of the "genial south" in it. Nerertheless, it is cleverly written, and direct the Philharmonic Concerts, an essential article of though not easy to play at the proper speed, lies well for the hand. As whose faith was, necessarily, that all such performances a poet, Herr Francesco Berger seems about as greatly inspired by the influence of Italian skies as his compatriot who went to Venice-no

(performances of “absolute music") helped to perpetuate an more.

unnatural error-an error which the great masters had comThere is more tune-rhythmical danccable tune-in Mr. Baker's mitted, innocently, and thereby placed the art in a false and pretty and lively Mazurka, “Geraldine (No. 11), than in any of the ridiculous position! It is Herr Wagner's mission to demolish, foreign compositions of the same class we have just reviewed. But,

not to conduct, orchestral symphonies. Really, this was very unfortunately, the tune is not by any means original.

thoughtless of the Philharmonic directors.

The whole history of the Philharmonic Society for 1855 is THE MUSICAL WORLD.

comprised in the engagement and the doings of Herr

Wagner-of which so much has been said of late that for LONDON, SATURDAY, JULY 21st, 1855.

the present there is nothing more to be said.

The New Philharmonic Society has become a charity; and Although in many respects—and for evident reasons-not

as such we hope it may prosper. But it loses its distinctive a prosperous one, the year 1855 will be remembered, for more

position as an art-institution; and for this we are sorry, than one cause, by the Philharmonic Society. It has

since we always thought it destined to effect considerable solved a great problem in England—the problem of Richard

good as an opposition society, keeping the elder one on its Wagner. The name of this singular man has so long repre

behaviour. The first four concerts of the season were consented from afar something strange and mysterious, the

ducted by Dr. Wylde, so satisfactorily, that it was proved nature of which strangeness and mystery was wholly un

there was no necessity for another conductor. Thus M. known, that those in England who thought seriously about music and its interests, perused the announcement of his

Berlioz came to no purpose; and it must also be stated that

very little justice was done to his works, and had he not been approaching advent with a sentiment of intense curiosity,

decidedly popular with the English public his reputation mingled with distrust. Some who knew Herr Wagner

| might have been perilled. The programmes of the New prophesied that he would succeed in doing in this country

Philharmonic have not been rich in novelty this year. The what he had failed to accomplish in his own-give

new cantata of Mr. Howard Glover must, therefore, be proa new form to art, and a new impulse to art-progress.

nounced the one feature of the season; and its success has Others, however, who also knew and better understood

shown that there is no “absolute” danger in producing the him, were in no anxiety about the result, entertaining a thorough conviction that Herr Wagner, his doctrines, and

works of English composers. his music, would make little way in London, where a healthy taste for music was general, and the presence and MR. W. FARREN has retired from the stage, of which he example of some of the great modern composers had exer- was so distinguished an ornament for nearly fifty years. cised so strong an influence. Herr Wagner would have to He took his farewell benefit at the Haymarket on Monday dispel the belief in Mendelssohn, and to lay the mighty spirit night, and was assisted by nearly all the leading comedians of Händel, before he could march a step in his crusade. The of the metropolis, who gathered round him, anxious to pay dead masters, however, were too much for him. Although their last tribute of respect to the man and the actor. The they lived a century apart, each had spoken a great truth, scene was interesting. Mr. W. Farren was so overcome, which only sophists would dare to assail, and which a whole that he could hardly utter the words of his part, and, when army of sophists would be unable to root out of the heart of finally summoned to appear at the end of The Clandestine the people. Thus, in a great measure, sacred music—against Marriage, he was powerless with emotion. The exhibition which the composer of Tannhäuser and Lohengrin is for ever of a general shaking of hands between Mr. Farren and his railing*--proved a stumbling-block that upset him, and stage comrades, before the eyes of the audience, had better ruined all his hopes in Greilt Britain. He was fairly van- have been omitted, since it only served to increase the emoquished.

tion of Mr. Farren, and was therefore unnecessary. Mr. Harley And yet no innovator was e ver allowed a better chance of threw his arms round the neck of his old associate ; and this establishing his innovations. With one of the finest orches-was a genuine display of feeling honourable to both; nevertras in the world at his command, and a full license to intro- theless it was more suited to the green-room than the stage, duce his own music, what moire could he desire! But it the public having nothing whatever to do with Mr. Harley's turned out that he had scarcely any music to bring forward. private affections. At least, he had none of what is termed by himself "absolute Of the old men in artificial comedy, from the moment he music"-music that exists inde, bendently, and aims to pro- made his first appearance in London, in 1818, up to the duce an effect on its own account, without reference to the present time, Mr. W. Farren was the sole acknowother arts. The theory of Herr Wagner condemns “absolute ledged great representative. His acting was characmusic," as an error. Music, ac cording to him, is a woman, terised by great finish, elaboration, and a judgment which that cannot be-or cannot be complete—without the man, never allowed him to run into extravagance. If possible, Poetry. All instrumental comp ositions, even the symphonies he was even too carefully an artist, and this scrupulous of Mozart and Beethoven, are simply confessions of the in exactness occasionally made his performances appear ability of music alone to e xpress anything. So that more laboured than natural. To speak truth, Mr. W. (unwittingly, doubtless) Messr s. Anderson, Card, and the Farren was a mannerist—but a mannerist in the best others, who had either not i sead or not understood the sense—such a mannerist as we may term Macready, and Wagner-books, invited a con luctor from beyond seas, to some of the most admirable comedians of the French, * It is a favourite theory with Herr Wagner that Mendelssohn's

Italian, and English stages. He belonged emphatically to popularity here was entirely owing to his having flattered our religious

genteel comedy, and, in every character, exhibited the ease prejudices in England by writing sa red music for us.

and deportment of good breeding. Although restricted to the personification of old men, Mr. Farren possessed unusual

ROYAL ITALIAN OPERA. versatility of talent, as those will readily allow who remember his Sir Peter Teazle, his Lord Ogilby, his Sir Harcourt

L'ETOILE DU NORD. Courtly, his Nicholas Flam, and his Grandfather Whitehead. WHEN the prospectus of the Royal Italian Opera was issued Each of these impersonations—which varied the semblance at the beginning of the year, it was announced that L'Etoile du of old age from fifty-five to eighty-was in its way a master. Nord, the last work of the composer of the Huguenots, would be piece. As a Shakesperian actor Mr Farren did not manll produced in the course of the season, very high, although his Malvolio, and still more his Justice

It was also anticipated with some degree of confidence that

M. Meyerbeer himself would come expressly to London to superShallow, which he played with signal success some years ago, intend the rehearsals. Both pledges have beeu redeemed. showed that he by no means wanted the power to appreciate L'Etoile du Nord has been produced, and with the rare advanand represent some of the more eccentric creations of our tages derived from the presence and active co-operation of the great dramatist.

author. The production of L'Etoile du Nord, were it for no Mr. W. Farren has left no successor. With him have other reason than that it has induced M. Meyerbeer to pay a departed the thorough-bred old gentlemen of high comedy,

visit to London, will constitute a memorable event in the annals and the representative of many parts in the French drama

of the Royal Italian Opera. Not only has L'Etoile du Nord

been brought out as promised, but with a splendour and comof which Perlet, Bouffé, and Vernet were the originals. But pleteness which could be conferred upon it at no other theatre a few years since our greatest tragedian bade farewell to the in the world. The cast included the names of Mesdames Bosio, scene of his triumphs; and now the most finished comedian Marai, Jenny Bauer, Rudersdorff, Signors Gardoni, Luchesi, in another line, whom the present generation has known has Lablache, Tagliafico, Polonini, M. Zelger, and Herr Formes. taken leave of the stage and its excitements for ever. Mr. / The mise-en-scène, for magnificence and variety, has hardly been Farren might with propriety have retired earlier; but had

equalled even at the Royal Italian Opera; and the dresses and he retired even later than he did, his last appearance in

decorations are new, gorgeous, and appropriate. With such aids

and accessories to the music of M. Meyerbeer, need we say the public would have still been an event to remember.

Etoile du Nord, achieved an eminent success on Thursday

night, when it was given for the first time in this country (we Miss ARABELLA GODDARD AT FLORENCE.—(Translated from L'Eco di Europa,of the 28th of June.)—Miss Arabella God

cannot take into consideration the weak attempt at Drury Lane),

before one of the most crowded and fashionable audiences of the dard gave her first grand concert yesterday evening in the concert room dell' Arte. The vocal part was good, and Madame

season. As the Etoile du Nord is not to be thoroughly appreGianfredi and Signori Bencich and Cruciani acquitted them

ciated at a single hearing, and so much is to be said respecting selves with much credit in several solos and duets.

the performance in general and the singers individually, we shall In the

refrain at present from entering into an analysis of the music, instrumental department Miss Goddard was assisted by Signor Strauss, a violinist of considerable feeling, and a perfect master

contenting ourselves with expressing our strong conviction that

the opera is one of the most original and admirable of its comof his instrument. But the great star of the evening was the

poser, and that in no other work has his genins been more charming English pianist, to whom we offer no apology for

plainly declared. The triumphs recorded at the Parisian theatres having spoken of her last, for in truth we are loth to part with

are not always to be depended on, but we sincerely believe that her, and consequently reserve her for the bonne-bouche. The

not a word in excess has been said in favour of the Etoile du number of our modern pianoforte players is legion, yet how

Nord. many are there truly great ? We own two only among those

Although, when the opera was first produced in Paris, we we have heard—Thalberg and Liszt. Miss Goddard has done

gave a sketch of the plot, we find it necessary again to recur to much, and indeed has but little more to do to stand side by side with these great artists.

the story, which we accordingly give in the following condensed: Possessed of the utmost composure,

form: she runs her fingers over the keys with so much agility and frankness, with so firm a touch, and at the same time so decided,

The action is divided into three parts or acts. The first takes place that she seems to sport with difficulties ; now producing a rapid

in Wibord, a village on the coast of Finland. A party of workmen are and prolonged trillo, now giving a smorzando, by degrees grow

reposing from their labours, and are drinking and making merry. One ing beautifully less, now flashing like lightning in rapid passages

of them, named Peters, wears a different look from the rest. He fis from one key to another, changing in a great measure the

proud and imperious, and takes little notice of his companions. A very nature of the instrument. The pianoforte is usually

mystery surrounds him. No one suspects him to be Peter, the Czar of

Russia. Why he comes to Wibord cannot be divined. Love is the considered as the most inexpressive of all instruments,

cause. Peters is enamoured of a young orphan girl, Catherine, brought from the difficulty of sustaining the sound, but such is the excellence of Miss Goddard's talent, and the superiority of destiny. Catherine comes to Wibord with her brother, Georges Saw.

up by a gipsy, who, on her death bed, predicted for her a brilliant the tones which she draws from it that, falling full upon the youski. She exercises an absolute control over the mind of Peters. An heart, they delight and ravish it. Her various pieces were occasion soon arises in which she displays this ascendancy. Sweden admirably executed; what precision, what colour, what perfec- and Russia are at war. Catherine has made arrangements for the tion of intonation, what sentiment! Genius is a sign held up to nuptials of her brother with Prascovia, niece to Meynolds, the keeper of command the admiration of all who are susceptible of refined a tavern. At the moment when the marriage procession is advancing feelings; what must it then be in one who combines with it a towards the chapel, a band of Tartars swoops down upon them and soul replete with divine inspirations? Guided by her genius,

threatens them with death. Peters seizes a hatchet and is about to Miss Goddard will advance onwards in her triumphal career,

attack the barbarians, but is presented by Catherine, who with a and gather fresh laurels in her progress. This is no vague

gesture awes and disperses them. He, in his turu, yielding to augury made by a deceitful prophet; the splendid success which

charms so irresistible, solicits her to unite her destiny to his. she has obtained in England, in Germany, latterly at Trieste,

She consents, on condition that he becomes a soldier. Peters and yesterday evening among ourselves, proves to demonstra

accepts the proposal, and placing a ring on the finger of his betrotbed, tion that we allude to facts already accomplished, and which

departs for the army with his friend Danilowitz. Catherine now looks authorise our believing in the brilliancy of her future career,

for her brother. Prascovia, in tears, informis her that Georges is

forcibly enlisted, and was on the point of setting out for the wars, unless and an uninterrupted series of triumphs. She will not forget,

a substitute be found. “I will find him one," cries Catherine, "prowe trust, our country, where she has been so well appreciated, vided he promises to join his regiment after the honeymoon.” The and when some day she again appears among us, as we hope bargain made, Catherine puts on male attire, and takes the place of her she may—she will revisit with pleasure the banks of the beau brother, to whom she bears a striking resemblance. The curtain falls tiful Arno, where she was saluted as a great artist.

on act the first. ODOARDO DE MONTEL. The second act passes in the camp of Marshal Tohérémétoff. Catherine,

looking the beau-ideal of a soldier, goes through the drill with a grace and have astonished the composer, more especially after the result precision which astonishes Gritzensko, the Tartar corporal, whom she has of the performance of Thursday night. M. Meyerbeer cannot charmed in her gipsy costume, and who is unable to account for the like-l be insensible to the services rendered to him by the conductor, ness between herself and her brother. The Czar arrives disguised, under the whose attention and perseverance were unparalleled. The pubname of Captain Peters, and is accompanied by Danilowitz. They repair

lic must have been aware of this, for Mr. Costa's reception was to the tent, and, as usual, indulge in copious libations of wine. Cathe enthusiastic when he came into the orchestra, and he was rine, who has been stationed outside the tent, peeps through an opening

honoured with a separate recall on the fall of the curtain, and in the canvass, and perceives that her lover has kept his word, and won

cheered by the whole house. his epaulette. Peters, however, has not given up his old habits. He gets

The opera occupied more than four hours in performance; intoxicated-sbe despises him; he drinks to his beloved Catherine-she pardons him. He sends for his cupbearers-two handsome vivandières,

but the difficulty is to know where to cut the music. The first and takes liberties with them. Catherine, excited to tears, wishes to go,

act cannot be interfered with. With the second it would be but cannot tear herself away. Gritzensko enters to relieve the guard.

almost as dangerous to meddle. The last act might be abbreCatherine pays no attention to him; and, upon the corporal calling her

viated with less danger. The trio between Peter, Danilowitz, to do her duty, strikes him in the face. Furious at this insult, the and Gritzenzo-in which the latter goes over old ground in Tartar drags the offender into the tent, and demands justice of the describing the escape of Catherine-though fine music and captain. The Czar, stupified with drink, does not recognise his be- highly characteristic, and the duet between Giorgio and Prastrothed, and orders her to be shot. Catherine, more touched at Peters' covia, equally good and striking, may be omitted without inconstancy and debasement than at her own fate, utters a cry of weakening the general design of the opera. Something must be despair and rushes from the tent. The Czar is recalled to reason. The done. Among other things, Mr. Costa should set his face entirely voice and features of the young soldier remind him of Catherine. He against encores. When reduced to under four hours the perforsends a message to bring him back. He is informed that the young

| mance of L'Etoile du Nord will be still more effective. soldier has thrown himself into the river, and that the sentinels have In estimating the merits of the performers, we are at a loss to fired on him. At the same time a conspiracy breaks out in the army,

which the preference should be given. Mdme. Bosio, Mdlle. and entire regiments threaten to desert to the enemy. Peters rushes

Marai, Herr Formes, Signori Gardoni and Lablache were into the midst of them, and offers to deliver the Czar, alone and unarmed, into their hands. “Bring him hither," they cry, with loud

allotted the most important parts, and were irreproachable in

every respect. Mad. Bosio was somewhat timid at first the shouts. “Behold him !” exclaims Peters, uncovering his breast : “now -strike!" At these words the troops prostrate themselves before the

music being so different from that to which she was accustomed. Czar, who pardons them, and bids them follow him to the field of

One of the most accomplished singers of the pure Italian school, battle.

she could scarcely venture upon the Opéra-Comique without The third act takes place at Moscow. In a remote part of some trepidation. There was, however, no cause for fear. If the gardens of the palace, the Czar has built a little village, the Mad. Bosio displayed a trifling degree of nervousness in the first fac-simile of Wibord, which serves to remind him of his lost scene, it soon wore off, and on no former occasion at the Royal Catherine, and the happy days when he worked as an humble artizan. Italian Opera has she achieved a more decided triumph than on Catherine, however, is not dead; but misfortune and disappointment Thursday night in the character of Catterina. Her best effort have deranged her intellect. Peter discovers her in this sad state, and was in the second act in the quintet-perhaps the finest morseeing that a violent emotion alone can cure her, has her conveyed, çeau in the opera—which commences with the admirable duo to the little counterpart-village erected in the gardens, and summons for the vivandiéres. all her old friends to meet her. Suddenly finding herself in her old

Here Mad. Bosio sang exquisitely and acted with great home, surrounded by all she loved, she at first fancies she is dreaming,

earnestness and pathos. In the cavatina with two flutes in the until beholding Peter the reality flashes upon her and she falls fainting

last act-made famous by Jenny Lind-she was equally successinto his arms. On recovering, the purple robe is flung over her

ful; more brilliant and effective vocalisation has rarely been shoulders, the imperial diadem is placed upon her head, the Czar proclaims her, and the court salute her as Empress of all the Russias.

heard. A unanimous burst of applause followed this wonderful

display. The beautiful quality of Mad. Bosio's voice and the The distribution of the principal parts was as follows: purity of her style were also strikingly evidenced in the air Pietro, Herr Formes; Danilowitz (Menzikoff?), Signor Gardoni; which concludes the first act, and which forms one of the subGiorgio Savoronsky, Signor Luchesi; Tchérémétieff (Schere-jects of the overture. She was recalled with enthusiasm at matoff?), Signor Tagliafico; Yermoloff, Signor Polonini; the end. Ismailoff (a Cossack), Signor Albucini; Rainoldo (an inn- Herr Formes was admirable in Pietro, both as singer keeper), M. Zelger; Gritzenzo (a Tartar corporal), Signor and actor. His drunken scene in the tent was finely Lablache; Prascovia, Mdlle. Marai; Echimonia and Natalia conceived and powerfully acted; and in the scene with (vivandières), Mesdames Jenny Bauer and Rudersdorff, and the conspirators, he was highly dignified and impressive. In Catterina, Madame Bosio. In this cast but one change would all the music Herr Formes displayed those eminent qualihave been desirable. Signor Albucini has not power enough ties which have long placed him in the first rank of bassi profor the Cossack war-song in the second act, and consequently he | fundi. sings at a disadvantage. The war-song it may be remembered, Of Signor Lablache's Gritzenzo it is impossible to speak too produced a great effect at Drury Lane, when sung by Mr. highly. Such genuine buffo singing and acting has never been Miranda, who was almost a novice on the stage. Had Signor heard away from the Italian Opera. We shall have more to say Tamberlik, or some thoroughly competent vocalist, been en- of Signor Lablache on another occasion. Signor Gardoni made trusted with this spirited air, the effect would have been an irresistible pastry-cook, and gave his two songs-gems in immense, considering how admirably it was supported by the their way-with infinite grace and feeling. The small though chorus. This was the only exceptionable point. In fact, important parts played by Signors Luchesi, Tagliafico, and we are not saying too much, in asserting that the execution | Polonini, and M. Zelger, left nothing to be desired. of L'Etoile du Nord was more completely satisfactory on the A more thoroughly competent representative of Prascovia than whole than that of any work previously brought out at the Malle. Marai could not possibly have been found. Mad. RudersRoyal Italian Opera. Every one employed exhibited the utmost dorff and Mdlle. Jenny Bauer were excellent as the vivandières, zeal; and if there was any drawback, it must have proceeded and sang the sparkling duo in the second act so well as to elicit from over-anxiety. No doubt the presence of the composer an encore the only one of the evening, with the exception of himself gave a stimulus to exertion, while his judgment and the overture, which was magnificently played by the band, experience had already helped to smooth the road of labour. | Had we time we could descant on the gorgeousness of the But to Mr. Costa the main credit of this splendid performance mise-en-scène—more especially the tableau in the second act, is due. While six months were spent at the Opéra-Comique of which is one of the most complete “realizations" ever witnessed Paris in daily rehearsals, to ensure for the Ètoile du Nord al on the stage, and which might compete even with the “ inimiperfect execution, Mr. Costa, we believe, had not as many as table glories" of another theatre. But we have not, and must six full rehearsals at Covent Garden a circumstance which must i defer this as well as other pertinent matters to a future occa

sion. It must suffice now to wind up with stating that the per

PARIS. formance was a genuine triumph from beginning to end ; that the second act created a furore, resulting in a double recall for

(From our own Correspondent.) M. Meyerbeer, and a summons for the artists; and that when A FORTNIGHT past in pursuits piscatorial “under the greenthe curtain fell on the third act the enthusiasm was renewed, wood trees" of the forest of Ardennes—the haunt in days gone all the artists, with M. Meyerbeer, reappearing, and the audience by of Rosalind, Celia, and the melancholy Jacques--has preliterally pelting them with bouquets. And the last and not vented my keeping you au courant as to the musical views of least gratifying event of the evening was the call for Mr. Costa, this pleasant capital of France. But in truth there is little to and the genuine and hearty enthusiasm with which he was tell, except as regards the return of Roger and Alboni to the greeted.

Grand-Opéra. They appeared ten days ago in the Prophète, | Roger filling the part of Jean of Leyden, Alboni representing

( his much-tried and afflicted mother. To those who are not JULLIEN AT THE SURREY GARDENS.

familiar with the simple, dignified, and touching conception of The announcement of M. Jullien's first appearance at the Mario, or with the more impassioned, vigorous, and manly repreSurrey Zoological Gardens, since his return from America, to sentation of Tamberlik, Roger may pass for a good representative direct a series of vocal and instrumental concerts, in spite of the of the peasant-prophet-king. To my taste he overacts the part, tempestuous weather, brought a large concourse of people on and, in his constant desire to be doing something, misses the effect Monday. The rain, however, which fell in torrents throughout produced by the calm dignity of Mario, or the quiet but resolute the afternoon, and never ceased until midnight, put a stop to all bearing of Tamberlik. Would that actors could see that repose enjoyment, and the directors postponed the performances until is as necessary to a perfect delineation of character, as it is to a the following evening and closed the gardens. Tuesday was good picture or a fine statue. A study of nature would teach fine, and in consequence the gardens were crowded at an early them this truth; a study of the best living artists would bring it hour, and towards the time of commencing the concert became forcibly home to them. Non semper arcum tendit Apollo. inconveniently full. The band and programme were alike admi- Observe Mesdames Rachel, Ristori, and Cruvelli. Watch Mario, rable. The former included some of the renowned instru- Tamberlik, Lemaître, or Bouffé. They exhibit no impatient restmentalists whom M. Jullien took with him to America—and, lessness, no unceasing contortion of the muscles, no constant action fortunately, brought back. Among them we may mention Herr of limbs. Rachel in the last act of Les Horaces, Ristori in Mina, Kønig, the prince of cornettists, M. Wuille, the famous cla Cruvelli in the scene of Fidelio, where the prisoners are let rinettist, and Herr Reichart, the no less famous flautist. There loose and she has sought in vain for her husband, are examples was also Herr Nabich, a trombone player of high repute from of the truth I would indicate. But, although Roger has yet the Royal Chapel of the Duke of Saxe Weimar. The instru- | to learn the ars celare artem, he is an accomplished singer ments were all wind, brass, or percussion, according to the new

with a fine voice and good style, a thorough musician and a arrangement by M. Jullien, who with the knowledge of effect, conscientious artist. What can I say of Alboni which has not which he is so well known to possess, soon found out that á been repeated a thousand times? To what purpose should I military band was the most effective in the open air. The pro-speak of that marvellous voice, limpid, sonorous, of unprecegramme was selected with taste and judgment, and contained dented compass, ever fresh, ever charming, ever touching? Your morceaux both by popular and classical composers. The readers know her merits, and were the first to appreciate them ; grand novelty of the evening was the performance of the for did she not come to Covent Garden unheralded by prelimiZouaves' Pas de Course, or Assault Galop, composed by M. Jullien, nary flourish of trumpets, and did she not after one single perwhich contained effects of a novel kind, and was played in a formance awake and find herself famous? But in one character superb manner by one of the best Military Bands ever yet col you have never seen her in England; in that of Fides in the lected together. M. Jullien deserves a “medal” for his exer Prophète, and I take leave to doubt whether you have even heard tions in the cause of " Military Bands,” to which he has evidently the music allotted to the false prophet's mother sung as we have turned his attention of late. The "Classical" pieces in the pro

heard it here. Madame Viardot, though an artist of unquestiongramme were the “ Presto" from Beethoven's Choral Symphony, able merit, owes more to study and art than to natural acquireand the Wedding March from A Midsummer Night's Dream-the ments, and in point of voice her most ardent admirers would latter, played to perfection. The solos were, one by M. Wuille never challenge comparison with Alboni. Grisi was past her on the clarinette ; on the trombone by Herr Nabich ; on the flute

meridian ere she undertook the part, and much of the music was by Herr Reichart, which was encored unanimously; and last, transposed to suit ber voice. Nothing can exceed the merit of not least, on the cornet “The exile's lament," by Herr Kænig, Madame Grisi's conception of Fides; that the execution was not which was applauded “ to the echo." The remainder of the pro in all respects equal to the idea formed in the artist's mind is gramme consisted of Lindpaintner's Festoverture, Jullien's attributable to the upsparing hand of time, which, although it popular quadrille from L'Etoile du Nord, Koenig's StaffPolka,

has robbed Madame Grisi of but few of her charms, has Jullien's“ grand selection” from Il Trovatore, and his new, and we brushed the down from off the peach, and impaired that may add, very pretty valse, “The belle of the village,” which was freshness of voice for which she was once unrivalled. To these two received with immense favour. The vocal music was entrusted to | ladies has been entrusted, in London, the important role of Fides. Senora Marietta, who has a charming voice, and sang “ Una voce They have succeeded in their endeavours and they have deserved poco fa" in a very agreeable manner ; and to some “Spanish success. But to neither of them can be awarded the same meed of Minstrels" who gave some of their natural songs with excellent praise which is due to Alboni. Her conception of the part is admireffect. The concert terminated with M. Jullien's “ Alied Armies' able, her execution of the music perfectly marvellous. With her, Quadrille,” which was so popular last season, at the concerts in Fides is a poor peasant woman, whose whole soul is absorbed in Drury Lane and Covent Garden Theatres, when it was played one overpowering sensation-love for her son. She is no enthuupwards of seventy consecutive nights. The present arrangement

siast, no high-souled matron ; she is a loving, trusting, tenderfor a military band by no means lessens the effect, which was very hearted, devoted mother, ready to yield up her life for her great; and the immense audience-upwards of nine thousand child, but resolutely refusing to sanction an impostor ; willing persons-applauded it unanimously.

to forget the past and forgive the present, if her son will but return to his humble home, and remain with that mother who

is so fondly devoted to him. This conception seems to be more DR. STEGGALL has been appointed organist to Christ Church,

true than that which makes of Fides an austere devotee, Craven-hill. This church, which is one of the most beautiful at the cursing the impiety committed by the Prophet, and bowed West-end of the metropolis, was consecrated by the Lord Bishop of down by the weight of his wickedness and profanity. Alboni London on the 17th inst. The organ is by Willis, and stands in one has evidently studied her part with the greatest care and attenof the chancel aisles. It is a large and fine instrument, having three

tion, and nothing could exceed the manner in which from beginmanuals, swell to CC, and pedal organ.

ning to end she portrayed in action the conception she had formed. Her first air, “Ah! mon fils, sois béni,” was sung fluence, and as though the direction of the Vaudeville were dewith a tenderness, grace, and amplitude, of which words can termined to utilize, for public purposes, talents which not a few afford no idea ; and the exquisite tones of her most lovely voice of the artists attached to the theatre are known to display in produced an instantaneous thrill of pleasure through the whole more private circles. A more depraved and mischievous taste house. She was called for again and again both during and it is impossible to conceive, and the halo of interest cast round after the opera, and the performance was one continued triumph. the Aspasia of the moment receives little counteraction from the Malle. Poinsot makes a pleasing Berthe, and the orchestra and clouded moral in which the drama is wound up. But it is in chorus, though inferior to those of Covent Garden, are yet vain to protest; the manager thinks only of what will draw, the deserving of praise for the manner in which they acquitted author of what will attract the public and put money in his themselves.

purse. And thus is the French drama effectually dragged Here, then, is the Grand-Opéra well provided until the close of through the mud by those whose aim should be to exalt and the season. Les Vépres Siciliennes promises its career of success, | purify it; and thus do some of the best dramatic authors prostiand Malle. Cruvelli has won all hearts in her last and one of her tute their pens to purposes the most unworthy. most effective impersonations. Such receipts have rarely been known in the history of the establishment as those of Les Vépres Siciliennes, and the capabilities of the house would be taxed

FOREIGN MISCELLANEOUS. were there even accommodation for twice the number it now contains. The Duke of Saxe Coburg's opera, Santa Chiara, ITALY.-At Naples things are much in the same state as they is in constant rehearsal, in order that it may be produced to do have been for some time past. The Teatro Nuovo remains honour to your Queen's visit in August ; and, at the end of this closed; at the Royal Theatre, Verdi's Violetta alternates with the year, alas! Malle. Cruvelli bids farewell to the stage for ever. Sonnambula. Don Pasquale has been given once last week and

The Opéra-Comique is full to the roof each night, and gives seems to have taken well with the public; it was played by Mad. alternate representations of L'Etoile du Nord and Jenny Bel. Beltramelli, and Signor Luzio, Montanaro, and Olivari. Other The Théâtre-Lyrique is closed until September, when it opens artists are announced as being engaged, and will appear in with Marie Cabel in Jaquarita l'Indienne.

Battista's Anna la Prie, and in Betly. The Exhibition has been a source of enormous profit to the At Milan the authorities have advertised for tenders for the operas and theatres, for the weather has been so uncertain that Royal Theatres for a term of three or six years. Two only were the balls and concerts al fresco—for which Paris is so famous- presented, and both demanded a considerable augmentation of have been comparatively deserted, while the theatres and operas the subsidy paid by the state. If this be not granted, these overflowed. The receipts during the month of June amounted theatres will most probably remain closed for some time to come. to no less a sum than 1,309,307 francs, being, I believe, the On Monday last the Theatre Ré opened with La Gazza Ladra. largest receipt on record, and 377,085 francs more than in the BERLIN.-- According to a new regulation, there will in future be no corresponding month last year,

music between the acts, at the Theatre Royal, when the music does not Mad. Ristori's success has awakened into life the greatest belong to the piece itself. The authorities of the Evangelical churches actress of this or, perhaps, any other age-Rachel. She leaves are now deliberating as to whether they will allow any more inusical Paris at the end of the month for London, and thence proceeds, performances in the sacred edifices, because they say the dignity of for the first time, on a tour in the United States. She com the church suffers in consequence. A new stage is being laid down inenced her performances at the Théâtre Français, and has played at the Royal Operahouse. The following operas have been definitely in rotation Hermione, Camille, Pauline, and Adrienne Lecou selected for production at some period in the course of next season:vreur. Every night has she been welcomed by an enthusiastic | Mozart's Idomoneo, Rossini's Tell, and Herr Ricliard Wagner's audience, many of whom had besieged the doors for hours before

Tannhäuser. their opening Night after night has she been recalled again Cologye, Herr Röder, the former director of the Stadttheater, has and again, and well nigh buried in bouquets.

announced, in the Cölner Zeitung, that he will open the season, about M. Emile Augier has written a new piece for the Vaudeville, the middle of September, with L'Etoile du Nord, performed by a wellentitled Le Mariage d'Olympe. This comedy is at present organised company. This is, however, rather doubtful, as the muni. in the limbo of the censorship, from which it will probably not cipality have petitioned government for permission to deprive Herr emerge without cuts and omissions. Olympe is a lorette of the | Röder of the concession, and bestow it on Herr Kahle. Quartier-Breda school, who passes her time in balls, theatres, CARLSRUHE.--The season was brought to a close by an admirable orgies, and improprieties of every description. A young marquis, performance of Gluck's Alcestis, the first time, by the way, it was erer of old family and large fortune, is so smitten by her attractions produced here. and allured by her wiles, that, not content with sharing her BrunSWICK.-Malle. Rosalie Spohr, the harpist, was married, on the embraces with other purchasers, he determines to possess her | 19th ult., to the Count Xaver von Saseuma. exclusively, and marries her. Hence, the title of the piece. At the end of the first act the marquis has been called away from his château in the country, and his wife, wearied with a seclusion

SIGNOR VERDI IN LONDON. to which she has been little accustomed, determines on giving a fête, whereto she invites all her old acquaintances of Paris, SIGNOR Verdi arrived in London at the end of last week, including most of the morally-blind, halt, and lame, that may accompanied by Madame Verdi, Monsieur Ricordi, of Milan, and there be found. The second act opens on this scene of riot and Monsieur Escudier, of Paris. The celebrated composer has debauchery. Brazen-faced and shameless women, revelling in visited all the sights of London during the week, and on Thursdiamonds and rioting in champagne, are matched with chevaliers day paid a visit to the Crystal Palace. He appeared greatly d'industrie, gamblers, blacklegs, and that nameless scum which delighted with the magnifiicent building and grounds, and exare generally attached as cavalieri servanti to the frail inhabitants pressed his astonishment and pleasure in the most rapturous of the Rue Notre Dame de Lorette. The scene is at its acme, terms to those who accompanied him. Herr Schallehn having when the father and mother of the marquis suddenly enter and learned that the Italian maestro was present, paid him i discover the purpose to which their ancient château has been graceful compliment, in performing a selection from his put, and the piece concludes with a highly satisfactory moral. | latest operas, Il Trovatore and Luisa Miller. This little attenThus, again does the Vaudeville theatre lend itself to a repre tion was duly appreciated by Signor Verdi, who complimented sentation of vice in its most alluring forms, and thus does Herr Schallehn on the efficiency of his band. Signor Verdi is M. Augier, author of Gabrielle, which obtained the prize expected to remain in London until the middle of next week, granted some years ago to the moral drama, follow in the foot- when he will travel direct to Milan, to superintend the producsteps of the authors of La Dame aux Camélias, Les Filles de tion of one of his recent operas. It is rumoured that Mr. Gye Marbre, etc. It would really seem as though the atmosphere of has made overtures to the composer to conduct the first perforthe Place de la Bourse corrupted all who came within its in- mance of Les Vêpres Siciliennes at Covent Garden, next season.

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