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do, but by no means refined, province. But now, as a singer! | was now considered common. Then there were hearers who That simple, large, unornamented style, which seeks its whole are not accustomed in such cases to ask why or wherefore, but effect through toue, expression, accent—that style in which she who simply give themselves up to the inipression as a whole, had delivered Händel's works particularly—she seemed to and in no small perplexity; there were friends in despair, and have renounced, not, one might trust her, from the wish to con- there were newspaper critics, puzzled to find terms in which ciliate the fashion, which had just then begun to offer any price they could, as far as possible, harmonize the present feeling with to a delivery extremely fluent, richly ornamented, and wrought the opinion that had been long established. In Vienna, where into superfineness of detail, but because she was conscious the public had not known the Gertrude of the past, and where that her voice no longer had the strength and the sonority to they were accustomed then, as now, to confer a high prize on execute that earlier style of singing satisfactorily. That voice, in those excellencies, commonly summed up in the word virtuosity, fact, was rather weak, but it was still strong enough for our hall, even at the expense of what is higher and more intellectualwhich holds, at the most, eight hundred persons, and is ex in Vienna she was brilliantly received and, as everywhere else, cellent in its acoustic structure, and as she was capable of the richly remunerated finest and gentlest diminuendos down to the softest whisper, In 1804 she went to St. Petersburgh, and in the following and still remained distinctly audible ; as she could still give, with year to Moscow: in both capitals she found the same favour, the complete equality as to power and volume, the always wide same good fortune, that she had everywhere before. To this compass of her tones, from B to thrice-marked D, her feebleness was added the particular good-will of some of the greatest was only noticed with regret by those who had before known houses, in which music was esteemed not as desirable and useful, her in the fullness of her strength. Nor did the veiled quality of but as indispensable to their intellectual life, and even many á her voice (as musicians say), which had once taken the place of peculiarity of the mode of life there pleased Gertrude remarkits once clear silver ring, injure her at all with others, but only ably. Then she resolved to spend the rest of her days in the old lent to the softer passages a peculiar, milder charm.*

and spacious capital of the Czars. Thoughtful, clear, and firm, With such a voice, and in the above-named extremely fluent as she had always been in what concerned her art, she now manner, perfectly polished to every fineness of expression or determined to appear no more in public, but merely to sing by adornment, she sang as we have never heard the like till invitation in noble private houses; nothing in the large and asMadame Catalani. The latter, to be sure, had greater power, piring style, but pieces suited to her present strength, and in though in a far smaller compass of tones. To make the most of which by her well-adapted mode of delivery, and finished exeall that still remained at her disposal, according to her own cution, she could still show herself an admirable artist. Besides fancy, her own taste and rich experience, Gertrude had pru- this, she gave instruction in singing to young ladies, dently selected compositions of a somewhat undecided character Approaching now her sixtieth year, and freed from certain weakand quite simple accompaniment. For instance, she produced nesses of passion and of purposeless abandon, she began at length a long and figurative aria by Andreozzi, and a smaller one, to grow more thoughtful and firm in matters not pertaining to which her companion, Herr Florio, had, in the etymological her art. There was no Florio now to quarrel with her always large sense of the word, “composed”-in which he came in too with income; she made provision for her long-accustomed comforts, the lifeless tones of his flute obbligato, and Gertrude, with equal against the day when age and incapacity awaited. In about six or skill and amiability, blended her voice wonderfully with those seven years she had gained enough to purchase herself a house tones. Finally she gave the principal scepa and aria of Zenobia, in Moscow, and, soon afterwards, a pleasant country seat outside from Anfossi's opera of that name. In this we could recognize | the city; besides investing a considerable capital in a respectable her exceedingly noble and finished delivery of recitative : but mercantile house. She lived very well contented, and thought in the aria, towards the end, her physical strength did not hold this quiet way of life secured to her for the remainder of her out.

days. But fortune played the trick on her, which it has played From us she went to Berlin. Here too she found both on every one, to whose skirts it has long clung unappreciated: universal sympathy and several old friends. The old Friedrich namely, the trick of suddenly deserting one, just at the very Nicolai, especially, a zealous friend of music from of old, busied moment when he begins to need it most, to prize its gifts the himself many ways for her allvantage. He renewed his youth best, and to feel the most painfully conscious of its absence. in lengthy reminiscences of the good times, when the Mara and Napoleon with his armies was approaching Moscow. Whoever the Allgemeine Deutsche Bibliothek had found so many friends could, was obliged to flee; and all the arrangements for faciliand venerators. Gertrude's concerts were crowded to tating the flight of so many thousands, were, in order to surprise excess, and richly profitable. But there was one thing the enemy and prevent counter-movements, made so short a which her friends should not have asked of her, or she time before the outbreak of the general calamity, that most of should not have granted: but Nicolai, as he then was, the fugitives, in the bewildering confusion, saved barely anyif he had once a notion in his head, he never desisted thing excepting their lives. Of these was Gertrude. Napoleon by continually returning to the same spot, made his way through, and his hosts retreated; she came back; her house was burned as a continual dropping of rain will wear through a stone. He down, the merchant announced his insolvency; the noble and wanted her, in fact, to take the first soprano part in a solemn wealthy families did not return to the desolate ruins of the city; performance of Ramler and Graun's Tod Jesu, and, by all means, nobody was in need of a singer or a music-teacher; she had to sing “The Heavenly Prophets" as she had done more than nothing left but to wander on, and no man asked if it were with thirty years before. She finally consented and sang; but her a bleeding heart. success was not, nor could it be, remarkable. Setting aside the Here, then, she was, as if at the completion of a wide circuit, fact that the airs in this work, products of the taste of the standing again almost at the very point where she had stood half period about 1750 (the choruses, and essentially the recitatives, a century before : poor and homeless, without counsel, without stand above all temporary tastes) could not, in the wholly help. But as the child did then, so now the aged lady found changed direction of these modern times, satisfy longer those sympathetic friends, and help, at least, for present necessities. who had formerly found perfect satisfaction in them, and who She went into the Germano-Russian provinces ; and especially in now imagined that it would be the same thing now, provided hospitable, music-loving Livonia, did she find a favourable they were only properly delivered ; setting aside this fact, the reception. She lived, partly at Revel, partly in the country, as Mara now possessed only in the smallest degree the qualities | an innate in several respectable families, which shared with her wherewith she had transported audiences by these songs in her what fortune had vouchsafed to them; and this was done in youth, and what she still possessed she could not and ought friendliest good-will. She in turn instructed the daughters in not to have used here, if she would not profane the hallowed singing, and entertained the social circles by her own delivery and venerable; besides, she pronounced German now as they of pieces suited to her present strength. Thus she lived through pronounced it more than thirty years ago, and in a manner that four years, according to her own confession, very pleasantly, and

for the most part more contented than before, when she was * Does this recall the Sontag of 1833 ?

heaped with fame and money. But age longs after independence, and has need of a secured repose. She tried to prepare this for This is exactly the casus belli which has occasioned the preherself in the two places where she formerly had been univer- sent revolution in the musical world. A revolution always sally known, and for some time at home; she travelled (in 1819) throws a number of individuals ont of their proper sphere, and causes to Berlin and London, but she did not accomplish her end. social chaos. Wagner-at least, so he is understood by those standing Returning to Germany, she tried the same experiment in her

upon the point they have surmounted-has declared that melody is no native city, Cassel. Here she was received with marked dis

linger wanted and is the ruin of opera. Poor deluded creatures ! tinction, both on the part of the Electress and of the entire Wagner is obliged to hold his sides for laughter, because he has never public; but even in the city of her birth she was not successful

sought anything so eagerly as melody, and in the very passages where in the end for which she came. She resolved on a return to

he is effective and good, he is so, merely by the aid of melody. In Livonia and to the position she had left before her last journey,

fact, he pushes his enthusiasm for melody so far, that when he cannot

find a suitable one, as for instance, in the Bridal Chorus in Lohengrin, a continuation of which had been promised her by several

he immediately has recourse to Meyerbeer's Robert, and uses both the respectable families that had grown dear to her; and there she

form and character of the chorus in the second act of that opera, resided until her eightieth year, 1830.

alınost too conspicuously. Wagner himself talks a great deal conMadame Mara died at Revel, on the 20th of January, 1833, I

cerning melody, in the first part of his book, Opera and in the 84th year of her age. A little while before her death, she Drama, more in sensations than thoughts, and in a peculiarly received from Gathe à poem upon the anniversary of her musical, intellectual, and fantastically obscure fashion. He birth.

asserts that nations produced melody, properly 80 called, in So oozes away the rich life of the greatest German singer, the natural course of things, and independently of their own will, as like the rich waters of the greatest German river ; and since á man is produced by procreation. He goes on to say, that Grecian art description of Madame Mara, like a description of the Rhine, contemplated man merely from the external point of view, while admits of no conclusion ;-we will add, by way of termination,

Christianity, on the contrary, adopting an anatomical process, opened what Ernst Platner, her renowned old friend in Leipsic, said

the internal, shapeless organisation, repulsive to the view, and, in when she had taken her leave of us in 1803. “It has given me

seeking for the soul, killed the body; thus presenting us with death great pleasure," said he, " to see her again; but I would gladly

instead of life. Then comes a little history, telling us how harmony have renounced the pleasure, and been reconciled if, ten years

developed itself independently, through the music of tho church,

taking the rhythm from dancing, etc. Wbat confusion! All our ago, after the most perfect rendering of the music of one of

music of the present day is sprung from the Christian religion. We Händel's oratorios, she had suddenly died; for I know of

know of no national melody written before the period in question, and nothing more depressing and more dreary than a really signifi

if there is such a one, it is wholly unintelligible to us. What is not cant person who outlives himself.” And even Platner had to

based upon the musical system establisbed by the Christian church, we experience the same fate, in superabundant measure, himself.

comprehend as little as the natural songs of the lark and nightingale,

because those birds do not emit their notes according to the rules of REACTIONARY LETTERS. *

the musical system to which we are accustomed. Moreover, harmony No. 1.

sprang from the combination of melodies, in which the composer

endeavoured to infuse greater variety, by introducing between the The world is å magic lantern. Time, who exhibits it, never leaves

plain-song (tenor) another voice (descant), and afterwards discovered off crying: "Appear! Vanish !" Formerly, Mozart was entitled the

one that lay beneath the tenor (bass), not adding one above the tenor “Divine;" at present he is called the “Child !” A similar fate is

(alt) until a subsequent period. It is quite evident that for several shared by Beethoven, the “Erroneous ;" Gluck, the “ Weakheaded"

voices to accord with one another, they must have a certain equality of who passed by the gates of the sanctuary without seeking admission;

motion ; but to say that, in order to effect this, they borrowed their Spohr, the “Ridiculous"--so denominated for having been bold enough

measure from a dance, is a very bold assertion. It is upon these selfto compose symphonies; Rossini, the “Warbler ;" Auber, the

same old Christian songs that our present system of modulation is “ Thief;” Meyerbeer, the “ Jew”-because Hebrew verbs have but two

founded. The choruses sang the motive alternately in Tonic and tenses and no future; Spontini, the “ Empty, Worthless,” ete. These

Dominant (tonic and fifth.) Such was the principal rule of men have appeared and vanished. Such, at least, is the opinion of

modulation for every kind of composition ; from its simplicity it is so those who take up their position with Wagner, looking down from the

still, and such it will always remain. It is, however, an error to say height they have successfully surmounted, and, like fiery lovers or great that no melody then existed. In old as well as modern music, it is only orators, only experience the aunt of a hearing, but dispense with any

a more hearty, nobler kind of melody-unattainable by and incomprehenkind of reply. But, just as the Goddess of Reason in France was

sible to many musicians who are used to the present weak and nerveobliged to make room again for the Saints, both little and great,

less style-which, with all due respect for Wagner, I must say he, also, the reign of these gentlemen may not, perhaps last very long, and

worships. I am personally acquainted with Wagner. He is a man of Time may soon exclaim : “You have increased the crowd and shouted

great talent. As, however, he never enjoyed a really fundamental lustily; Viva la liberta! we need no more counterpoint, no more rules

musical education, he is not capable of understanding the profound of harmony, no more management of the voice, and, above all, no more

and mighty inspirations of a Sebastian Bach or Händel, and still less melody. You have fulfilled your task! Return to your original

able to discover one in the works of Palestrina. A person connothingness! Vanish!"

versant with modern music only, who suddenly hears something by Melody!-ay, that is the real casus belli. There lived at Dresden,

these old masters, cannot make out a single verse (like many a talented when I was studying music there, a tall individual with a yellow coat

musician of the present day), and, if he is sincere, can say nothing but and an expression of pain in his countenance, who desired to be a com

“No melody! antiquated, pedantic stuff!"'* Wagner wishes to create the poser, and was only deficient in one thing-melody. The poor man

melody from the text itself. What good composer, may I inquire, ever applied to many persons for advice, but no one could help him. There.

did otherwise ? He would not allow any useless repetitions. Quite upon he continued to grow more and more melancholy, and, whenever

right. Schulze, a pupil of Kirnberger, laid down the same principle in a new composer came to Dresden, he would sell the last thing he had,

1760, when he said: "Such a strange mixture of greatness and littlepay a visit to him, and beg for lessons, under the impression that the

ness, of the beautiful and insipid, prevails in opera, that I am embarstranger would be able to teach him what others could not. In this

rassed what to say on the subject." Finally, theso letters are not manner, he was in turn a pupil of Uber, Aghte, Morlachi, M. von Weber,

| directed against Wagner, nor against those few clever men, at whose etc. Nothing, however, availed him. How he would have welcomed Köh

head stands Liszt, who by the discussion of various points, and ler's Melodie der Sprache, had it then been published! At last, he devoted

especially by Wagner's music, expect to advance and penetrate more his attention to arranging music, and adapting national melodies, a task

decply into art, but against those loud talkers who have absolutely noin which he displayed considerable talent. He was, however, too modest

thing in them, and only confuse the public with their fantastic notions: to sit as critic upon the works of those whose shoes, as an artist, he was not worthy to tie, for he well knew what Sulzer (in the article « Criticism," in his Theory of the Fine Arts) had required, more than * It is very amusing when musicians of this stamp have the auda a hundred years previously, of a man “who publicly judges works city to produce works by these old masters, who employed even letters and takes upon himself to correct both composer and artist.” which they do not understand. That, under such circumstances, even

when the singers devote their whole attention to their task, and exert * Reactionary Letters, by E. Sobolewski, collected and reprinted themselves to the utmost, people should “understand nothing" is from the Ostpreussische Zeitung. Königsberg

| natural.

PARIS.

have imagined that Meyerbeer could write a comic opera; fewer

still that, when written, that opera should be so gay, lively, (From our own Correspondent.)

sparkling, and brilliant as the Star of the North.-Caroline Duprez I INFORMED you in my last that negotiations were in progress has advanced wonderfully in public estimation, and deserves the which would probably result in the return of Mad. Stoltz to the success which has attended her. efforts. Hérold's Pré aux Clercs Opéra, and which would smooth over the difficulties between is a treat to all lovers of good music; and M. Perrin showed his herself and the direction. I rejoice to say that my information usual tact and good sense in reviving so charming an opera. It was correct, and that the diplomatic efforts which were made to was admirably interpreted by Madame Miolan and her fellow ensure an alliance between two great powers have not been in artists, and has brought almost as much money to the Opera vain. A more thorough artiste than Rosina Stoltz does not Comique as L'Etoile du Nord itself. La Fiancée du Diable, exist. She possesses the true sacred fire, and, unendowed with Les Trovatilles, L'Opera du Camp, and Les Sabots de la Marquiseany beauty of feature,* can, by the force of genius, sway the operettas—served as agreeable levers de rideau on the nights feelings and passions of her audience as much as any actress on that the greater works were performed. the lyric stage. She made her rentrée on Friday, the 5th, in her The Italian Opera has added to Mesdames Frezzolini and favourite part of Leonora, in La Favorite, was enormously Bosio, a most valuable artist in Madame Borghi-Mamo. She has applauded on her appearance and during the performance, and appeared successively in Semiramide, Matilda di Shabran, Le Tre electrified the audience by her singing and acting in the final | Nozze, and Il Trovatore, and has been successful in all, but duet. Would that she could impart some of her energy to particularly in the last. Il Trovatore, the sole novelty produced Signor Neri-Beraldi, the tenor, who made his debut at the at this house during the season, has also been the sole success ; Grand-Opéra in the part of Fernand. He had already sung, it has already been performed eight times, and to very full with small success, the part of Roderigue, in Otello, at the hcuses. The money was sadly wanted, and Signor Ragani Italian Opera ; but he is utterly unsuited for a part of such deserves some compensation for all his losses. I hear that Mr. importance as Fernand. His voice is small and thin, his style Gye intends to commence his season with Il Trovatore at Covent raw and unformed, his acting devoid of energy and character. Garden, and that he has engaged Baucarde, Borghi-Mamo, and He speaks French very imperfectly, and with a strong accent, Frezzolini to sing the music in London. and was put into the part as a make-shift for Gardoni, ex- The Théâtre-Lyrique was in a dangerous condition at the bausted by his efforts in Masaniello. Meanwhile the charming death of its director, Monsieur Seveste, which occurred early in voice of Sophie Cruvelli is silent to the public, as she and the the year. Several persons desired to succeed him, but the greater part of the company work night and day at rehearsals difficulty was to obtain one who could re-engage Madame Marie of Sig. Verdi's new opera, Les Vépres Siciliennes, which will be Cabel; that charming singer, who was the sole support of the performed towards the end of the month.

theatre, being released from her engagement by the death of M. As we have now begun a new year, and there is not a Seveste, and having large offers to sing in the more fashionable single novelty requiring attention, it may not be amiss to take regions of the Boulevard, was determined to accept them. Howa review of the musical events in Paris during the year just ever, M. Perrin, director of the Opéra-Comique, having succeeded expired. At the Opéra, Mdlle. Sophie Cruvelli made her début to the vacant throne at the Théâtre-Lyrique, induced Mad. Cabel in the Huguenots, with a success which increased on each suc to remain, on condition of engaging her at the Opéra-Comique cessive performance. Nothing could exceed the enthusiasm for next season. The new operas produced at this establishment, which greeted this, the youngest and most accomplished and all more or less successful, have been Le Bijou Perdu, and Valentine that ever appeared on the Parisian or any other Muletier de Tolède, of M. Adolphe Adam (" of the Institute") stage. Since Mdlle. Cruvelli first performed in the Huguenots, La Promise of M. Clapisson (“ of the Institute ") and Le the receipts have equalled anything previously known in the Billet de Marguerite of M. Geväert (“ not of the Institute'). annals of the Grand-Opéra of Paris. She alone sings the music | The last-named work, by a clever and rising young Belgian as written by Meyerbeer; she alone is the young and trusting composer, introduced Mad. Deligne-Lauters (also a Belgian) girl, the faithful wife, the fond and impassioned lover. If she to the French public. Remarkably young, with a pleasing had but Mario for Raoul, we should have witnessed such a per face, and a delicious mezzo-soprano voice, Mad. Lauters has formance as was unknown to French opera. The other parts in always acted and sung with intelligence, energy, and taste : which Malle. Cruvelli appeared were Julie in La Vestale, and possessing a voice, which for compass and quality has been Alice in Robert le Diable. Mad. Stoltz made her rentrée in La rarely excelled on the French stage, she wanted style and finish Favorite, and will probably continue to sing Leonora until | in her singing—she has, however, studied hard to improve at Meyerbeer's return to Paris, when she will make her first each successive representation. I have no hesitation in asserting appearance as Fides, in L Prophète, which she has so that Mad. Lauters will, in the course of two or three years, thoroughly studied, and of which, acccording to all accounts, she occupy a high rank on the lyric stage of Paris. The Schahahas completely made herself mistress. La Nonne Sanglante was bahan II., Le Roman de la Rose, and Maitre Wolfram (by M. the one original opera produced during the season, and over that | Ernst Reyer), all original works, have also been produced during unhappy lady let us draw a veil which future generations are the past season, and have been well received, without exception. not likely to lift. La Muette de Portici with Gardoni, Cerito, Weber's Der Freischütz (under its accepted title of Robin des Massol, and Pouilley; and La Vestule, with Sophie Cruvelli, Bois) is in active rehearsal, and will be ready early next week. already mentioned, were also among the operas revived this I congratulate M. Perrin on the success of his two establishseason. Madame Fortuni made a successful début in Lucia di ments. It is difficult to say which of them most attracts the Lammermoor, and Malle. Carlotina Rosati, as usual, was charm- public; but were I to point to a well-managed house, whose ing, fresh, graceful, and fascinating in the ballet of Jovita (music orchestra, principals, chorus, and decorators are all what they by M. Labarre). The list is meagre, and, excepting Sophie Cruvelli should be, I would direct my finger to the Opéra-Comique ; and and Madame Stoltz, no artiste has created any great degree of if that did not exist, I should with equal confidence turn to the enthusiasm. Let us hope that in the approaching year more Théâtre-Lyrique. will be done, and I feel sure that now the helm is in the ex All the theatres are doing well, Paris is full, and the Emperienced hands of Monsieur Crosnier, intelligence, application, peror, Empress, and Court are frequently seen in public. That and care will not be wanting,

great actor, and extraordinary man, Frederic Lemaitre, who has The Opéra-Comique has had two great successes in the past lately returned from a tour in Russia, Germany, and Belgium, year: the production of Meyerbeer's comic masterpiece, L'Etoile | where he has added fresh laurels to his undying fame, has been du Nord, and the revival of Le Pré aux Clercs. Few would engaged at the Ambigu-Comique, and made his debut in Pail

lasse. Such is his success, that no place can be obtained which * Our correspondent is difficult to please. Mad. Stoltz has always

is not taken three or four days in advance. He possesses the been renowned for the beauty and regularity of her features, and, we same power as ever over his audience, and moves them to mirth think, with good reason.

and laughter, to tears and sobs, with the same facility as thirty years ago. He has lost his teeth, and his articulation is in

FOREIGN. distinct, but "even in his ashes live their wonted fires," and, Boston, Dec. 18, 1854.-(From a Correspondent.)—The English looking on that great master of his art, I cannot but feel what | Opera troupe, consisting of Miss Louisa Pyne and sister, and pigmies his successors are in comparison ; and that when he Messrs. Harrison and Borrani, has just concluded an engagement leaves the stage there will be none to fill his vacant place. At | at the Boston Theatre. They have appeared in the Crown the Odéon, we are fast approaching the hundredth perform- Diamonds, La Sonnambula, Fra Diavolo, Bohemian Girl, Maritana, ance of La Conscience, so well written by M. Alexandre Dumas, and the Beggar's Opera. 80 well acted by M. Laferrière. Its success has been unceasing, Miss Louisa Pyne has enchanted us all. This charming singer . and the continuous performance has never been interrupted, has made an impression here which will be lasting. Her sweet, save daring M. Laferrière's short illness. A comedy, in five pure voice, and her brilliant execution, have made her extremely acts, by MM. Durantin and Raymond Deslandes, is in rehearsal, popular. All agree that we have had few cantatrices here who and will be produced whenever La Conscience ceases to draw. I can compare with her. Her greatest triumph has been her M. Barrière's comedy of Les Parisiens has changed the Vaude- | Amina in La Sonnambula. Miss Louisa Pyne's execution is ville from sadness to mirth, froin empty benches to crammed astonishing. In the violin variations of Rode, which she introhouses. The success is deserved, for the comedy is witty, bril duces in the Crown Diamonds, she exhibits marvellous skill; liant, and sparkling-although very hard upon the good and in the finale of La Sonnambula she is as remarkable. In Parisians themselves—and the acting is extremely good. | personal appearance she is very prepossessing--she is not beauM. Félix in particular deserves great praise for his admirable tiful-mais elle est si gentille. It is said that she strongly performance of Desjenaix.

resembles the Queen. Miss Pyne (the elder) supports her sister P.S. (January 11).-On Monday, the long-promised new ballet, well, and is especially commendable for her modest mannerentitled La Fonti, was produced with great splendour and entire never endeavouring to force herself forward, or make her part success at the Opéra. The ballet is the work of the well-known more prominent than is warranted by the scene. M. Mazilliar, the music by M. Labarre, the harp-player and ex Of the operas performed by this troupe, the Crown Diamonds conductor at the Opéra-Comique. I have seldom seen a ballet and Maritana have been the most successtul. The first time more applauded, though I may have seen ballets more deserving the Beggars' Opera was produced, it drew an immense audience; of applause. The Emperor and Empress were present, and the second time it was played to empty seats. This operathe house was crowded by a brilliant assembly. The heroine which is in fact no opera at all, but a comedy with songs-affords of the ballet, La Fonti, is a celebrated dancer; and the diver- little opportunity for the display of Miss Pyne's powers, and was tissement of Flor; et Zephyr, is one of the most striking apparently brought out solely for Mr. Harrison. scenes in the performance. The professional adventures of La Grisi and Mario are now singing to crowded houses at the Fonti, her amours with a certain Count Monteleone, as fickle Academy in New York; the people having at length awakened and faithless as attractive, her ultimate triumph as a dancer at to a sense of their folly in permitting these two great artists to Florence, and her union with her first lover, Carlino, premier perform almost unheard as they have heretofore done. They danseur, form the incidents of the plot. The scenery, dresses, are expected here about the first of January. and decorations are magnificent, and Madamoiselle Rosati, the LEIPZIC.—The yearly public examination of the pupils belongheroine of the ballet, of whose performance I will tell you more ing to the Music Academy, took place in November, at the in my next, achieved her greatest triumph on the opera boards, Gewandhaus. The programme was composed of music of the both as mime and danseuse. She has to appear in several cos- highest order, and the examination embraced composition, solo tumes, and in each successive one looked more charming and singing, and pianoforte solo. Each pupil performed his part in a fascinating than in that which preceded it. Among the subordi- manner which did honour both to the teachers and the institunate danseuses Malle.Forli, whom you may remember in London, tion. It was founded in the year 1843 by Dr. Mendelssohn was most successful. The male parts were played by the ever Bartholdy, and affords a source of study for every branch of green Petipa, and a young dancer named Mérante, who produced classical music. The number of pupils at present amount to a most favourable impression by the spirited, natural, and near one hundred, from different parts of Europe. There are original manner in which he acted the part of Carlino. Thé suc- among them five from England and three from America. Miss cess of the ballet was never for a moment doubtful, and the Stabbach has finished her engagement here. Her performance Emperor and Empress frequently applauded. La Fonti will, I has given, on the whole, universal satisfaction. She is at present think, be a real lift for the opera, of which, by the way, it stood | in Bremen.-On the 10th instant commenced the first of the greatly in need.

yearly Abonnement-Quartets in the Gewandhaus. The star of In consequence of a slight indisposition of Madlle. Rachel, the evening was Miss Arabella Goddard from London. She M. Scribe's long-expected play, La Czarine, will not be produced I played the B flat major (Op. 97) trio from Beethoven in a masat the Théâtre-Français, as was anticipated, during the present terly manner, also a präludium and fuge from Bach, and a week. Its postponement, however, will only be for a short “Song without Words” from Mendelssohn, in a tasteful and time.

brilliant style. She is engaged to perform at the Gewandhaus Contributions for the gallant Allied Army at the Crimea seem Concerts. to be as much in vogue here as in London. The Italian Opera, Milan, 6th January, 1855.-(From our own Correspondent.) the Gymnase, and the Palais-Royal have announced a per The Theatre Alla Scala was opened on the evening of the 26th formance for the 15th instant, in which the principal artists of ult., with the opera-seria Marco Visconti, the libretto by Sig. all three companies will combine. It will take place at the D. Bolognese. The scene takes place in Lombardy, in 1329. Italian theatre, and the receipts will be devoted to the object The music is by the Maestro Petrella. The success was but above named.

mediocre. There are several pieces in the opera which entitle

the composer to all the honours that were awarded to him, both MR. W. T. Best has been appointed organist of St. Martin's upon the present occasion, and in many other theatres in which in-the-Fields.

this work has been previously represented. The cavatina of the MUSIC IN THE PROVINCES.- A concert party, consisting of the prima donna, the aria of the tenor, the duetto for the soprano and following artists, has just returned from a successful tour in the baritone, and the finale of the second act are generally considered South and West of England. The singers were the Misses the best pieces of the opera. The last scene of the last act is not Brougham, and Messrs. Augustus Braham and Henri Drayton. | all that might be wished for in an opera-seria Signora AlberThe instrumentalists consisted of Messrs. T. Harper, Frederick tini (Bice) has a powerful voice, but not of the most agreeable Chatterton, and George Case. The pieces, which attracted most quality, particularly in the upper register. The part she had to attention, were “ Brighter than the Stars," (the quartett from represent was rather an ungrateful one; nevertheless, she obtained Rigoletto), “The Cousins?” duet, “Sound' an Alarm,” and Mr. much applause. The tenor, Signor Mirate (Ottorino Visconti) Hobbs's new song,“What will they say in England ?" sung by was warmly received and applauded for the artistic manner in Mr. Drayton.

which he sang. His voice has lost somewhat of its freshness,

still he is a good singer; as an actor, he is wanting in animation' | in La Sonnambula. She has selected Lucia di Lammermoor for The baritone, Signor Ferri (Marco Visconti), is an artist o her second appearance. When I add that the King has, in token decided merit. His voice is not one of the strongest, but the of his satisfaction of the energy and excellent judgment disskilful manner in which he manages it, obtained for him repeated played by Herr von Hülsen, in the management of the Royal marks of favour from the audience. The composer, Signor Opera-house, presented that gentleman with an elegant ivory Petrella, was honoured with four or five calls in conjunction with stick, on one side of which is his Majesty's name in red enamel, the artists. With the successive representations the music has and the black eagle on a silver field on the other, while a silver been more favourably received. The ballet, Le Figlie della lyre with golden strings surmounts the top, I have exhausted Guerra, was a complete fiasco. The great theatre, with its six | my budget of news. Vale ! tiers of boxes filled with the élite of the city, presented on the VIENNA.—(From our own Correspondent).-At the Imperial opening night one of the most brilliant sights imaginable. The Opera-house, a lady of the name of Ernst- Kaiser appeared last house was literally crowded from the floor to the ceiling with a week as Alice in Robert le Diable. Her voice is completely vast and magnificent assemblage, numbering, I should think, worn out, and very sharp and disagreeable in the upper notes. not less than five thousand! On the evening of the 31st ultimo, She failed most signally. M. Vieuxtemps has given a concert, Linda di Chamounix was represented; the principal parts were in the Imperial Redoutensaal for the benefit of the Asylum for sustained by the Malles. Hensler and Bregazzi, and the Signors the Blind. The concert was announced to commence with MenPasi, Monari, and Benedetto Laura. Malle. Hensler, as a débu delssohn's overture to Ruy Blas, but Weber's overture to Oberon tante, was most generously received by the public. Her voice, one of was eventually substituted. M.Vieuxtemps played his concerto in the weakest ever heard, is not suitable for a large theatre. It is, D major, so popular here last year, especially the introduzione and however, flexible and sympathetic. Malle. Hensler executed adagio religioso, and also performed, for the first time in Vienna, some of the light passages with taste. Malle. Bregazzi (Pierotto) a new andante expressivo and rondo of his own composition. has a voice sufficiently strong, but is greatly deficient in the The celebrated artist was greatly applauded. Herr Steger knowledge of her art. Her singing is one continued strain upon sang an air from Sig. Verdi's Trovatore, and Madlle. Cornet the voice, and entirely without accent. Signor Pasi (Carlo) is a one from Bellini's Puritani. The room was very well tenor of mezzo-carattere. He sustained his part creditably, and filled. The fourth Quartet Concert took place the same was occasionally applauded. The bassi Monari, and Benedetto evening. The programme included a quartet by Haydn in Laura, were both so incompetent to sustain their respectiveB major, Beethoven's most charming Sonata in C minor, for pianoparts, that I was surprised how such artists could have been forte and violin, and a quintet in B major by Mozart. The last engaged for such a theatre. The general execution of this opera piece had never been heard in Vienna, and excited the greatest has been considered a failure. Il Trovatore will be given in a curiosity. The audience, especially the professional portion of few days. Afterwards are expected the new operas-Ines, by it, was delighted beyond expression. M. Vieuxtemps gave a Signor Chiaramonte, and Le Due Regine, by Signor Muzio; both second concert in the Saal der Musikfreunde. The programme of which have been expressly written for the Scala. Merca- | was highly attractive, consisting of a quartet in E major, by dante's Vestale is also spoken of as being in preparation. This Haydn: one in G major, by Mozart ; and one in C major, by evening, Jan. 6th, Olema la Schiava, a new ballet by Priora, will Beethoven. The other concerts given in the course of the week be produced. At the Theatre Carcano, Lucrezia Borgia—the were that of the Wiener Männergesang-Verein, and that of the principal parts sustained by the prima donna, Signora Melada; 1 | blind mandoline virtuoso, Vailati. The latter was but poorly the contralto, Signora Gibbs; and the tenor, Signor Miserocchi | attended. opened the carnival season on the 26th ult., with but indifferent HAMBURGH.—Mdlle. Augusta Geisthard has appeared successsuccess. The second representation proved a fiasco. Ernani | fully as Giralda in the opera of that name. was produced for the second opera, supported by the prima donna WIESBADEN.-M. Meyerbeer's Etoile du Nord and Mr. Balfe's Signora Donati, and the Signori Biondi and Ferrari. This, Bohemian Girl are in rehearsal, and will shortly be produced. also, proved a failure. On the 5th inst., La Donna Bianca | Die Entführung aus dem Serail has been revived and given d'Avenelle, libretto by Signor G. Rossi, music by the Maestro great satisfaction. C. Gallieri, was given, interpreted by the Signora Cominotti, and COBURG.-His Royal Highness the reigning Duke has made the Signori Biondi and Ferrari. It would be unjust to criticise Mad. Jenny Lutzer-Dingelstedt a present of a most valuable the new work until the execution is improved. Several calls bracelet. It is ornamented with a portrait of His Royal Highwere given for the composer during the representation of the ness set in a ground of dark blue enamel, surrounded by eight first part of the opera.

large diamonds of the first water. BREMEN.-On Tuesday, the 22nd instant, a concert was given FRANKFORT-ON-THE-MAINE.—Mdlle. Marie Cruvelli sang the here which proved unusually attractive. More than eight hun- part of Fides in Meyerbeer's Prophète, for the benefit of Herr dred persons-among them most of the fashionables and musical Auerbach, and was most enthusiastically applauded for her examateurs of the place—were present. Miss Arabella Goddard, cellent performance, considered both in a dramatic and musical the young English pianist, constituted the chief point of attrac point of view. tion. Her success was decided and unequivocal. The Bremen AMSTERDAM.—Mad. von Marra has prolonged her engagement, audience, generally so cold, received her after each performance and will appear shortly in M. Meyerbeer's Etoile du Nord, which with the loudest cheers and the most animated applause. Miss will be produced expressly for her. The manager, Herr de Goddard played Mendelssohn's concerto in G minor, and Thal- | Vries, has gone to Paris to obtain designs for the scenery and berg's fantasia on airs from Mosè in Egitto. Both created a dresses. furore, and both were enthusiastically encored. Miss Goddard ST. PETERSBURGH.-Donizetti's Poliuto has been very favourably repeated the last movement of the concerto with even encreased received. M. Meyerbeer's Prophète has been given under the effect; and after the Mosè fantasia, executed some minor title of The Siege of Ghent, Mad. Tedesco sustaining the part of pieces, with which the audience seemed hardly less astonished Fides, and Sig. Tamberlik that of Jean de Leyde. The so-called and delighted than at her previous performances. The fair“ Academies,” consisting of scenes from various operas, are very pianist was again recalled, and literally overwhelmed with accla- popular, and draw great houses. Madlle. Marai has made a mations and bravos. So great an excitement has not been great “hit." created in Bremen for many years.

COLOGNE.—The opera company have returned from Antwerp, BERLIN.-(From our own Correspondent.)— There is such a and recommenced their regular performances. Don Juan, I dearth of musical news, this week, that I almost fear what I Montecchi e Capuletti, and Lucrezia Borgia have been given. have to tell you will scarcely be worth the money it will cost | Madlle. Wille, from the Conservatory at Paris, made her first for postage. Perhaps, however, I may as well write, if it is appearance as Romeo. The Brothers Wieniawski passed through merely to inform you that I am still in the land of the living, this city last Tuesday, on their way to Brussels, whence they and that the principal event of musical interest is the return of proceed to play at Hanover. Madlle. Agnes Büry, who will shortly make her debut as Amina, DRESDEN.-Mdlle. Ney has appeared in Herr Marschner's

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