the hare and the tortoise becomes applicable to the commonest employments of existence. In, this rapid whirl of contention for antecedence, involving an utter disregard of time, much mischief is done. Everything is hurried and nothing produced is good. Houses and operas are run up in an incredible short space to the manifest injury of tenants and audiences. Nevertheless tenants and audiences are soon taught to respect that order of things which gives them variety if not excellence, and in the end the public becomes like the Giaour in Vathek, who, when the children were being thrown into his cavern, kept still crying out" more, more.M
There are, indeed, some things in which the quality denominated " fastness" is entirely to be deprecated and in which the general public, by encouragement, exercises a powerful influence. The excessive acceleration of the tempo in music by orchestral conductors is one of those emphatic signs of the times and constitutes the greatest possible injury to the piece being played. So widely has the innovation spread that we hear complaints from many quarters made about the most notable conductors. A few days since our own Paris correspondent protested strongly against the time in which the finale to the second act of Lucia was taken by Signor Bouetti at the Theatre-Italien, and one or two of the metropolitan musical journals urged the same objections. So fast was the finale taken, it was said, as completely to render many of the fiddle passages inaudible, perhaps impossible to play. Now, no one doubts that Signor Bonetti is a clever and experienced chief of the orchestra; therefore "these sudden starts of his fright us the more." But, to show that Signor Bonetti is not a solitary example, we might point to two chcft-dorcJiestre even more renowned than himself, who are occasionally led away by their impetuosity or their eagerness to produce brilliant effects into very strange departures from the expressed signs of the composers. It is not often we have to find fault with Mr. Costa's conducting at the Italian Opera; but even he, accomplished and expert master of the baton as he undoubtedly is, sometimes lays himself open to serious criticism—an instance of which occurred last season at the Royal Italian Opera iu the performance of the overture to Masaniello, which was taken at such railroad speed as almost entirely to defeat the executive prowess of perhaps the finest band in Europe. At Her Majesty's Theatre—as if to establish a rivalry in the "fast" school— Signor Arditi, an admirable and long-tried general of an instrumental force, took so well-known and well-measured a piece a8 the finale to the first act of the Barbiere at such a
pace as must have astonished and dismayed the accustomed ears of the habituees. No doubt, could Signor Arditi have heard the piece played according to his indication of the tempo, he would have been no less astonished and dismayed than the Juibituees.
We believe conductors—Italian conductors—are led away in their anxiety to please, or, rather, "hit" the public, who like to be stirred up even at the expense of correctness and legitimacy of effect. When the overture to Don Giovanni almost invariably passes without a hand of applause and the overture to Zampa seldom escapes an encore, some excuse may be pleaded on behalf of, to say the least of it, such inattention, or such want of respect for the music The public, which sanctions these "fast" displays, has to blame itself. Vehement applause and encores are temptations too strong for ordinary conductors. R.
MADLLE. PATTI IN PARIS.
(From a correspondent.)
THE Parisians, with the best possible grace, have accepted a new "reputation, faite a Londret"—the third within the last fifteen years. Just as they welcomed Mad. Alboni, in 1847, aud Sig. Tamberlik, three years since, they have welcomed Mdlle. Adelina Patti, who, on Sunday (the 16th inst.), at the Opera Italien, made her first appearance in the "Metropolis of Civilisation and the Arts." That the highclass Parisian audience (such as that which patronises the Theatre Ventadour,) is one of the most courteous as well as one of the most critical, one of the most readily moved as well as one of the most suspicious and apprehensive of being "taken in," and thought "bete," it is scarcely necessary to say at this period. They have very little faith in American, less in English-made celebrities; but, as "one touch of nature makes the world akin," so a single touch of genuine expression, a single brief revelation of true artistic instinct or acquirement, is enough to disarm them and enlist their sympathies at once.
The brilliant triumph-- for it was nothing less—achieved on Sunday, and confirmed last night (Thursday), by Mdlle. Adelina Patti, in the part of Amina, is a remarkable CBse in point. In no former instance that I can remember were the Parisian connoisseurs more on the alert, more suspicious, more insensible to the voice of rumour speaking in praise of one to whom (as to Jenny Lind), the baptism of the French Capital was yet wanting. To read their papers—daily, weekly, fortnightly, and monthly—it was easy to perceive that a failure, or at the least a succeg de souffrance, was reckoned on as certain. At the most—pre-snpposing the most favorable issue—a sort of "Piccolomini reume," a "Cabel Italaniasee etperfectionnee," was regarded as possible. The "Boh6mienne"—as Mdlle. Patti was christened, by the devoted "tail" of certain cantratrices hitherto unable (as the " Bohfemienne" has been able) to raise the enthusiasm of the somewhat apathetic frequenters of the great lyric theatre on the banks of the Thames, and to signalise whom by name would interest none of your readers except those who have already guessed them—the " Bohemienr.e "was to pay a heavy penalty in face of an audience more polite and more accomplished than any other audience in the world, for the Billy raptures of "Perfidious Albion," on which, if she plumed herself she would immediately be apprised of her error. :1
Then came an audience strange,
—would doubtless be her exclamation of despair on the daysucceeding her debut. As the fog and smoke of London had, on a certain May-morning, proclaimed her famous who was previously obscure, so would the sunshine and clear atmosphere of Paris, on a certain November morning, proclaim her obscure who was previously famous. The clubs and '• circles" (including the Jockey club, and the Due de Grammont Caderousse, yesterday acquitted, by an enlightened jury at Marseilles, of the voluntary homicide of an Englishman, who chose a pistol and was killed with a sword); the journals, (including the Moniteur Universal, and the France non-universelle, with Signor Fiorentino, who, we are happy to say, has recovered from a paralytic stroke), the cafe's, the boulevards, &c, &c, were evidently of this opinion. "La Patti /era, Mr. Dillon of Tlie Sport fiasco:"— and this, while the members of the orchestra and the artists, (those to whom the success or the failure of the new comer was a matter of personal indifference,) were rubbing their hands with malicious satisfaction, after the experience of a rehearsal, in itself the prophecy of triumph.
Well, the night came—the (to our young debutante, whose English, and American, and German, and Belgian laurels were about to be snatched from her girlish brow by the unrelenting hand of Parisian dilettantisme) memorable night of the 16 th November, 18G2. The house was thronged by an audience whose excitement before the drop scene was feverish and noisy, but who, no sooner were allowed a glimpse of the stage than they became mute as mice—silent as 6tones, rigid as the board of Inquisition, or the inscrutable Council of Ten. Nevertheless, the "Lisa" of the evening (Mdlle. Danieli, not as one of your correspondents has created her, "a barytone") was applauded and caressed just as a coquet, who, in her heart, looks up to one man, will, to vex him, bestow her favours on another, ever so much his inferior. At length, with elastic step, and artless innocence of mien, "Amina" tripped before the lamps. Not a hand, not a voice, bade her welcome, not a bit of encouragement, however trifling, made her feel that she was in presence of an assembly of ladies and gentlemen to whom she had never given cause of offence, and whom she was about to make her best efforts to please. "Un accueil vraiment glacial," said a critic (a Frenchman), whose mind had already been made up, to an amateur (an Englishman), who, with the "phlegme" attributed to his countrymen, looked on with cool indifference, and merely replied "Ecoutons."
However disconcerted by such a cavalier reception, the young singer, apparently unconcerned, began her recitative. A phrase or two sufficed to melt the ice in which the affectedly stern but really generous public had, with illassumed cynicism, embedded themselves. The "Come per me sereno", speedily followed; and here a "son file" (as only in the present day Mdlle. Patti can perform this particular feat) scattered all prejudice to the wind, and "Brava! brava! bravissima!" rang through the house. At the end of the slow movement the triumph of the new comer was a fait accompli.
I shall not intrude upon the readers of The Musical World my criticism of an Amina, with the manifold beauties of which they are so well acquainted. It is enough for uie to state, that the cabaletta was a3 successful as the andante; and that after the duet with Elvino, which brings down the curtain upon Act I, Mdlle. Patti was led on by big. Gardoni, and hailed with reiterated acclamations, which would not subside until she came forward again and again. In the "foyer," between the first and second acts, all musical and critical Paris congregated; and a Babel of
indistinguishable clamor proclaimed the excitement the new reputation "faite a VAnglaise" had created. The second act was the scene of a still greater triumph. The former cold and ascetic audience were now besides themselves with enthusiasm. The dramatic and intense finale, dramatically and intensely portrayed, brought down the curtain amid applause that must have made the heart of the young singer glad, as it plainly made her dark eyes glisten.Three more recalls ensued, the devoted "Elvino" (Gardoni) gallantly leading on his "Amina" on each occasion. It is scarcely requisite for me to say that the last act—the descent from the mill, and the " Ah non credea," and the "Ah non giunge "—was the culminating point, the Finis coronal opus. Again thrice recalled, overwhelmed with plaudits, and oppressed with magnificent bouquets (one might have imagined that summer had come back to witness the "solemnity"—Spring consigned by Autumn to the care of Winter), the "Amina" of the evening retired, to sleep, no doubt, upon a bed of roses. She came, she saw, she conquered; they came, they saw, they yielded—not recreant, but serviteurs devoues. Thus Adelina Patti has received the baptism of Paris—which, moreover, has pronounced her a great actress. Enough for the present. C. L.
P.S.—I may add that Mario will make his first appearance at the Opera, as "Raoul," not as "Masaniello." The Muette has been postponed, owing to an accident at the rehearsal (on Saturday, the 15th), which nearly cost Mdlle. Emma Livry ("Fenella") her life. Her clothes caught fire at the lamps, and she was so severely burnt, that even now apprehensions are entertained of her recovery. One word of Cosi fan tutte. The singing of Alboni, as "Dorabella," was absolute perfection. More anon. Meanwhile I send you the Revue et Gazette Musical.
Mdlle. Mabie Flobiani's Concert.—Among the artists already engaged by this lady for her grand concert, are Mr. Benedict, Piatti, Fortuna, Engel, and Herr Reicnardt.
Mavence.—As a prelude to the Schiller Festival, Handel's oratorio Judai Maccabatu was performed, under the direction of Herr Riehl, in the theatre. The chorus was composed of the Singvorein of this city and of a large number of the members of that from Wiesbaden, under Herr Hagen. The execution of the work was only partially successful, although the choruses, tliauks to the fresh voices of the singers, went well; but we cannot say we were contented either with the tempo, which, in many instances, was taken too quick, or with the mode of conducting adopted by Herr Riehl. The way in which the different numbers were taken up was frequently deficient in precision; it is true that there was no want of light and shade, but the latter were too strongly contrasted, and had a parrot-like effect. The orchestra was weak and did not always follow the conductor; the accompaniment of the recitative was hardly ever precise. Whence Herr Riehl derived the right of employing two different tempi iu the chorus, No. 21. ii major, 3: "Dringt eiu in die F'einde" is for us an enigma. After beginning in the allegro, which he took nearly as a presto, ho suddenly, iu the middle portion in I) major: "That thy pow'r, oh, Jehovah, all nations may know!" went off iuto an andante; then, at the semiquavers of the violins in Q major, returned to an allegro; next, introduced the andante, and continued, alternating in this fashion, to the conclusion—nay, he even had the first eight bare of the postlude for the orchestra played allegro, and the last eight andante! With regard to the solo parts, the best given was that of Judas Maccabasus, mug by Herr Zottmaycr, from the Frankfort theatre; the bass singer was deficient in right conception and correct rendering, especially of the recitative; he sung, for instance, in No. 8, " Hinport sci Maccabama (forte) euer Fttrstl" (piano), and, at the end: "And lead us on to victory" which is wrongly translated, " Segen" "blessing" being substituted for " Sieg" •' victory ") indulged in a very Bentiinental piano. The two Israelitish women (sopranos one and two), also, were not equal to their work. They were out of time in the last duet: "Nein nicmal beugter wir das jKnie," most consistently from beginning to end. The best executed piece in the entire performance was the final chorus :^"Hiir' uns, O Herr, der Gnade Qott," of the first part.— Nkderrheinische Mutik-ZeUung.