YOUR Correspondent's pen has fallen from his grasp, paralysed by sickness, and has lain beside the stagnant ink bottle, like a ship becalmed. Three weeks have passed away in a blank torpor, for the restless wrestling with fever and the disconnected phantomthoughts of a burning brain have left no trace behind, save an aching emptiness and an impotent incapacity to become refilled. I know I once had a vision and a faculty divine, but it is not just now at hand. I have mislaid it with that pocket handkerchief which I never could find under the bolster where I certainly put it; and when I shall light upon it again, the great ruler of the earth, to whom chance is order and accident necessity, can alone unfold. This is my right hand-this, making weird marks with a staggering pen; and this my left, playing white marble caryatid veined with blue to the deserted temple of my reasoning soul. Just so much can I discriminate in dim self-consciousness. But of the world beyond, that has come noisily rushing in, now those blinds are raised, and dunning my weak, insolvent sense with multitudinous demands, I know and can tell nothing-the roar of battle could I sooner analyse into distinct items of sound. So in this letter I can give you no other news, save of my convalescence and of the re-awakened sense of my duties without the power of performance. Disease is aloof, but so is active health. Therefore, I crave your patience and forbearance till food, air, and exercise have lured back the latter, and Sir Kay rides forth once more with healed wounds, armed from crest to heel, upon his quest of truth, and ready to do battle with all Paynims, caitiffs and recreants who shall seek to keep that fair damsel in concealment and captivity Till this day se'nnight rest you fair, good master mine. Vale donec

valens erit.

CONVALESCENS.

ST. PETERSBURG. A very admirable performance of Un Ballo in Maschera has been given in honour of Verdi's presence. The grand rehearsal of La Forza del Destino has just taken place. Flotow's Stradella will be the next novelty.

MUSIC IN BERLIN.

(From our own Correspondent.)

LAST week I sent you no letter, because I had not sufficient material to form one of respectable length, and so I thought I would wait till I had. That epoch has arrived, and I consequently once more take up my pen which, by the way, is not my pen, but a pen lent me by a friend, at whose rooms I am writing; a pen which the friend in question will, in all probability, not offer to give me, seeing that it is of gold; a pen which, therefore, as I have not the slightest intention of purchasing, even if the friend aforesaid were inclined to sell it, will never be my pen-to resume my responsible duties as your correspondent. Having said thus much, as a sort of prefatory flourish, I will plunge at once “in medias res," and discourse to you about a performance of the ever-green and immortal Figaro's Hochzeit at the Royal Opera House. The performance most decidedly belongs to the "medias res" or "middling things," as far as regards Mad. Mansius-Braunhofer, who sang the part of Susanne. I do not mean to say that this lady is bad; I would simply imply that she is not all that we have a right to expect in the representative of the vivacious and merry waiting-woman pétillante d'esprit, on whom Beaumarchais lavished so much care, and Mozart expended so large an amount of delicious melody. The best thing in Mad. Braunhofer's performance is most decidedly her rendering of the last air. Would that she sang all the other music as well I should then have only praise to bestow on her. Time, however, works wonders, and, from what I have already heard of Mad. Braunhofer, I am inclined to believe she will some day do more justice to the part than she does at present. I now come to Mlle. Lucca, who was the Page on the occasion. I spoke very highly of this fair young vocalist a little time since, and I must now reiterate what I then said. She makes a charming Cherubin, and can hardly fail to satisfy even the sternest critic. Her singing is really admirable, and her acting equal to her singing.

Gluck's Armida has again become a stock-piece at the Royal Opera House, and the last representation of it proved, beyond a doubt, that the love for sterling music is not yet extinct in Berlin. The house was crowded, and among the audience was Meyerbeer, who followed every note with the most unflagging attention, and applauded Mad. Köster, as Armida, to the echo. Indeed, Mad. Köster fully merited all the applause thus lavished on her by the celebrated maestro, and was enthusiastically called on at the conclusion of the opera. Mad. Harriers-Wippern was Lucinda, and Mlle. de Ahna, the Fury, Hate. Both were good, though they might have been better, especially Mlle. de Ahna, who, at times, was somewhat unsteady. The male characters were satisfactorily represented by Herren Krause, Krüger, Betz, Salomon, and Pfister. The orchestra went splendidly, under the direction of Herr Taubert. Another very good performance was that of Robert le Diable, which drew, as it always does, an excellent house. Mlle. Lucca appeared as Alice, and Mad. Harriers-Wippern as Isabella, both producing a highly favourable impression. There is one act of Vandalism committed which I must severely deprecate, and that is the introduction of a long pas de deux, with music of the most common-place description, in the second act. To make room for this precious production, the pas de cing, which really belongs to the opera, is omitted. Liberties of this kind are unpardonable, and managers who thus tamper with the text of a chef-d'œuvre should invariably be hauled over the coals of criticism, and taught that by such a course they run the chance of burning more than their fingers.-Among the other works played at the Royal Opera House during the past fortnight have been Lohengrin, Nurmahal, and, in remembrance of poor Marschner, Templer und Jüdin.

Herr Emil Naumann's opera Die Mühlenhexe, has proved a success at the Friedrich-Wilhelmstädtisches Theatre, despite the libretto, which is somewhat spun out, and therefore wearisome. Meyerbeer was present at the fourth performance, and spoke of the work in very flattering terms. Another novelty, also successful, at the same theatre, is a little operetta, entitled Der Musikfeind, music and words by Richard Genée, who has already made himself a name here by several important works. The subject is unpretending, and, perhaps, to speak the truth, the whole truth, and nothing but the truth, not altogether new. It is, and piquant traits. The music is fresh, spirited, and free from anything however, exceedingly well handled, and replete with dramatic situations

forced or far-fetched. It possesses, moreover, the great, and now-adays, rather unusual charm of originality. Each separate number contains beauties which keep the attention of the audience constantly on the qui vive. The artists exerted themselves to the utmost, and the cur tain fell amid loud applause.

In the way of concerts, I have not very much to tell you this week. One of the most important lately, was the second Soirée for chamber music, given by Herren Oertling and Lange. A great fault of the pro

gramme was, however, the fact of its containing too much that was new, and too little that was old. It is impossible for even the best musicians to digest so many novelties in the course of the same evening, and consequently it is almost superfluous to add that the general public are totally unable to do so. As a natural result, they become tired and listless. Among the pieces played was Raff's Duet Sonata, which, though a fine work in its first movement, degenerates, at last, into hollow bathos and mere caricature. Lühr's quartet in A is a still more uninteresting production. The third novelty, a Serenade for Violin, by Damrosch, is equally unsatisfactory. The only picces which appeared to afford the audience any pleasure were Schubert's "Ave Maria," and Walz in A minor, arranged by Liszt. They were admirably played by Herr Lange. The vocal portion of the entertainment was entrusted to a young beginner, Mlle. Hanschteck, who possesses an agreeable voice, and with a due amount of study and proper instruction, may one day occupy a high position.

At the third concert of the series to be given by the members of the Royal Chapel, Papa Haydn's charming Symphony in D major, with which the concert opened, put the audience in good humour, and prepared them for the enjoyment of all that followed, especially Niels Gade's Ossian-Klänge" (so frequently played here), and Mendelssohn's Melusina overture. The concluding piece was Beethoven's Symphony in A major, most artistically performed. The Andante, indeed, was much more warmly applauded than usual.

A concert has been given, also, in Arnim's Rooms, by Herr Leopold Aucr, a violinist, who has co-operated several times lately with other artists, and has already become a favourite with our musical public. On the supposition that Herr Auer gave this concert for the express purpose of displaying his ability in various kinds of composition, we may, perhaps, strain a point, and allow the programme to pass muster, but, viewing it in an artistic light, we cannot, for many reasons, approve of it. I must protest against works for any particular instrument and orchestral accompaniment being given in a spacious locale with a simple pianoforte accompaniment instead, especially when, by such a course, the value and effect of the works performed are considerably diminished. Mendelssohn's Violin-Concerto ought never to be heard in Berlin save in its original form, and even in Ernst's PapagenoRondo, the audience missed many a piquant touch of instrumentation, which is far from unimportant in a bravura piece. With regard to Herr Auer's playing itself, it is deserving of no meagre praise. When this young artist has once attained the repose and certainty which are the precursors of a fuller and grander tone, he will take his place among the leading violinists of the day. Mads. Jachmann-Wagner and Harriers-Weppern were the vocalists. My old acquaintance with the fierce name, Herr Leo Lion, performed a Notturno by Chopin, and a bravura piece, “Scène de Bal," of his own composition, in both of which he was much applauded.

It may interest you to learn that the list of the Royal Establishment, as at present constituted, comprises the names of seven fair chamber-singers, as they are entitled here to wit, Mads. Sophie Löwe. Henrietta Carl, Laura Assandri, Leopoldine Herrenburg-Tuczec, Louise Köster, Jenny Lind Goldschmidt, and Johanna Jachmann-Wagner. Only two of these ladies are still in the service of the muse of Tone —namely, Mad. Köster, who is engaged at the Royal Opera House, and Mad. Jenny Lind Goldschmidt. Mads. Jachmann-Wagner and Herrenburg-Tuczec, though they may sing now and then, no longer pursue their profession iegularly. Henrietta Carl, once such a favourite, especially among the Magyars, has completely disappeared. It is said that she died in poverty, after having lost nearly all she possessed, in consequence of speculating in an Italian Opera troupe, which she accompanied to Constantinople and Wallachia. Laura Assandri, also, long since gave up her artistic career, the most brilliant triumphs of which she achieved in Berlin, whence she proceeded to Moscow, and played with an Italian company there. She afterwards "starred" some time with Sig. Salvi- now manager of the Imperial Opera House at Vienna in Breslau, but without producing any sensation, either before or subsequently to her Berlin engagement. After playing for some time at various secon-drate theatres in Italy, she at last retired on the money she had wisely saved out of her earnings. The most brilliant social position enjoyed by any of the above ladies is that of Sophie Löwe-as she is still named in the Prussian official list,-who, since the 10th September, 1848, has been the wife of Prince Friedrich Liechtenstein, Austrian Lieutenant-Field-Marshal, and, at the present moment, Governor of the Banah. According to the most trustworthy reports, this once popular singer now plays the part of the great lady in society with as much case and witching grace as she formerly did that of the Princess of Navarre on the stage.

Among the latest batch of "Ritter," or Knights, is Herr Hans von Bülow, who, as well as the poet, Baron von Puttlitz, has just been

decorated with the "Kronenorden," or "Order of the Crown."-Give your orders, princes; give your orders!

The pianist and musical writer, Herr Ehrlich, has arrived, with the intention of making rather a long stay and playing in public. Herr Jean Becker, the violinist (so favourably regarded at the Monday Popular Concerts), has also paid us a visit, and also intends to give us a taste of his quality. Talking of professional visitors, how strangely the members of the Italian company who were playing here last year are now scattered over the face of creation! Mlle. Incli is at New York; the Sisters Marchisio are in England; Mlle. Trebelli is in Paris; Mad. Lagrange, in Madrid; Mlle. Lorini, in Mila; Mlle. Patti, in Brussels -at least she was a short time since; Sig. Carrion, in Madrid; Sig. Tiberini, in Naples; Sig. Squarcia, in Rome; Sig. Aldighieri, in Naples; Sig. Delle Sedie, in Paris; and Signor Frizzi in Moscow ! VALE.

MLLE. PATTI AT BRUXELLES.-"Un succès qu'il ne faut plus vous annoncer, c'est celui de la signorina Patti: le bruit des applaudissements frénétiques, des acclamations, des rappels est déjà venu jusqu'à vous. Nous parlions d'étoiles, tantôt: celle-ci a tout l'imprévu et l'aspect étrange de ces astres qui apparaissent tout à coup à nos yeux surpris: la Patti, heureusement, n'aura rien de leurs allures vagabondes et de leur éclat fugitif. Il est vrai qu'elle arrive d'Amérique, un terrain peu renommé pour les productions artistiques; il est vrai aussi qu'elle a été le plus prodigieux enfant prodige qui se puisse voir; mais, rassurez-vous, la souche est italienne et elle n'a puisé sur le sol américain que cette ardeur infatigable qui fait du travail un plaisir: quant à l'enfant prodige, je comprends vos terreurs, mais, je le répète, il faut vous rassurer: la petite merveille admirée par les Yankee est devenue une gracieuse jeune fille; l'enfant a disparu et le prodige est resté. Si nombreux, si brillants qu'aient été ses succès par delà l'Atlantique, le nom de la Patti était, il faut bien l'avouer, peu on point connu de notre monde musical; on ne pourra donc accuser personne d'engouement aveugle ou de parti pris d'admiration préconçue. Comme une artiste qui se sent digne d'entrer dans la maison, la chanteuse a, d'une main assurée, frappé à notre porte: on lui a ouvert; mais si vous aviez vu comment, aux premiers accents de cette voix pure et vibrante, on a poussé les deux battants et salué cette triomphale entrée. Personne, je vous le jure, n'a songé à lui demander d'oa elle venait, personne n'a songé à réclamer le passeport délivré par l'enthousiasme de nos confrères d'Amérique et visé par les acclamations de Londres et de Berlin. Qu'eussions-nous pu lire, d'ailleurs, sur ces feuillets ou feuilletons, qui ne se soit montré dès l'abord à nos yeux étonnés, à nos oreilles charmées? - Ce signalement? Ou à peu près: Age: Dix-huit ans; l'habilité et l'assurance d'un vétéran. Taille: petite, fluette en mignonne. Tête: charmante, pleine d'intelligence. Voix: timbre égal, sonore, sympathique (taille de la voix); deux octaves et une quarte, sans compter les talons, ad libitum, et les derniers brins du plumet qui dépassent le mi suraigu du soprano sfogato acutissimo: est-ce assez haut? Yeux et sentiment: profonds et expressifs. Chevelure et vocalises: souples, abondantes, plantureuses et touffues. Signes particuliers: Une grâce juvénile; une originalité qui va jusqu'à l'étrange mais qui reste sincère; un entrain irrésistible, l'espièglerie d'une enfant naïve et la passion contenue d'une âme ardente; des qualités sans nombre, des défauts (il en faut!) et encore des qualités.

DARMSTADT.-The close of the year was distinguished at the Hoftheater by an operatic novelty of more than ordinary interest. The composer, Herr Schindelmeisser, has, during his seven years' residence in this town obtained the respect and esteem of all lovers of music. To him the town owes the foundation of the Orchestra-Concerts, at which the magnificent symphonies of Mozart and Beethoven are so admirably performed. As a composer, also, Herr Schindelmeisser can boast of many admirers here. Consequently, great anxiety was manifested, as to the result of the first performance, on December the 29th, of his new opera, Melusine. It was a success, Herr Schindelmeisser being er. thusiastically called for, after the third and fourth acts. The ingers exerted themselves to the utmost, and came in for their fair meed of applause. The dresses, scenery and appointments were all that could be desired.

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MUNICH. During the year just past, there have been 314 performances at the two Theatres Royal, namely 233 at the Royal Hoftheater, and 81 at the Residenz-Theater. Meyerbeer was represented by 12 performances; Weber, by 9; Gluck and Boieldieu, by 8 each; Donizetti and Flotow, by 7 each; Mozart, by 6; and Richard Wagner, by 5. The preparations for M. Gounod's Faust being now completed, it will shortly be produced on a scale of splendour seldom equalled and never surpassed here.