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BOOAEY'S OPERA JOURNAL FOR TNGLAND AND FRANCE.-The most popular Waltz,

U in which the favourite melodies of France, England, Ireland, and Scotland PIANOFORTE-FOUR HANDS.

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SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,

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ORIGINAL CORRESPONDENCE.

from Col. Phipps' letter to me, written with yours before him :

“The receipt of the whole of Mr. Hill's salary that is due to him, HER MAJESTY'S PRIVATE BAND.

as of every other member of the Private Band, is certified to me To the Editor of the Musical World.

quarterly by their own signatures to the receipts, which you SIR,—Circumstances have arisen which make it most desirable

know that I examine separately, and particularly to see that that the letters which have passed between me and the Master

they correspond with the sums charged.” of Her Majesty's Private Band, on the subject of my resignation,

I am ready to show you, or any one else, Col. Phipps' letter, should be made public, for the satisfaction of all parties. Your

action of a parties Yound on their calling upon me. I should be glad if you would give condescending to afford them a corner of your valuable space

e me the name of the author of such a libellous falsehood. I am will be esteemed a great favour by yours, most respectfully,

only waiting to catch the party. Yours, in great haste, May 8th, 1855.

H. HILL.
"To H. Hill, Esq.

G. F. ANDERSON. P.S. The letters themselves require little or no comment. P.S. If you pass this way to-morrow, I will show you Colonel I would simply premise that my salary was originally £100 per Phipps' letter, and pay you 108. I also want you to sign your annum, with various privileges. I resigned for the first time receipt, in order that I may make out my accounts. about three years ago, from the painful and miserable humiliations I had at times to undergo. I returned again, after an

(COPY 3.) interview and some letters having passed between me and the

G. F. Anderson, Esq. Band-master, in one of which I had rashly said I would rather

April 21st, 1855. take £20 less salary tban suffer what I had hitherto done. On DEAR SIR,-The units of animosity swell when they are once this basis, twenty pounds a-year less, I remained until April 19th, brought into a heap by some untoward event and told over by 1855. The value of the appointment at the moment of my the nice accuracy of vindictive malice, and a very small amount leaving, was as follows : salary, £80; supper money, £5 : total of acquiescence serves to embalm a scandal and fix the conse£85 per annum ; from which deduct £5 income tax; expenses quences on a man for ever. “The nonsensical libels," as you annually incurred in the performance of the duties, nearly £25;] term them, now going the round, are not the fruits of a day; they leaving a net salary of about £55 per annum.

have been maturing for a long time, a very long time, from

many and various causes, as must be evident to every dispas(Copy 1.)

sionate person in any way acquainted with the evils in question ;

April 19th, 1855. they have been suffered to exist, perhaps from indifference or G. F. Anderson, Esq.

contempt, or else very clumsy expedients have been used to supDEAR SIR,_In times past, when an artiste was engaged to

press them. serve Her Most Gracious Majesty as a musician, the employ

The scandal pointed at in my letter is not a thing of a moment reflected at least some shade of honour upon him ; but re

ment; it has been stinging my ears for some time; many of cent events have changed all; and the once-valued distinction

your own actions and admissions have given it great countenance, has now become a bye-word and a shame.

at least in my opinion. When you said but lately " that the money Pray do me the favour to accept my resignation of the appoint

was reserved to pay deputies in my absence," there was only a ment I have hitherto held in Her Majesty's Private Band.

small parcel of words wanting to make it a very ugly affair. I need hardly say that, in alluding to those shameful reports

As it is very well known that I paid for my deputies on all with which the ears of the entire musical profession have been

occasions, and dearly too, your recent offer to me, viz., a willingstuffed of late, I am animated by one sole desire to preserve to

ness to pay the whole expense of my deputy this winter at myself an unsullied name. Amongst other scandals, it is said,

Windsor, an offer to intercede, and a fervent expression of a that you receive £100 per annum on account of my services, pay

wish to see my salary raised to the original amount, viz., me 280, and apply the rest after the dictates of your private

£100 per annum, all appear to me so many hypocritical judgment; also, that I am a consenting party, in order to avoid

coquetries employed to get rid of a difficulty; and it has not a rigorous performance of my duties. Can anything be more

been easy to resist the inevitable impression-coming so pointedly degrading than such a scandal ? A very small amount of reflec.

as they did in the wake of those notorious epistles--that cogent tion must convince you that my resignation is the only reason

reasons might exist for such a mode of proceeding; hence my reable solution to an imputation alike dishonourable to you and

fusal of the proffered favours, which seemed to me to savour of Your's truly, to me,

complicity. "I may have done you wrong; but I took the clear H. HILL.

path, as even you must allow the giving up of names to shield

oneself, or to justify a deliberate act, has something of the pol(COPY 2.)

troon in it, and not a little of the knave. If I have been wrong 34, Nottingham Place, York Gate, Regent's Park, in the inferences in a measure forced upon me by what seemed April 20th, 1855.

clear and sterling reasons, the consequences must rest with me. DEAR SIR, I have this morning received your letter of yes. These matters have

These matters have been too long the subject of comment in terday's date, which, I must confess, has astonished me beyond every circle to be a secret, and I decline the unenviable employ. measure.

ment of an informer.

Yours, H. Hill. I immediately placed it before the Hon. Col. Phipps, who is P.S.--The letter of the Hon. C. B. Phipps being, as you say, so equally surprised as myself at your paying any attention to such complete a vindication, why not publish both side by side, and so absurd and libellous nonsense. I quote the following passage start clear with the world at once.

PRINCIPAL AND DEPUTY.

to the presence of some of the most intolerable offences to which either To the Editor of the Musical World.

the ear or the principles of harmony need ever be subjected. Of • SIR;-Can you, or any of your readers, inform me whether the gen.

rhythmic melody they have but the faintest trace-of its commoner tleman who liberally pays his deputy one-fourth the amount he re

form, tune, they are absolutely destitute. If it were possible to extract ceived, is the same who proposed to reduce the salaries of the orchestra,

from either of these songs two consecutive bars which the memory to meet the increased expenditure consequent on the engagement of

could, for an instant, retain, it would be only because the privileged Herr Wagner ? I enclose my card.

phrase was as wholly familiar and common-place as the “ifs” and “ands" May sih.

CROTCHET.

of conversation. Once, indeed (in the last movement of the second (Not knowing, can't say.--Ed. M. W.)

song), the composer ventures out of this monotonous kind of “plain song” in quest of some freer-handed tune; but it is only to perpetrato

such a dismal suite of melodic progressions that the singer need well be THE OXFORD MUSICAL CHAIR.

without ears who would attempt its correct execution, and his auditors

had better share the defect if they would promise its patient endurance. To the Editor of the Musical World.

But, unmeaning, absurd, even disagreeable, as is the voice-part of DEAR SIR,-Can you inform me if the appointment of Professor | these songs, their harmonic structure-form, in the technical sense of of Music to the University of Oxford, which has lately fallen vacant the word, they have none-is still more reprehensible. It reminds us through the demise of Sir H, R. Bishop, is yet made. Or, if not, how | of nothing but the “extemporizing” of some man who, ignorant of soon it is likely to be made, and who is to receive the distinguished | music, bas discovered a number of chords on the pianoforte, and honour.

straightway proceeds to string them together, wholly insensible to Your attention in next Saturday's World will oblige, dear sir, their want of mutual relation. In the absence of some ready means of Yours faithfully,

An Old OXONIAN. | quotation, it is very difficult to elucidate points of this kind; but May 8th, 1855.

having gone so far in general fault-finding, we feel it necessary to make The Rev. Sir Frederick Gore O useley, a distinguished amateur, is,

the best reference to particulars that this species of review will permit. we understand, to succeed the late Sir Henry Bishop.-ED. M. W.]

" If, for instance, the first song “Dost thou breathe with me," can be said

to be in any key at all, it is in C major. This being premised, the sym

phony opens in E natural major (in iterated triplets of quavers—u figure TWO SONGS BY RICHARD WAGNER. that continues throughout the accompaniment), in the second bar we

have the first inversion of the chord of A flat major, in the third bar, the (From the Sunday Times.)

second inversion of the dominant seventh in D, and in the two following THE more we see and hear of Herr Richard Wagner, the more are bars the ninth and seventh on G. On this same chord, in the following we convinced of the soundness of our first opinion, that, however ex-bar, the song commences and leads, with wonderful abruptness, to the traordinary a man he may be in other things, to whatever extent he tonic harmony with a sharp fifth; and from thence onwards, for fifmay possess the general impulse of the artist, music is not his special teen bars, the harmonic succession is, essentially, as follows:-7 on E; birthgift--is not for him au articulate language, or a beautiful form of F; 6 on A; B natural major; 7 on D; 7 on G; C major and minor; expression. We have examined the two compositions under notice with 6 on G; A minor; 7 on B ; 4-2 on C; 6 on B; A minor; and unusual care, anxious to catch any glimpse of this “music of the future," thence, by a 6-4 and 7 on D to a close in G. This is tolerably which is to redeem all the short-comings of the past-determined, if | wandering for the number of bars occupied : but immediately tho possible, to discover the source of that mystic light which is, we are song recommences in E flat, and goes through an almost precisely told, fast making its way into every nook and cranny of the old German parallel course of modulation-if it ought to be so termed with the mind, and is destined thereout to banish all the accumulated darkness exception that this time, at the expiration of the fifteen bars, provision of the two last centuries. We may be unfortunate, or we may be dense. is made for a return to C major, after which a few more bars of We may not have secured the key to this great music-mystery, or we wandering among major and minor chords bring this “composition" may be in that state of invincible ignorance impolitely termed obstinacy; | to a close. Anything more rambling, incoherent, and unmasterly than but, be it as it may, we are, on the evidence before us, forced to adopt | all this cannot be conceived ; and its unsatisfactory effect is in no one of two conclusions- either Richard Wagner is a desperate charlatan, degree alleviated by the fact that the voice parts have nowhere a endowed with worldly skill and vigorous purpose enough to persuade a higher function than that of bearing some portion of the harmonygaping crowd that the nauseous compound he manufactures has some melody, in any known sense of the term, it has literally none. The precious inner virtue, that they must live and ponder get more ere they second song is equally abundant in stupid and unmeaning oddities. It perceive; or else he is a self-deceived enthusiast, who thoroughly believes commences in G minor, and the first unreasonable thing that occurs is his own apostolic mission, and is too utterly destitute of any perception that, within the first nine bars, we are thrice treated to a succession of of musical beauty to recognise the worthlessness of his credentials. the minor and the major of the same tonic. Immediately afterwards It may be objected that neither of such strong conclusions can be there is, by a 6-4 on A, a pretence of going into D minor, wbich is as justified on the evidence of two small songs--that they are the vaga. immediately broken by a dominant seventh on D, and a return to G bonds, the mere waifs and strays of a great man's invention—and that minor, whereupon the 6-4 on A re-appears, but, this time, to lead to its by his large works alone can his position in art be fairly estimated. legitimate consequences. Three long chords, D minor, C major, and Obvious as is such an objection, it is but so partially true that we can B flat, disposed in the well-known and well-worn ecclesiastical fashion, not permit its interference in the present case. Take the small published now lead to the only consistent morsel in either of the songs, name y, songs of such men as the whole world has consented to dignify-say a page of very common-place, vocal material, accompanied with Mozart, Beethoven, and Mendelssohn. We find in them nothing tremolando all in B flat, except the transition to D major, with which ugly, awkward, unmusical. We recognise in each instance distinct in- it closes. And now comes one of the most barbarous things which dividuality, and a step in advance of mere precedent. But in each case, | listeners of ordinary sensitiveness are likely, in much experience, toalso, the originality, sometimes even oddity, is never paraded for its own encounter. The ear has been feasted for the very unusual daration of sake ; it is a part of the man's own nature, and is always subordinated | an entire page, with the key of B flat major, and at its close occurs the to come purpose to which it unfailingly ministers. Furthermore, these following precious succession--D major, C sharp minor, B antural men of the past nerer leave is without a witness of the divinity of minor, and all within three bars! And all this cacophony for what, their mission in the all-pervading presence of beauty-not beauty | think our musical readers ? Merely that this last chord of B minor shrouded in enigma, that may or may not, at some period of "the may give place to a 6.4 3 on A, and thus introduce the second move. future," be unveiled; but beauty, clear, actual, fresh, appreciable by all. ment of the song in G major!-an end which any one, unless, indeed, Truly, it is possible that no one might, from one of Beethoven's small very far gone in the “future,” might have accomplished in an infinitely songs, have predicted that colossal operation of genius which produced, easier, neater, and more agreeable manner. This second movement the Ninth Symphony; but no one, also, could examine the least of we have already alluded to, for the especial ugliness of its theme, and these things without perceiving the thoughts of a man of genius, or we may safely challenge any one to play it over without wincing. But dered and refined by the hands of a master. Now, looking at Herr this is not all. Remembering that this movement is essentially in G Wagner's two songs in this spirit, distrustful of the probability that | major, we have its last five bars but three occupied with the following Liszt, and half Germany, have gone mad, and sincerely anxious to disteeth-wetting harmonic series-B major, G sharp major, C sharp cover all or any part of what they profess to admire, we are obliged to minor, 6-5 on A, diminished seventh on A sharp, 6-4 on B, 6-5 on 0

own our conviction that these compositions are remarkable only for the sbarp, and thence with the usual dominant cadence on D to the original AVSE

absence of everything that has been deemed beautiful in music, added key. So that, in order to bring this very trumpery, and, indeed, ugly,

movement-only thirty-eight bars of real length to a close, it is still fascinates and enchants in the Muletier de Tolède; Madame thought necessary, clever, and, we presume, “future,” to load its last | De Lauters still charms all comers to the Théâtre-Lyrique with five bars with modulation into all but as many keys!

her lovely voice in Robin des Bois (Der Freischütz). As even a And we are really to accept this wild senseless dabbling about among fly may be gorged with treacle, or a liquorish-tongued youth be chords, without form, without idea, invention, expression, as music! cloyed with sweets if turned loose in a grocer's shop, so may the As music, too, which is to make us think of Mendelssohn only as the musical critic have his taste palled and his palate spoilt by “ Jew," and of Mozart and Beethoven-the rest utterly out of sight

feasting too long on the same musical delicacies. Would that as mere timid hangers on about those portals of truth, through which,

the Exhibition might open ; would that the sky might change, for first and foremost of the world, Richard Wagner has hewn his way! The time has long past for such absurdities to prevail. That they may

then the strains of Verdi should be heard at the Grand, and the partially succeed in a country where men expend so much of their

new music of Daniel Auber (entitled Jenny Bell), delight at the lives in investigating the mechanism of thought that they have no

Comic Opera. The Théâtre-Lyrique also is ready with an opera time left for its use, we can believe ; but they will fail in England.

entitled Jaquarita. Indeed, all is ready to burst with blossom The public, in deference to their own ears, will not accept them, and the

| at the various musical establishments, when watered by the English musicians are infinitely too well educated to permit their | plentiful-descending rain, which, in the shape of five-iranc convictions to be shaken by such a poor form of heresy as this. pieces, is expected to fall from the pockets of strangers and Speaking of these two songs in particular, we do not hesitate to pro. | others during the ensuing months. nounce them not music at all. If a joke is intended in their publi.! The Demi-Monde still holds its triumphant course at the cation, it is a bad one ; but if put forth seriously, their author must be Gymnase, having already been represented forty-seven either one of the most daring quacks, or one of the most self-deluded times. It is a capital subject for burlesquing, and I need hardly beings in existence.

say the opportunity has not been lost by those who hold the We have been unusually serious about what would seem an unworthy

facile pens wherewith vaudevilles are written for the minor matter, because we deem the occasion ripe, and the time for speaking theatres. Le Quart du Monde at the Variétés, and Le Monde out all too long delayed. At a period when English musicians find Camelotte at the Palais-Royal are among the best of the squibs. the utmost difficulty in procuring publicity for their works, or the

The Vaudeville has recommenced a successful run of La Dame slightest recognition of their claims to notice, we have had another

aux Camélias, with M, Fechter in his original part, and Malle. foreigner foisted on us still further to mystify the public, still more to

Page as the fair, frail, and interesting lady. Malle. Page has divert their attention from the just claims of their artist-countrymen. As a conductor, Herr Wagner has done nothing more than half a

triumphed over her rival, Mad. Doche, who is now starring it dozen Englishmen would have done better; and, in the matter of

at Brussels as La Baronne d'Ange in the Demi-Monde, a part composition, it would be a scandal to compare him with the men of

for which she has peculiar qualifications. Mesdames Page and reputation this country possesses. Scarcely the most ordinary ballad

Doche had a lively discussion some year or two back à propos of writer but would shame him in the creation of melody, and we a part in a new play, which last of the ladies was anxious to sincerely hope no English harmonist of more than year's growth 1“ create.” From words they proceeded---not to blows-but to could be found sufficiently without ears and education to pen such vile letters published in the Constitutionnel, and went to such extremithings as we have now bad occasion to notice.

ties, as at last to light upon the question of their respective ages,

Nothing could be more merciless than the way in which each of PARIS.

the fair disputants tore the mask from the face of the other.

regardless of rouge, enamel, false hair, and all the various (From our own Correspondent.)

et ceteras which constitute a stage make-up. In the end, Mad. The busy sound of numberless hammers, the ceaseless hum of Doche gave her rival the coup-de-grâce with a mot which gained a thousand voices, and all the various notes of preparation for great applause for the time, and fairly drove Malle. Page from the great Exhibition, are heard incessantly in the New Palace of the field. Both ladies were present at a ball given by a wellthe Champs Elysées. The work advances, but like Penelope's known artist. Late in the evening, an old gentleman with grey web, something ever remains to be done, and the design as yet | hair and faltering gait, unknown to the greater part of the is far removed from completion. At present there seems every guests, tottered into the room. “Qui est-ce Monsieur là?', prospect of the opening being further postponed, and those best enquired some one of Mad. Doche. “Je ne sais pas," replied she, capable of judging say, that labour by night and by day must ‘mais c'est probablement le fils ainé de Mdlle. Page." be well directed to ensure the doors being opened on the 1st I hear that Berlioz's “Te Deum," performed on the 30th at of June. As with the industrial so with the musical world. the church of Saint Eustache, with its nine hundred executants, There also has been postponement; there are also continu- | had a great success. I hope on its second performance-which ous preparations and incessant rehearsals of productions of is reserved for the taking of Sebastopol, or a decisive victory in foreign and native growth, which are to be represented before the Crimea-to send you a full account of its merits-and deall nations when attracted to Paris in the present summer. merits, if it possess any. Meanwhile, as chorus-masters, ballet-masters, leaders of orches. In a few days the various objects of art and curiosity which tras, and conductors are respectively drilling their various decorated the saloons of M. Nestor Roqueplan, will be brought squads, coaxing some, threatening others, and fining almost all ; | to the hammer in the Salle Drouet. Marbles, bronzes, pictures, as rehearsals by day and night weary the throats of singers, the china, and nic-nacs, have been accumulated for years, with the legs of the ballerini, the fingers of the fiddlers, and the lips taste of a connoisseur and the passion of a collector. The sale of the “wind;" so the public, finding nought at the theatres excites much interest, as it comprises many articles, souvenirs of save stale viands and diluted drink, are preserving their purses M. Roqueplan's connection with the musical world of Paris. and their stomachs to enjoy the more stimulating and nutritious | Another change takes place in the feuilleton of the Presse, to diet which will next month be placed before them. What can a which M. Roqueplan was appointed, on the secession of M. Theomusical correspondent say?--what can be do? Has he not phile Gautier to the dramatic chair of the Moniteur. M. Roquealready described the merits of Malle. Sophie Cruvelli in the plan has just received a grant of ground from Government in the Huguenots and Juive? The celebrated prima donna now sings newly-opened promenade of the Bois de Boulogne. There he has in no other operas, though she rehearses the Sicilian Vespers undertaken to rear and exploit cafés, restaurants, salles de danse, four or five times a-week. Has he not recounted the triumph etc., etc., and his time will be so much occupied with his new purachieved by Madame Stoltz in the Prophète ? Fides, for the suits, that he is unable to justruct and enlighten the numerous present, is her only part. Has he not dilated on the grace, readers of the Presse. He, therefore, makes way for M. Paul de tenderness, and beauty of Rosati in La Fonti? Her merry, Saint Victor of the Pays; who is in his turn succeeded by M. Méry, twinkling steps are applauded in that ballet alone. Caroline the poet; who, in his Nuits à Londres and other works, has Duprez in Les Diamants de la Couronne, Mdlle. Lefebvre in Le shewn such a thoroug'i, learned, and critical acquaintance with, Chien du Jardinier, Malle. Miolan in Le Pré aux Clercs, and La and appreciation of English literature, manners, and customs. Cour de Célimène, have received their due meed of praise, and lo! | Indeed, so profound is M Méry, that few of the inhabitants of no other notes are heard at the Opéra-Comique." Marie Cabel your foggy and semi-civilized island have been able to recognise

their literature or their manners, as depicted by him—without the new pieces having been pronounced failures, after a few retorches.

presentations. Much praise is given to Madame Gionfredi in M. Eugène Serret's new play has been produced at the Odéon the part of Leonora, and to Signor Mazzanti, who possesses a with considerable success. It was, as I told you, delayed for good voice, but is wanting in cultivation, whilst, on the contrary, some time by the Stage Censor, and its original title of Le Bon- | the tenor, Signor Mongini has a small voice, but sings with heur du Riche has, by superior command, been exchanged for method. The other singers are indifferent, the chorus all at that of Le Mauvais Riche. Here is the plot in two words:-A sixes and sevens, and the orchestra is alone worthy of comfather has a son and a friend. He has remained poor from mendation. motives of conscience. The friend, having a conscience, more At Milan, musical matters are at a stand-still. Not a theatre pliable, has become rich.—Which course is the son to follow ? open since the 15th of April. A death-like silence pervades the He now inclines to the right, now to the left. In the end he not whole city; the only sounds musical heard are those of the Ausonly preserves his honour, but also acquires riches. Such is the trian military bands; but all good Italians scout the idea of lisidea, obviously enough borrowed from Ponsard's play of L'Hon- tening to the music of the forestieri, plug up their ears, and close neur et L'Argent. The new comedy, however, is neatly written their windows to exclude the unwelcome harmony, and prefer a and well acted; its success is merited, though in a great degree famine to receiving aught from their oppressors. · attributable to the interest excited by the cause which post- At Mantua, Mad. Barbieri-Nini has obtained immense success poned the date of its representation.

in Rossini's Mosè. The directors of many of the Parisian theatres have been At Genoa the new opera by Sig. Pedrotti, Fiorina, has been lately discussing the propriety of applying to the Government successful for permission to increase the prices of admission. No doubt

FOREIGN MISCELLANEOUS. they are mainly moved thereto by the hope of drawing large sums from foreign and provincial pockets, during the Exhibition

VIENNA.–At the Imperial Operahouse, a new tenor, Signor Roppa, months; and they desire to follow in the footsteps of the pro

telegraphed to replace Signor Bettini (indisposed), appeared as Genprietors of cafés and restaurants, the inn-keepers and lodging

naro, in Lucrezia Borgia, with little success. A new ballet, entitled,

Meline, in which Mdlle. Priora, from Paris, sustained the principal house-keepers, who are demanding fabulous sums for the various

character, was a failure. Signor Bettini, on his recovery, re-appeared items of bed, board, and lodging. However, they cannot stir in the Trovatore.- At Herr Rubenstein's fifth and last concert, he was without the sanction of the Government, to whom they would assisted by Madame Tuczek-Herrenburg, who sang a polacca from the be compelled to furnish some reasonable ground for so unpopular Earl of Westmoreland's Opera, L'Eroe di Lancastro. Herr Rubena proceeding. They therefore contend, first :-That artists are stein himself played several pieces.--The third concert of the pupils of now paid three times as much as they received fifteen years the Academie der Tonkunst (Academy of Music) took place, on the ago, when the present tariff was established ; secondly:-That 27th ult., in the Grosser Landhaus-Saal. The efforts of the pupils, five francs go no further now-a-days than they did then ; thirdly: generally speaking, reflected great credit on their professors, who -That the stage expenses have assumed gigantic proportions, nerertheless should not allow them to attempt pieces too difficult for mere for they now represent in reality, what was previously beginners.-The third annual report of the Deutsche Tonhalle bas been painted in imitation. All this is ingenious enough. but issued. The institution, at the end of its first year had one bundred will hardly be listened to. ' A theatre is as necessary to a

and seventy-one members, and two hundred and sixty-eiglit, at the end · Frenchman as are his coffee and petit verre; or as tea

of the second. At present, there are four hundred. In 1852-53, the to dowagers, and porter to draymen, on your side of the

receipts were 299 florins 47 kreutzers; and in 1853-54, 445 florins 59 channel. Each successive Government, Imperial, Royal, Con

kreutzers.-- M. Flotow is writing a new opera, called Albin, the text by sular, or Republican, has been thoroughly acquainted with this

Herr Mosenthal.

Berlin.-On Thursday, the members of the Singacademie, performed fact, and paid large sums of money from the public purse, in the

The Creation. The solo parts were sustained by Herren Mantius and shape of “subvention ” to the great Parisian theatres. But, in Krause. Mad. Hahnemann and Malle, Geisler. The choruses were truth, those theatres which are well managed, answer admirably, remarkable for precision and spirit. On Sunday, in the music-room of whether subventioned or not. The Opéra-Comique receives a the Theatre Royal, in aid of the sufferers by the inundations of the “subvention ;" the Théâtre-Lyrique has none. Both are under Weichsel, there was a performance of Die letzten Tage von Pompeji, an one management; each pays well ; but I question whether the opera by Herr August Pabst, of Königsberg, wbich was represented, Théâtre-Lyrique does not present the better balance-sheet at the some years ago, in Dresden. The book, by Dr. Jul. Pabst, is founded end of the year. The Odéon and the Gymnase may be taken as on Bulwer's romance. The overture was played by the full band; the another example ; and I doubt whether there could be found in pieces were accompanied by Herr Golde on the piano. Mesdlles. Büry, Europe, a theatre which, without receiving a farthing of public Hoppe, Löwgreen, von Meddelhammer, Herren Formes, Krüger, and money, produces more good plays, brings more money to the Zschiesche, were the singers. treasury, or does more honour to its direction than the Gymnase,

Kroll's chapel, whichi, since the closing of the establishment, has under the superintendance of the accomplished actress who

settled at Kemperhof, is very attractive. The symphonies of the great presides over its destinies--Mad. Rose Chéri. ,

masters are admirably played. When the financial affairs of Kroll's establishment are arranged, Herr Engel will reopen the theatre, -pro.

bably on the 15th inst. Opera will be excluded from the répertoire. ITALY.

DRESDEN.-During the last three months there have been twenty-six (From a Correspondent.)

operatic representations at the Royal Opera House, with one novelty, The religious element has suspended all the theatres at Meyerbeer's Etoile du Nord, and one revival, Bellini's Sonnambula. Naples, and they will not re-open until the 13th of May. Saint The names of Mozart, Beethoven, and Gluck, have not once appeared in January is the cause of this suspension: but, as all the churches he bille. will produce their grandest composition in honour of the patron HANOVER.-On the 15th ult., Auber's Lac des Fées was produced saint of Naples, and there will be no end of processions, the with great splendour, in honour of the birthday of Her Majesty the Neapolitans' are likely to be rather the gainers by this event. Qucen. The theatre was decked out with numerous extra gas-jets, especially as both the San Carlo and the Fondo have given but bouquets, a

bouquets, and garlands. The scenery was painted by Professor small signs of vitality during the past season, and have but in

Gropius, of Berlin, and the macbinery constructed under the different chance of success in their future operations. The di

inspection of Herr Daubner, of the same city. The representation was rection of both theatres has again changed hands, and much is

one of the most successful ever given in our theatre. Mdile. Geisthardt, expected from the company which has undertaken the manage

who sustained the part of Zeila, was presented, by the Queen, with a ment of all the Neapolitan theatres, and which has chosen for

handsome bracelet. Herren Gropius and Daubner received from the

King the gold Medal for Arts and Scieuces. its leader Peter Barbaja, son of the celebrated manager Barbaja.

Dessau.—The new theatre is already begun, and will, it is expected, We shall see what we shall see , although what can be expected bo finished this autumn. from a second-rate company, worn-out operas, and detestable COPENHAGEN.-Schumann's Paradies und die Peri was given for the ballets, we are at a loss to divine.

first time in this capital, at the seventh subscription concert of the MuAt Florence, Il Trovatore has been reproduced with success, sical Union.

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