Thomas A, and Lady B, and Church Organs, 92. The Amateur Society, 161. The Organ, 744. The Philharmonic Society and its Director, 306. The Philharmonic Society and Mr. J. B. Chatterton, 110. The Poor Tuner at Manchester, 193. The smallest Receipt on record, 782. Virginals, The, 782. War, Weather, and Music, 504. Wagner, Richard, 189. Weber's Dernière Pensée, 616.
Costa, Signor, 499, 528 Croft, v. Lumley, 60, 103, 760, 777 Cruvelli, Marie, 26
Cruvelli, Sophie, 9, 161, 398, 451, 834, 835
Deaths, 104, 120, 200, 612, 772 Dejean, Madame Julienne, 791 Departures for the Continent, 528 Der Freyschütz “Redivivus," 35 Do Beasts like Music? 785 Don Giovanni, 342 Donizetti, 517
Dramatic Gossip, 109, 122, 140, 173, 189, 199,
Drury Lane Theatre and Mr. E. T. Smith, 81 Duke of Cambridge in Paris, 760 Duprez, M., 699
Ella, Mr., Lectures, 347
Erard, Monsieur, 549
Ernst, Herr, 35, 343, 455, 806 Exeter Hall, 693
Eva, the Ballet of, 283, 300, 307, 327, 338
Farren, Mr. W., 455, 468, 746 Ferraris, Amalia, 792
Festival of the Three Choirs, 395, 565 Fashions à la Rachel, 693 Favante, Mdlle. Rita, 747 Field and Hummell, 600 Fish with Musical Scales, 372 FOREIGN-Aix la Chapelle, 139, 570, 633, 663, 682, 695; Amsterdam, 13, 22, 67, 87; Bad- Gastein, 570; Baden, 556; Baden-Baden, 515, 556, 635; Barcelona, 165, 333; Bar- men, 317; Berlin, 13, 22, 37, 54, 87, 102, 119, 135, 149, 165, 183, 198, 213, 230, 247, 263, 279, 292, 317, 332, 359, 377, 402, 451, 472, 484, 522, 531, 549, 570, 591, 635, 643, 663, 695, 728, 746, 762, 779, 794, 809; Berne, 587; Blankenberg, 279; Bordeaux, 135, 647, 795; Boston, 21, 727;- Bra- zil, 643; Bremen, 22, 87, 318, 791; Breslau, 166, 359, 494, 556, 643, 775, 810, 817; Bromberg, 214, 556; Brunswick, 103, 166, 318, 359, 377, 472, 556, 728, 758, 820; Brussels, 23, 102, 118, 165, 180, 198, 601, 794; Bucharest, 631; Carlsruhe, 332, 472, 728; Cassel, 431; Chemnitz, 782; Coblentz, 87; Coburg, 22, 747,820; Cologne, 13, 14, 22, 54, 86, 118, 166, 182, 198, 231, 278, 332, 350, 472, 523, 570, 593, 635, 695, 746, 779; Copenhagen, 23, 119, 292; Cracow, 231, 263; Crefeld, 523; Dantsic, 37, 87, 150, 198, 252, 279, 333, 695; Darmstadt, 23, 54, 150, 263, 377, 442, 747; Dessau, 103, 119, 166, 183, 231, 292; Dieppe, 523; Dresden, 13, 22, 87, 118, 135, 149, 231, 279, 292, 317,359, 505, 555, 683, 740, 807; Düsseldorf, 279, 317, 402, 484; Elberfeldt, 13, 333; Elbing, 359, 663; Ems, 400, 522; Erfurt, 13, 135, 214, 523, 811; Florence, 292, 451, 643; Frankfort-on-the- Maine, 13, 22, 87, 135, 150, 215, 231, 252; 263, 318, 332, 411, 680, 683, 728, 747; Genoa, 292, 376; Geneva, 327, 451, 728; Gera, 103, 695; Ghent, 439; Görlitz, 183; Gotha, 119, 166, 252, 626, 728; Gratz,
631; Grau, 135; Halle, 317; Hamburgh, 22, 37, 54, 103, 135, 149, 166, 215, 263, 318, 358, 442, 531, 556, 611, 643, 663, 695, 791, 793; Hanover, 37, 103, 150, 166, 198, 215, 231, 252, 292, 333, 376, 451, 570, 643, 695, 747, 775; Hongkong, 13; Italy, 377, 411, 442, 473, 491, 507, 522, 595, 611, 728, 746; Jena, 490; Klagenfurth, 570; Königsberg, 103, 180, 231, 377, 442, 683, 827; Kremsmunster, 474; Laibach, 494; Leipsic, 13, 21, 37, 71, 102, 119, 150, 182, 214, 231, 252, 349, 359, 377, 451, 503, 531, 570, 647, 682, 728, 747, 755, 762, 785, 795; Lemberg, 231; Liege, 417; Lisbon, 23, 103, 231, 442; Lubeck, 87, 695; Lubiana, 521; Lucca, 491; Madrid, 135, 694, Magdeburg, 23, 402, 793; Malaga, 694;728; Mannheim, 54, 166, 531, 556, 695, 752, 771, 832; Mantua, 293, 317; Mayence, 214, 252, 317, 437, 440, 499, 531, 643, 663, 695, 715, 820; Merseburg, 695; Metz, 448; Milan, 21, 292, 317, 349, 377, 643, 695, 827; Muhlheim, 695; Munich, 13, 54, 166, 231, 263, 333, 359, 377, 410, 411, 479, 523, 601, 664, 695; Naples, 87, 214, 252, 264, 292, 317, 349, 376, 411, 643, 795; Neisse, 135; New York, 54, 595, 664, 683, 696, 713, 807, 825; Norrköp-| ing, 570; Ostend, 611, 635; Padua, 807; Paris, 1, 20, 36, 51, 65, 84, 100, 117, 134, 147, 163, 180, 196, 212, 229, 246, 262, 290, 317, 331, 358, 385, 389, 410, 471, 488, 521, 530, 563, 594, 645, 663, 680, 727, 746, 793, 808, 824, 826; Parma, 411; Pesth, 252, 664, 695; Philadelphia, 713; Posen, 263, 556, 663, 683, 811, 827; Potsdam, 13; Prague, 103, 318, 555; Presburg, 318, 728; Revel, 755; Riga, 728, 755; Rio de Janeiro, 166, 333, 442, 667, 747; Rostock, 377; Rotter- dam, 54, 214, 358; Saltzburg, 164; San Francisco, 735; Schaffhausen, 631; Schwe- rin, 818; St. Petersburgh, 22, 183, 358, 728, 807, 809, 818; Stettin, 231, 451, 728; Stock- holm, 119, 231, 318, 767; Strasburg, 183, 252, 317, 393, 531, 555, 820; Stuttgard, 13, 333, 664, 747, 795, 820; Trieste, 333, 349, 807; Turin, 103. 696; Venice, 198, 231, 252, 490; Vicenza, 505; Vienna, 22, 37, 54, 71, 86, 103, 118, 135, 166, 197, 213, 247, 263, 279, 292, 317, 451, 531, 794; Viterbo, 694; Warsaw, 531; Weimar, 87, 118, 359, 394, 514, 663, 695; Wessprim, 552; Wiesbaden, 22, 183, 490, 570, 729; Wurzburg, 13; Zie. benstein, 611; Zurich, 13, 695. Fortuni, Mdlle. Agnes, 791 Formes, Herr, 122, 517, 742 French Chanteurs Montagnards, 138 French Benevolent Society, 122
Gallery of Illustration, 375, 832 Galli, Filipo, 28
Garcia, Manuel, 673 Gassier, Madame, 261
General Dramatic Agency and Sick Fund, 300 German Theatre Receipts, 211
Gifts to the French Army in the Crimea, 639 Gloucester Cathedral, 771
Glover, Howard, "Tam o'Shanter," 486, 619 Gluck, 626
God Save the King, 555
Goddard, Miss Arabella, 73, 165, 183, 194, 268, 279, 282, 301, 311, 329, 354, 469, 521, 570, 597, 726 Goldsmidt, Madame Jenny Lind, 34, 161, 547, 807; at Exeter Hall, 835 Gollmick, Herr, 683 Good Taste, 755 Gordigiani, Signor, 417 Gotschalk, M., 514
Grisi and Mario in America, 9, 11, 26, 68, 99 Grisi and Mario's Return to England, 154 Gregorio, Signor, 528 Guedenoff, General, 190 Guernsey, Captain Wellington, 329 Gye, Mr. F., 154, 186
Hale, Mr. W. P., 464 Hallé, Mr. C., 150, 345 Harris, Mr. A., 174
Hawes, Miss M. B., 219 Hayes, Miss Catherine, 60, 116, 219 Haydn's "Creation" and Mrs. Stowe, 78 Heinefetter, Madame Stockl, 502 Hereford Musical Festival, 301, 542, 562 1 Her Majesty and the Theatres, 122 Her Majesty at the French Exhibition, 552 Hill, Mr. H., 282
Horton, Miss P." Illustrative Gatherings," 222 How to take Sebastopol, 458 How to get rid of Recalls, 694 Hummel's, J. N., Account of his own Life, 27 Huerta, the Guitarist, 703 Hummel and Field, 600
Improvement in Church Music, 94 Individuality in Music, 7 International Copyright (England and Bel- gium), 93
Italian Art in France and Theatrical Journalism in Italy, 479
Italian Opera at Liverpool, 490
Joachim, Joseph, 34, 755 Joachim, J., and Schumann, Clara, 61 Julie, Mdlle., 792, 806
Jullien, 65, 154, 471, 487, 616 Jullien in the Provinces, 534, 550, 570, 822 Jullien's Concerts, 10, 25, 42, 58, 75, 726, 735, 742, 758, 775, 790, 806, 823 Jullien's Bal Masqué, 822
Keeley, Miss Mary A., 219
Kell, Mr., the Blind Organist, 138 Kemble, Mrs. Fanny, 59, 90 Kidderminster Musical Festival, 679 Krall, Mdlle., 284
Lake, Mr. George, and the Liverpool Organ, 597 Lavigne and Nourrit, 575 LEADING ARTICLES:-
Ander, Herr, 725; Anderson, Mr., 360; An Organist and Organ Building, 233; A Letter of Square Toes, 312; Beethoven's Ninth Symphony and the Examiner, 232; Bennett, Mr. W. S., and the Conductorship of the Philharmonic, 788; Benefit Concerts, 121; Benevolent Fund of the Sacred Harmonic Society, 184; Best, Mr. W. T., and the Panopticon, 397; Bishop, Sir Henry, 152, 280, 296, 312; Bennett, Mr. W. S., and English Composers, 296; Berlioz and Wag- ner, 379; Birmingham Musical Festival, 433, 532, 596; Cherubini, 104; Crystal Palace Band, 677; Copyright, 298; Conservatory of Music at Cologne, 740, 756; Costa, M., and Bennett, Mr. W. S., 154; Costa, M., Oratorio of Eli, 612; Dearth of Musical News, 628; Eggis, M. Etienne, and Mendels- sohn, 501; Ella, Mr. and his Eloquence, 453; English Opera, 136; Farren, Mr. W., 468; Grisi and Mario's Return to England, 170; Harmonic Union, 8, 72, 820; Hereford Musical Festival, 485; Her Majesty's Private Band, 201, 216, 218, 232, 248, 345; Italian Opera (The) in Paris, 532; Il Conte Ory
and L'Europe Artiste, 298; Jullien's Con- certs, 709, 805; L'Etoile du Nord, 435; Libel on Jullien and Co., 453; Limited Lia- bility Bill and English Composers, 486; Lind, Jenny, 772; Lindley, Robert, the Violon- cellist, 380; Meeting of the Three Choirs, 433; Mendelssohn's Testimonial, 378; Mario, Signor, in a scrape, 662; Mendelssohn's St. Paul, 137; Meyerbeer's visit to England, 396; Meyerbeer's Departure, 484; Meyer- beer and M. Costa, 517; Meyerbeer's "Etoile du Nord" and Mr. E. T. Smith, 152; Monster Organ at Liverpool, 361; Musical Union (The) and Criticism, 281; Music at the Crystal Palace, 137; Musicsellers' Announcements, 153; Musical Festivals and the Railways, 564; National Opera Com- pany, 644, 676, 708, 725; New Philhar- monic Society, 468; Nitocris at Drury Lane, 661; Our Provincial Correspondents and their Criticisms, 596; Panopticon Organ, 9, 25; Panopticon and Mr. W. T. Best, 396; Philharmonic Society, 41, 56, 57, 200, 468, 486, 517, 548, 692, 788; Piccolomini, Mdlle., 821; Praeger, Professor, 328, 361, 397; Professional Chorus Singers, 24, 40; Rachel, 500, 516, 822; Ratcatcher's Daughter, The, 709; Reach, Mr. Angus, and the Amateur Performance, 202; Ré-union des Arts, 58; Rolle, Jean Henri, 105; Royal Italian Opera, 120, 217, 249, 264; St. George's Hall, Liver- pool, 773; Society of British Musicians, 804; Strakosh, Herr, of New York, 73; The Conversations with Rossini, by F. Hiller, 724; The Leader and Signor Verdi, 282; The Morning Post and Verdi, 314; The Morning Post and Signor Costa, 581; Three Nightingales, 105; Verdi, 313, 344, 455; Viardot, Mad., and Sig. Verdi's Trova- tore, 168; Wagner, Richard, 88, 170, 185, 299, 412, 613, 660, 832
Learn to write and don't learn to write, 94 Leave to Play Shakspere, 759
Les Vêpres Siciliennes, 443
Lesueur, Madame, 330
L'Etoile du Nord, 61, 479, 533, 742
Lesueur, The Composer, 650
L'Europe Artiste, 435, 451
Leusden, Mdlle. Anna, 824
Lind, Jenny, 161, 547, 823
Lind, Jenny, and Mr. Mitchell, 824,
Lind, Jenny, versus Italy, 778
Lindley, Robert, 393, 464
Liverpool Philharmonic Society and Mr. Sud- low, 75
Lohengrin, 225, 242, 257, 277
Lucombe, Mr. T., 138
Lumley, Mr., 411
Mendelssohn Fund, 34
Mendelssohn and the Parisian Critics, 193 Messiah, The, 824
Meyerbeer, 55, 99, 186, 227, 435, 458, 464, 473, 483, 484, 487, 515, 529, 552 Minasi, Mr. Antonio, 778 Minnie, 533
Mitchel, Mr., and French Plays, 138 Modern Literature, 668
Morning Concerts (in 1750), 138 Movement in C (Division), 490 Mozart's" Don Giovanni," 718, 738, 752, 767, 785, 802, 814
Mozart Institution, The, 487 Muller, Mr. Robert (Death of), 602 Murray, Mr. E., 806
Murray, Mr. and Mrs. Leigh, 711 Musicians should study Intercourse, 731 Music in Holland, 66
Music wedded to Drama, 727 Music in the Provinces, 21 Music laid on like Gas, 55 Music of the Political Spheres, 55 Music of the Tartars, 139 Musical Festivals, 629 Musical Gossip, 694, 711, 725
Nau, Mdlle., 533
Negri, Signor, L., 381 Newcombe, Mr., 434
New Philharmonic Society, 94, 250 News for Sims Reeves, 342 New Arrivals, 277
Ney, Mdlle. Jenny, 233 Nicholson, Mr. (organ builder), 607 Nisbett, Mrs., 455 Non Poma Natamus, 635 Norton, Mrs., and Rachel, 521 Norwich Musical Festival, 575, 742 Notice, 832
Nourrit and Lavigne, 575
Obituary, 104, 120, 200, 612, 772 Odoardo e Cristina, 705
Of the Abuses of Music, 736 Opera at Drury lane, 641 Opera Bank of England, 490 Opera and Drama, by Richard Wagner, 307, 322, 339, 355, 372, 391, 407, 437, 445, 461, 481, 496, 510, 526, 545, 566, 575, 599, 608, 631, 638, 654, 674, 697, 706, 722, 736, 751, 770, 784, 801, 819
Opera and Drama in Germany, 602 Opera and Orchestra, 156
Organ, 35, 82, 84, 130, 236, 584, 594, 659, 677, 715, 744
Organ, opening a new one at Clayton, 731 Organ of St. George's Chapel, Windsor, 798 Original Letter of Jenny Lind, 252 Osborne, Mr. G. A., 261
Amersham, 807; Armagh, 499; Atherstone, 92; Barnsley, 125; Bath, 23; Belfast, 167 Birkenhead, 286; Birmingham, 53, 167, 271, 333, 385, 442, 558, 574, 579, 664, 761, 792; Blackburn, 38, 321, 807; Bodmin, 286; Bolton, 807; Boroughbridge, 729; Bradford, Yorkshire, 125, 267, 569, 579, 745, 792; Bramley, 745; Bredon, 269; Bridgnorth, 825; Brighton, 188, 199, 215, 666, 712, 745, 792, 822, 837; Bristol, 38; Carmarthen, 199; Cheetham, 826; Chelten- ham, 103, 140, 151, 253; Chorlton upon Medlock, 215; Clayton, 569; Clifton, 183; Coalbrookdale, 793; Coventry, 807; Croy- don, 437; Derby, 349; Dewsbury 270, 825; Dover, 125, 570; Dublin, 13, 91, 151, 252, 348, 406, 437, 448, 610, 677, 702, 712, 760, 806; Dudley, 349, 569; Durham, 650, 807; Edinburgh, 71, 124, 140, 737; Eve- sham, 295; Folkestone, 125; Glasgow, 761, 825; Gloucester, 53, 664, 729, 793; Gravesend, 23, 140, 295; Greenwich, 28, 711; Hackney, 826; Halifax, 124, 125, 694, 745, 825; Harrow-on-the-hill, 269; Hereford, 252, 543, 562, 711; Huddersfield, 151, 650, 793; Hull, 140, 569; Kidder- minster, 569, 679, 694; Kirkburton, 745; Knaresborough, 23; Leamington, 124; Leeds, 13, 23, 38, 53, 91, 125, 188, 215, 270, 286, 570, 578, 598, 650, 664, 682, 729, 745, 778, 792, 793, 807, 826; Leicester, 91, 252, 295; Lichfield, 318; Liverpool, 12, 23, 70, 125, 141, 151, 166, 188, 238, 269, 285, 318, 385, 490, 534, 551, 568, 570, 649, 664, 694; Maidstone, 38; Manchester, 12, 23, 37, 70, 109, 141, 151, 166, 215, 237, 269, 348, 498, 507, 538, 550, 569, 578, 603, 635,664,729,761,778,792,807,837; Margate, 167; Melbourne, Australia, 771; Merthyr, 38, 459; Newark, 442; Newcastle-on-Tyne, 157, 575, 665; Northampton, 592; Nor- wich, 167, 575; Nottingham, 761; Oldham, 92; Otley, 807; Oxford, 167, 237, 761, 807; Penistone, 295; Plymouth, 29, 167, 199, 807, 837; Pocklington, Yorkshire, 53; Pontefract, 92; Preston, 286; Reading, 151; Reigate, 270; Ripon, 23; Rochester, 71; Rugby, 188; Scarborough, 517; Shef- field, 53, 109; Shrewsbury, 12, 188, 252; Southampton, 167; Staffordshire Potteries, 592; Stamford, 295, 600; Stratford, 295; Stretford, 92; Sunderland, 682; Swindon, 761; Sydney, 164, 631; Thirsk, 38; Ton- bridge, 490; Uttoxeter, 92; Uxbridge, 793; Weymouth, 23; Whitby, 71, 109; Whitehaven, 274; Wolverhampton, 125, 729, 778; Worcester, 23, 38, 53, 91, 109, 125, 238, 252, 269, 286, 327, 570, 650, 807; Worthing, 579; York, 124, 321.
Queen (The) and the Pianoforte Makers, 671 Rachel and the Marseillaise, 702 Rachel, Mdlle., 81, 231, 395, 512, 517, 521, 523, 531, 533, 628, 639, 664, 711, 825. Reactionary Letters, 19, 44, 49, 69, 81, 99, 113, 129, 146, 162, 179, 195 Reed, Mr. and Mrs., 835 Reichardt, Herr, 229, 261, 835 REVIEWS:-
Allen, G. B., 321, 450, 549, 598, 658. Andrews, R., 477. Andrews, Mrs. J. H., 787. Ascher, J., 467. Bagge, T. J., 787. Baker, T., 467. Barker, G., 39. Barrow, W,, 467. Bartho-
lomew, Mrs. Mounsey, 730. Baynham, T. 759. Beddoe, A., 730. Benedict, Jules' 450, 810. Berger, F., 467, 477, 787, 788' 810. Best, W. T., 431. Borrow, W., 11 Braine, W. R., 477. Brooks, W., 787 Browne, Corporal J., 431. Campana, Signor 55. Cheshire, J., 776, 787. Chipp, E. T.' 467. Christine, Louise, 11. Clinton, J. 431. Cole, J. P., 787. Compton, C. H., 39 Conversations on Harmony, 743. Costa's Signor, Portrait, 523. Crowdey, F., 477 Cusins, W. G., 467. D'Egville, Louis, 825 Engel, 836. Douglas, J. P., 321. Dunstan' J. M., 11. Durner, J., 787. Egghard, Jules' 29. Ellerton, J. L., 787, 810. Ewer, Carl,11 Fitzwilliam, F., 743. Fowle, T. L., 431, 477 Gilbert, B., 477. Glover, C. W., 55. Goll- mick, A., 236, 759, 810. Guglielmo, P. D. 810. Gumbert, F., 91. Gungl, J. 477, Händal, 235. Hatton, J. L., 450, 810. He- mans, Mrs., 450. Hempel, C. F., 39, 743. Hills, John, 11. Holloway, A. S., 759. Holmes, E., 810. King, R., junior, 787. Kruger, 743. Kucken, F., 91. Langen, Ma- thilde, 450. Laurent, H., 759. Leslie, H., 39. Lichtenstein, G., 29, 743. Lindpaintner, P., 29. Lindridge, G., 39. Linley, G., 321, 450, 730. Longden, W. G., 730. Lowe, J., 776. Macfarren, G. A., 321, 450. Mackay, C., 343, 730. Manns, 837. Maynard, Walter, 450. Matthey, A., 39. Mendelssohn, 431, 731. Minasi, Antonio, 743. Molique, B., 29, 825. Moore, C., 91. Mori, F., 321. Mudie, T. M., 810. Naumann, T. W., 743, 759, 776, 788. Neate, 836. Oberthür, C., 787. Orpheus, 776. Oury, Madame, 450. Palmer, Miss, 743. Philp, Miss E., 236, 825. Prout, T. J., 730. R. G. E. L., 39. Rea, W., 787. Richards, Brinley, 776. Robinson, Mrs. Joseph, 467. Royal Midlothian Yeomanry Galop, 743. Russel, G., 730. Salaman, C., 477. Scars- brook, T., 236. Schallehn, H., 477. Schloesser, A., 467. Schultz, E., 91. Sewell, J., 477. Sieber, F., 29. Silas, E., 450. Sloper, 836., Smith, G. T, 39. Stanley, G., 431, 467. Stella, Alfred, 776. Stret- ton, G., 321. Szcepanowska, Julie de, 730. T. M. J., 467. Talexy, A., 759. Til- leard, J., 39. Verdi, G., 730. Wagner, R., 290. Wallace, W. V., 730. Williams, S., 810.
Richards, Mr. and Mrs. Brinley, 35
Ristori, Madame, 533, 677
Roberts, Mr. Richard, 455
Robinson, Mrs. Joseph, 443 Roger, M., 14
Ronconi, Signor and Madame, 52 Ronconi, Signor, 282, 268 Roqueplan, M., 662
Take that Girl away, 155. Crown Diamonds,
Salaman's, Mr. Charles, Musical Lectures, 26 Lyceum.-Too much of a good Thing, 123. 38, 150, 174, 311, 394, 711 Sale of old Violins, 277 Schott, J. J., 119
Schumann, Madame Clara-Wieck, 154, 755 Scraps from an Amateur's Common-place Book, 61, 76, 93, 119 Scribe, 473
Sivori, Signor, 502
Sick and Wounded at Scutari, 225 Singing and Moustachios, 440 Smith, Albert, Mont Blanc, 285, 791 Smith, Mr. O., Death of, 89 Smith, Mr. G. Townshend, 711 Sontag, Madame, 116
Spark, M., Presentation of a Testimonial to,
Spontini, 642, 655, 672, 690, 707 Stabbach, Miss, 10 Steggall, Dr., 471, 742 Stanley, Miss Emma, "Seven Ages of Woman," 806
Stolen Music Paper, 55 Stoltz, Rosina, 4
St. Matthew's Church, City Road, 629 St. Marc, Mdlle., 266
St. George's Hall, Liverpool, 295, 318, 547,
Subscriptions for 1856, 832 Sunday Music, 688
Marylebone, Leon of the Iron Mask, 90. Olympic.-Louis XI., 35. Angus Reach's Benefit, 220. The Welsh Girl, 295. School for Scandal, 440. Mr. Robson's Benefit, 448. Five Pounds Reward, 791, Pantomime, 835
Princesses.-Louis XI., 44. Henry VIII, 310. Sadler's Wells.-Lyceum Company, 235. Mr.
Webster and Madame Celeste, 295. The Hunchback, 602. Hamilton of Bothwell- haugh, 693.
St. James's.-Mrs. Seymour's management.- Clarisse-Art, 123. La Czarina, 155. M. Levassor, 377. Mdlle. Rachel, 499, 515. Strand.-Mr. Leighton Walter's début, 60. The Cricket on the Hearth, 189. King Queer, 235. Mr. Stirling's Benefit, 747. Daughter of the Regiment, 286. Miss Julia Bleaden, 295. Sally Smart, 342. Miss Rebecca Isaacs's Benefit, 451. The Heir-at- Law, 667. Burlesque on Nitocris, 693. Soho.-Italian Opera, 742. Lucia, 757. Surrey. Mr. Phelps, 295. 342. Love Chase, 342. The Wife, 629.
Lady of Lyons Sonnambula, 440
Theatricals at San Francisco, 735 Theatricals in Australia, 771
Surrey Zoological Gardens, 375, 435, 470, 487 The First Singer going-not gone, 602 Swiss Ranz des Vaches, 817
Tamberlik, Signor, 774 Ternan, Miss Fanny, 295 Thalberg, 571, 774, 817
Adelphi.-Janet Pride, 90. La Bayadère, 108. New version of Valentine and Orson, 731. Mr. Webster's return, 791. Pantomime, 835 Covent Garden, Royal Italian Opera.-II Conte Ory, 233, 249, 264. Fidelio, 249, 264, 283. Ernani, 265, 283. L'Elisir d'Amore, 283, 293. Il Trovatore, 293, 309, 329, 383, 415, 435. Le Prophète, 502, 518. I Puritani, 309, 329. La Favorita, 329, 435. Norma, 346, 364. Don Giovanni, 346, 364. Huguenots, 364, 502. Barbiere, 383. L'Etoile du Nord, 469, 487, 502, 518. Eva, 264, 283, 329. Don Pasquale, 415. La Vivandière, 415. Otello, 518. Resumé of the Season, 518. Pantomime, 774, 835 Drury Lane.-L'Etoile du Nord, 139. Open- ing of the Royal Opere, 232. La Sonnam- bula, 250, 310. Il Barbiere, 265, 283. Les Cosaques, 267. An Impudent Puppy, 727. Mr. Aguilar's Benefit, 283. Don Pasquale, 293. Amateur Performance be- fore the Queen, 301. Norma, 342. Lucia, 365. Lucrezia Borgia, 365. Malle. Pal- myra, 365. Terpsichore, 377. Miranda, 440. Donna del Lago, 440. Madame Gassier's Benefit, 448. Bohemian Girl, 482. Nitocris, 667. Mr. C. Mathews, 667; Pantomime, 835
Haymarket.-Romeo and Juliet, 74, 285. Guy Mannering, 108. The Spanish Dancers, Fra Diavolo, 266. Bohemian Girl, 285. Actress of Padua, 295. Lucia, 310. Lady of Lyons, 363. Berta, or the Gnome of Hartzberg, 365. Sims Reeves's Benefit, 411. Busy-body, 440. Wife or no Wife, 482. Miss Blanche Fane in "Court Favour," 556. Olympus in a Muddle, 556. Mr. and Mrs. Sims Reeves, 219. The Sultan, 629. The Little Treasure, 667. The Beginning and the End, 713. Mr. Buckstone's Return, 791; Pantomime, 835
The Grand Opera in 1713 at Paris, 603 The Messiah and the Creation, 126
SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.
SATURDAY, JANUARY 6, 1855.
driving back the countless Huns of the new Attila of the North. Surely at such a time, when
"All the youth of England are on fire,
And silken dalliance in the wardrobe lies; When thrive the armourers, and honour's thought Reigns solely in the heart of every man,"
a short digression is pardonable, and some expression of feeling, however weak, is permissible, in honour of those but for whom music and the kindred arts might be numbered with the dead. Let the Musical World and its readers-all unpolitical as they are-join in the chorus of praise and thanksgiving to that band of brothers, French and English, to whom they owe the peace and comfort of their hearths, the glory of their country, and the preservation of those arts which distinguish the man from the brute, the English or Frenchman from the Cossack and
The past week has been marked by more than a usual amount
of novelty in the musical world of Paris, and, as the Emperor and Empress honoured with their presence last Saturday the first representation of Verdi's opera of Il Trovatore, I will begin with the Italian Opera. The production of this work for the first time here excited a considerable amount of curiosity, and the house was full to suffocation. The music is in Verdi's usual style; the brass instruments roar so as to endanger your tympanum, and in one chorus the orchestra is assisted by a band of blacksmiths, who with large hammers enormous anvils. perform an ad libitum accompaniment on What more could the most strenuous admirer of energetic music require? Signor Verdi, however, has been happy in the artists who introduced his opera to a Parisian audience. Signor Baucardé made his début on our stage as the Troubadour, and achieved an unquestionable and well-deserved His first song behind the wings obtained great ap-
Paris, December 26th, 1854. ONCE more in annual rotation has Christmas returned to gladden the hearts and humanise the feelings of all good Christians on either side the Channel. Yule logs and sea-coal fires in London-midnight mass and solemn service in Paris; roast beef, plum-pudding, turkeys, and other solid comestibles with you―étrennes, bonbons, and all sorts of prettinesses here. And yet is the heart saddened and the eye dimmed in many a household and by many a hearth of merry England and light-plause, and his voice is flexible, vigorous, and sweet. He acts with hearted France. How few have not lost some old familiar friend judgment and discretion, and now that Mario has disappeared, or some dearer relation, in the perils by water and the perils by (at least for a season), and tenors are scarce, Signor Baucardé is fire, in the din of battle, or by the pestilence that walketh in a most valuable acquisition to the Italian lyric stage. Let Mr. darkness. Mourning for the dead, fear for the living, temper Gye look to him. Madame Borghi-Mamo, as the Bohémienne, the mirth and festivity of this happy and holy season. shewed herself a good artist and an accomplished musician.' thoughts of all, from the monarch to the peasant, are with Her voice is clear and well-toned; her style pure, and her vocalithose sation excellent. One of her airs was unanimously encored, and ́ the whole of the music received ample justice at her hands. Madame Frezzolini is not so young as she was some few years since; and her voice, mellifluous and clear in the upper register, is wanting in the lower notes. She acted the part of Leonore in a most impassioned spirit, and showed all her well-knownability both as actress and vocalist. In the fourth act she was much applauded, twice recalled, and loaded with bouquets. Sig. Gassier filled a small part with judgment and discretion, and Sig. Graziani astonished all the house, and probably himself as
"Brave hearts, to Britain's pride So faithful and so true;"
"Cull'd and choice-drawn cavaliers of France,”who in storm and tempest, in privation and sickness, are fighting the battle of the weak against the strong, the right against the wrong-doer, the oppressed against the oppressor; who, regardless of numbers and heedless of odds, are defending the cause of civilisation against barbarism, and by their undaunted bearing
much as any, by displaying great powers as an actor; in many scenes he exhibited strong indications of possessing no small portion of the genius of Ronconi. Du reste, the opera was mounted in magnificent style and at lavish expense. Nearly the whole of the action takes place at night, and the libretto is more obscure than the time it represents. M. Ragani, however, determined that no material aid should be wanting to success, and accordingly gave unlimited orders for new grottoes, decorations, palaces, gardens, dungeons, cascades, and a new moon which had never done business elsewhere, and played a most important part on this occasion. The orchestra, under Signor Bonetti, was above all praise; the choruses excellent. Finally, Signor Verdi, who had personally superintended the rehearsals, was called for three times, and honoured by receiving a bouquet thrown by the fair hand of the Empress herself. I trust this opera may be the means of turning the tide in M. Ragani's favour, for until now he has had a most sorry season, and must have been a heavy loser by his operatic speculation,
Madame Ugalde made her rentrée at the Opéra-Comique on Saturday, in Galathée. She met with a most favourable reception from a very full house, and was unanimously encored in the Bacchic song of the second act. She displayed all those qualities, as actress and vocalist, which have so deservedly made her a favourite with the Parisiau public, and all the world is delighted to see her return to her old house at the pleasant little OpéraComique. She will enable Caroline Duprez to get an occasional rest from the fatigues of L'Etoile du Nord, which shines as brightly as ever.
Our first masked ball at the Opéra also took place on Saturday, under the direction of M. Strauss. The performance commenced at ten o'clock, with the production by the orchestra of several pieces from the "Album Strauss," and at twelve o'clock dancing began. The house was more full than select, and, indeed, it was difficult to say whether the orchestra or the company were most noisy. Each seemed engaged in a perpetual attempt to drown the other, and the result was the production of sounds more loud than mellifluous.
Madlle. Sophie Cruvelli has been suffering from a severe domestic affliction, and did not sing for ten days until Wednesday last. She then again appeared in Les Huguenots, and with the invariable result of a house crammed to the roof by an audience who hardly know how to testify their rapturous applause. During her absence, La Muette de Portici was played four times, but neither singers nor mime made any advance in public estimation.
In constructing the libretto of Le Muletier de Tolède, the ingenious and accomplished authors, Messrs. Dennery and Clairville, seem to have taken the measure of their composer and to have written to order. There is literally not a new situation or a scintilla of originality in the whole piece, which is a mélange of Le Jeu de l'Amour et du Hasard, Les Diamans de la Couronne, and Jean de Paris. The authors themselves admit this, and one of the characters informs the audience of their palpable plagiarisms. You shall judge for yourself,-here is the plot. The Queen of Leon has been chosen as the future wife of the Infante de Castille, and hearing that the latter is desirous of seing his intended before completing the match, and has disguised himself as a peasant for that purpose, she, in her turn, assumes the dress of a Spanish peasant girl, and sets out on her travels to discover her disguised lover in posse. One of her maids of honour, attired in like guise, alone accompanies her; but, arrived at the first posada, they are attacked by a
band of roysterers, who admire their pretty faces, and desire a more intimate acquaintance. They are rescued by a muleteer gaily attired and courteous in bearing, who drives off the molesters and rescues the ladies. The Queen is convinced that the muleteer can be no other than the disguised Infante, and without discovering her incognito thanks him for his services. At the next venta they have to deal with men of a different class, but of similar tastes. Don Pedro, cousin of the Queen, who has sworn to marry her, or cause her abdication, is drinking with a choice lot of boon companions. At the sight of the two pretty maidens they take them by the waist, and are about to proceed to further extremities, when the muleteer (the deus ex machinâ) again appears, again rescues them, is again thanked by the Queen, who again preserves her incognito, and (still disguised) places herself under the protection of Don Pedro: whereupon the first act ends. The second act opens in the palace of the Queen, who, in full regal attire, is seated on her throne. The courtiers pass before her, and a door is thrown open, through which the more common herd are allowed to enter and make an obeisance to their sovereign, Among the rest the muleteer comes forth, and the Queen recognizes and is charmed with him. Don Pedro, also, is there, and, having instructed one of his accomplices to carry off her majesty when she leaves the palace, is overheard by the muleteer, who informs the sovereign, and she thereupon directs her camerara-major to take her place in the carriage, while she remains at the palace to watch the conspirators. Don Pedro's plan is to bring forward the young peasant who has placed herself under his protection, and who so closely resembles the queen, to place her on the throne and procure her signature to an abdication, while the true queen is kept in confinement. Meanwhile, the Queen has again assumed her peasant dress, the muleteer is again at her side and makes protestations of love, which she, supposing him to be the Infante, readily accepts. They are surprised by Don Pedro, who is confused between the peasant and the Queen, and knows not whether the lady before him be one or the other, or both. He knows, however, that the muleteer is not the Infante, and thinks that if the lady be really the Queen she will be as thoroughly lost by marrying a muleteer as by any other process. The Queen accepts the proposal with joy, and the marriage takes place: which ends Act II.
Returned from church, the Queen thinks it time to put an end to the comedy. "Now then," says she to the muleteer, "you have played your part admirably, but it is time for the muleteer to give place to the Infante." "I am not the Infante, replies he, "that gentleman is a married man." The Queen bursts into tears; the muleteer is delighted; he is loved for himself alone. "No," says he, "I am not the Infante, I am the King !"
Thus much for the libretto, which, though far-fetched and borrowed, is not wanting in situation. The music of M. Adolph Adam has been sought from sources as various, and frequently as well known, as the words of Messrs. Dennery and Clairville. Though they have not drawn on their imagination for their plot, he most certainly has tasked his memory for his music. Worn out Spanish boleros, stale French airs, and old-fashioned English melodies, have supplied his inspiration. To him every fountain is Castalian, provided it be not dry, and no matter how often it has been drained and dirtied by previous composers Even his admirers admit that the Muletier de Tolède is inferior to Le Bijou Perdu, and declare that no air will have the success of "Les Fraises." The overture is weak and trashy, being
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