Oldalképek
PDF
ePub
[blocks in formation]

direct the Philharmonic Concerts, an essential article of whose faith was, necessarily, that all such performances (performances of "absolute music") helped to perpetuate an unnatural error-an error which the great masters had committed, innocently, and thereby placed the art in a false and ridiculous position! It is Herr Wagner's mission to demolish, not to conduct, orchestral symphonies. Really, this was very thoughtless of the Philharmonic directors.

The whole history of the Philharmonic Society for 1855 is comprised in the engagement and the doings of Herr Wagner-of which so much has been said of late that for the present there is nothing more to be said.

The

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 unthere was no necessity for another conductor. Thus M. known, that those in England who thought seriously about Berlioz came to no purpose; and it must also be stated that music and its interests, perused the announcement of his approaching advent with a sentiment of intense curiosity, very little justice was done to his works, and had he not been 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. 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 works of English composers. a thorough conviction that Herr Wagner, his doctrines, and his music, would make little way in London, where a healthy taste for music was general, and the presence and example of some of the great modern composers had exercised so strong an influence. Herr Wagner would have to dispel the belief in Mendelssohn, and to lay the mighty spirit of Händel, before he could march a step in his crusade. The dead masters, however, were too much for him. Although they lived a century apart, each had spoken a great truth, which only sophists would dare to assail, and which a whole army of sophists would be unable to root out of the heart of the people. Thus, in a great measure, sacred music-against which the composer of Tannhäuser and Lohengrin is for ever railing*-proved a stumbling-block that upset him, and ruined all his hopes in Great Britain. He was fairly vanquished.

MR. W. FARREN has retired from the stage, of which he was so distinguished an ornament for nearly fifty years. He took his farewell benefit at the Haymarket on Monday night, and was assisted by nearly all the leading comedians of the metropolis, who gathered round him, anxious to pay their last tribute of respect to the man and the actor. The scene was interesting. Mr. W. Farren was so overcome, that he could hardly utter the words of his part, and, when finally summoned to appear at the end of The Clandestine Marriage, he was powerless with emotion. The exhibition of a general shaking of hands between Mr. Farren and his stage comrades, before the eyes of the audience, had better have been omitted, since it only served to increase the emotion of Mr. Farren, and was therefore unnecessary. Mr. Harley threw his arms round the neck of his old associate; and this was a genuine display of feeling honourable to both; never

the public having nothing whatever to do with Mr. Harley's private affections.

And yet no innovator was ever allowed a better chance of establishing his innovations. With one of the finest orchestras 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 more could he desire? But it turned out that he had scarcely any music to bring forward. At least, he had none of what is termed by himself “absolute music"-music that exists independently, and aims to produce an effect on its own account, without reference to the other arts. The theory of Herr Wagner condemns "absolute music," as an error. Music, ac cording to him, is a woman, that cannot be or cannot be complete-without the man, Poetry. All instrumental compositions, even the symphonies of Mozart and Beethoven, are simply confessions of the inability of music alone to e xpress anything. So that (unwittingly, doubtless) Messrs. Anderson, Card, and the others, who had either not read or not understood the 'Wagner-books, invited a con luctor from beyond seas, to It is a favourite theory with Herr Wagner that Mendelssohn's popularity here was entirely owing to his having flattered our religious prejudices in England by writing sa red music for us.

Of the old men in artificial comedy, from the moment he made his first appearance in London, in 1818, up to the present time, Mr. W. Farren was the sole acknowledged great representative. His acting was characterised by great finish, elaboration, and a judgment which never allowed him to run into extravagance. If possible, he was even too carefully an artist, and this scrupulous exactness occasionally made his performances appear more laboured than natural. To speak truth, Mr. W. Farren was a mannerist but a mannerist in the best sense-such a mannerist as we may term Macready, and some of the most admirable comedians of the French, Italian, and English stages. He belonged emphatically to genteel comedy, and, in every character, exhibited the ease and deportment of good breeding. Although restricted to

the personification of old men, Mr. Farren possessed unusual versatility of talent, as those will readily allow who remember his Sir Peter Teazle, his Lord Ogilby, his Sir Harcourt Courtly, his Nicholas Flam, and his Grandfather Whitehead. Each of these impersonations-which varied the semblance of old age from fifty-five to eighty-was in its way a masterpiece. As a Shakesperian actor Mr. Farren did not rank very high, although his Malvolio, and still more his Justice Shallow, which he played with signal success some years ago, showed that he by no means wanted the power to appreciate and represent some of the more eccentric creations of our great dramatist.

Mr. W. Farren has left no successor.

With him have departed the thorough-bred old gentlemen of high comedy, and the representative of many parts in the French drama of which Perlet, Bouffé, and Vernet were the originals. But a few years since our greatest tragedian bade farewell to the scene of his triumphs; and now the most finished comedian in another line, whom the present generation has known has taken leave of the stage and its excitements for ever. Mr. Farren might with propriety have retired earlier; but had he retired even later than he did, his last appearance in public would have still been an event to remember.

MISS ARABELLA GODDARD AT FLORENCE.-(Translated from "L'Eco di Europa," of the 28th of June.)-Miss Arabella Goddard gave her first grand concert yesterday evening in the concert room dell' Arte. The vocal part was good, and Madame Gianfredi and Signori Bencich and Cruciani acquitted themselves with much credit in several solos and duets. In the instrumental department Miss Goddard was assisted by Signor Strauss, a violinist of considerable feeling, and a perfect master of his instrument. But the great star of the evening was the charming English pianist, to whom we offer no apology for having spoken of her last, for in truth we are loth to part with her, and consequently reserve her for the bonne-bouche. The number of our modern pianoforte players is legion, yet how many are there truly great? We own two only among those we have heard-Thalberg and Liszt. Miss Goddard has done much, and indeed has but little more to do to stand side by side with these great artists. Possessed of the utmost composure, 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, that she seems to sport with difficulties; now producing a rapid and prolonged trillo, now giving a smorzando, by degrees growing beautifully less, now flashing like lightning in rapid passages from one key to another, changing in a great measure the very nature of the instrument. The pianoforte is usually considered as the most inexpressive of all instruments, from the difficulty of sustaining the sound, but such is the excellence of Miss Goddard's talent, and the superiority of the tones which she draws from it that, falling full upon the heart, they delight and ravish it. Her various pieces were admirably executed; what precision, what colour, what perfection of intonation, what sentiment! Genius is a sign held up to command the admiration of all who are susceptible of refined feelings; what must it then be in one who combines with it a soul replete with divine inspirations? Guided by her genius, Miss Goddard will advance onwards in her triumphal career, and gather fresh laurels in her progress. This is no vague augury made by a deceitful prophet; the splendid success which she has obtained in England, in Germany, latterly at Trieste, and yesterday evening among ourselves, proves to demonstration that we allude to facts already accomplished, and which authorise our believing in the brilliancy of her future career, and an uninterrupted series of triumphs. She will not forget, we trust, our country, where she has been so well appreciated, and when some day she again appears among us, as we hope she may-she will revisit with pleasure the banks of the beautiful Arno, where she was saluted as a great artist. ODOARDO DE MONTEL.

ROYAL ITALIAN OPERA.

L'ETOILE DU NORD.

WHEN the prospectus of the Royal Italian Opera was issued at the beginning of the year, it was announced that L'Etoile du Nord, the last work of the composer of the Huguenots, would be produced in the course of the season.

M. Meyerbeer himself would come expressly to London to superIt was also anticipated with some degree of confidence that intend the rehearsals. Both pledges have been redeemed. L'Etoile du Nord has been produced, and with the rare advantages derived from the presence and active co-operation of the author. The production of L'Etoile du Nord, were it for no other reason than that it has induced M. Meyerbeer to pay a visit to London, will constitute a memorable event in the annals of the Royal Italian Opera. Not only has L'Etoile du Nord been brought out as promised, but with a splendour and completeness which could be conferred upon it at no other theatre in the world. The cast included the names of Mesdames Bosio, Marai, Jenny Bauer, Rudersdorff, Signors Gardoni, Luchesi, Lablache, Tagliafico, Polonini, M. Zelger, and Herr Formes. The mise-en-scène, for magnificence and variety, has hardly been equalled even at the Royal Italian Opera; and the dresses and and accessories to the music of M. Meyerbeer, need we say the decorations are new, gorgeous, and appropriate. With such aids Etoile du Nord achieved an eminent success on Thursday cannot take into consideration the weak attempt at Drury Lane), night, when it was given for the first time in this country (we before one of the most crowded and fashionable audiences of the season. As the Etoile du Nord is not to be thoroughly appreciated at a single hearing, and so much is to be said respecting the performance in general and the singers individually, we shall refrain at present from entering into an analysis of the music, contenting ourselves with expressing our strong conviction that the opera is one of the most original and admirable of its composer, and that in no other work has his genins been more plainly declared. The triumphs recorded at the Parisian theatres are not always to be depended on, but we sincerely believe that not a word in excess has been said in favour of the Etoile du Nord.

Although, when the opera was first produced in Paris, we gave a sketch of the plot, we find it necessary again to recur to the story, which we accordingly give in the following condensed form:

The action is divided into three parts or acts. The first takes place in Wibord, a village on the coast of Finland. A party of workmen are reposing from their labours, and are drinking and making merry. One of them, named Peters, wears a different look from the rest. He lis proud and imperious, and takes little notice of his companions. A 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 cause. Peters is enamoured of a young orphan girl, Catherine, brought up by a gipsy, who, on her death bed, predicted for her a brilliant destiny. Catherine comes to Wibord with her brother, Georges Sawyouski. She exercises an absolute control over the mind of Peters. An occasion soon arises in which she displays this ascendancy. and Russia are at war. Catherine has made arrangements for the nuptials of her brother with Prascovia, niece to Meynolds, the keeper of a tavern. At the moment when the marriage procession is advancing towards the chapel, a band of Tartars swoops down upon them, and threatens them with death. Peters seizes a hatchet and is about to attack the barbarians, but is prevented by Catherine, who with a gesture awes and disperses them. He, in his turu, yielding to charms so irresistible, solicits her to unite her destiny to his. Peters She consents, on condition that he becomes a soldier.

Sweden

accepts the proposal, and placing a ring on the finger of his betrothed, departs for the army with his friend Danilowitz. Catherine now looks for her brother. Prascovia, in tears, informs her that Georges is forcibly enlisted, and was on the point of setting out for the wars, unless a substitute be found. "I will find him one," cries Catherine, "provided he promises to join his regiment after the honeymoon." The bargain made, Catherine puts on male attire, and takes the place of her brother, to whom she bears a striking resemblance. The curtain falls

on act the first.

The second act passes in the camp of Marshal Tchérémétoff. Catherine,

looking the beau-ideal of a soldier, goes through the drill with a grace and precision which astonishes Gritzensko, the Tartar corporal, whom she has charmed in her gipsy costume, and who is unable to account for the likeness between herself and her brother. The Czar arrives disguised, under the name of Captain Peters, and is accompanied by Danilowitz. They repair to the tent, and, as usual, indulge in copious libations of wine. Catherine, who has been stationed outside the tent, peeps through an opening in the canvass, and perceives that her lover has kept his word, and won his epaulette. Peters, however, has not given up his old habits. He gets intoxicated-she despises him; he drinks to his beloved Catherine-she pardons him. He sends for his cupbearers-two handsome vivandières, and takes liberties with them. Catherine, excited to tears, wishes to go, but cannot tear herself away. Gritzensko enters to relieve the guard. Catherine pays no attention to him; and, upon the corporal calling her to do her duty, strikes him in the face. Furious at this insult, the Tartar drags the offender into the tent, and demands justice of the captain. The Czar, stupified with drink, does not recognise his betrothed, and orders her to be shot. Catherine, more touched at Peters' inconstancy and debasement than at her own fate, utters a cry of despair and rushes from the tent. The Czar is recalled to reason. The voice and features of the young soldier remind him of Catherine. He sends a message to bring him back. He is informed that the young soldier has thrown himself into the river, and that the sentinels have fired on him. At the same time a conspiracy breaks out in the army, and entire regiments threaten to desert to the enemy. Peters rushes into the midst of them, and offers to deliver the Czar, alone and unarmed, into their hands. "Bring him hither," they cry, with loud shouts. "Behold him!" exclaims Peters, uncovering his breast: "now -strike!" At these words the troops prostrate themselves before the Czar, who pardons them, and bids them follow him to the field of battle. The third act takes place at Moscow. In a remote part of the gardens of the palace, the Czar has built a little village, the fac-simile of Wibord, which serves to remind him of his lost Catherine, and the happy days when he worked as an humble artizan. Catherine, however, is not dead; but misfortune and disappointment have deranged her intellect. Peter discovers her in this sad state, and seeing that a violent emotion alone can cure her, has her conveyed, to the little counterpart-village erected in the gardens, and summons all her old friends to meet her. Suddenly finding herself in her old home, surrounded by all she loved, she at first fancies she is dreaming, until beholding Peter the reality flashes upon her and she falls fainting into his arms, On recovering, the purple robe is flung over her shoulders, the imperial diadem is placed upon her head, the Czar proclaims her, and the court salute her as Empress of all the Russias.

The distribution of the principal parts was as follows:Pietro, Herr Formes; Danilowitz (Menzikoff?), Signor Gardoni; Giorgio Savoronsky, Signor Luchesi; Tchérémétieff (Scherematoff?), Signor Tagliafico; Yermoloff, Signor Polonini; Ismailoff (a Cossack), Signor Albucini; Rainoldo (an innkeeper), M. Zelger; Gritzenzo (a Tartar corporal), Signor Lablache; Prascovia, Mdlle. Marai; Echimonia and Natalia (vivandières), Mesdames Jenny Bauer and Rudersdorff, and Catterina, Madame Bosio. In this cast but one change would have been desirable. Signor Albucini has not power enough for the Cossack war-song in the second act, and consequently he sings at a disadvantage. The war-song it may be remembered, produced a great effect at Drury Lane, when sung by Mr. Miranda, who was almost a novice on the stage. Had Signor Tamberlik, or some thoroughly competent vocalist, been entrusted with this spirited air, the effect would have been immense, considering how admirably it was supported by the chorus. This was the only exceptionable point. In fact, we are not saying too much, in asserting that the execution of L'Etoile du Nord was more completely satisfactory on the whole than that of any work previously brought out at the Royal Italian Opera. Every one employed exhibited the utmost zeal; and if there was any drawback, it must have proceeded from over-anxiety. No doubt the presence of the composer himself gave a stimulus to exertion, while his judgment and experience had already helped to smooth the road of labour. But to Mr. Costa the main credit of this splendid performance is due. While six months were spent at the Opéra-Comique of Paris in daily rehearsals, to ensure for the Etoile du Nord a perfect execution, Mr. Costa, we believe, had not as many as six full rehearsals at Covent Garden-a circumstance which must

have astonished the composer, more especially after the result of the performance of Thursday night. M. Meyerbeer cannot be insensible to the services rendered to him by the conductor, whose attention and perseverance were unparalleled. The public must have been aware of this, for Mr. Costa's reception was enthusiastic when he came into the orchestra, and he was honoured with a separate recall on the fall of the curtain, and cheered by the whole house.

The opera occupied more than four hours in performance; but the difficulty is to know where to cut the music. The first act cannot be interfered with. With the second it would be The last act might be abbrealmost as dangerous to meddle. viated with less danger. The trio between Peter, Danilowitz, and Gritzenzo-in which the latter goes over old ground in describing the escape of Catherine-though fine music and highly characteristic, and the duet between Giorgio and Prascovia, equally good and striking, may be omitted without weakening the general design of the opera. Something must be done. Among other things, Mr. Costa should set his face entirely against encores. When reduced to under four hours the performance of L'Etoile du Nord will be still more effective.

In estimating the merits of the performers, we are at a loss to which the preference should be given. Mdme. Bosio, Mdlle. Marai, Herr Formes, Signori Gardoni and Lablache were allotted the most important parts, and were irreproachable in every respect. Mad. Bosio was somewhat timid at first-the music being so different from that to which she was accustomed. One of the most accomplished singers of the pure Italian school, she could scarcely venture upon the Opéra-Comique without some trepidation. There was, however, no cause for fear. If Mad. Bosio displayed a trifling degree of nervousness in the first scene, it soon wore off, and on no former occasion at the Royal Italian Opera has she achieved a more decided triumph than on Thursday night in the character of Catterina. Her best effort was in the second act in the quintet-perhaps the finest morceau in the opera-which commences with the admirable duo for the vivandiéres.

Here Mad. Bosio sang exquisitely and acted with great earnestness and pathos. In the cavatina with two flutes in the last act-made famous by Jenny Lind-she was equally successful; more brilliant and effective vocalisation has rarely been heard. A unanimous burst of applause followed this wonderful display. The beautiful quality of Mad. Bosio's voice and the purity of her style were also strikingly evidenced in the air which concludes the first act, and which forms one of the subjects of the overture. She was recalled with enthusiasm at the end.

Herr Formes was admirable in Pietro, both as singer and actor. His drunken scene in the tent was finely conceived and powerfully acted; and in the scene with the conspirators, he was highly dignified and impressive. In all the music Herr Formes displayed those eminent qualities which have long placed him in the first rank of bassi profundi.

Of Signor Lablache's Gritzenzo it is impossible to speak too highly. Such genuine buffo singing and acting has never been heard away from the Italian Opera. We shall have more to say of Signor Lablache on another occasion. Signor Gardoni made an irresistible pastry-cook, and gave his two songs-gems in their way-with infinite grace and feeling. The small though important parts played by Signors Luchesi, Tagliafico, and Polonini, and M. Zelger, left nothing to be desired.

A more thoroughly competent representative of Prascovia than Mdlle. Marai could not possibly have been found. Mad. Rudersdorff and Mdlle. Jenny Bauer were excellent as the vivandières, and sang the sparkling duo in the second act so well as to elicit an encore-the only one of the evening, with the exception of the overture, which was magnificently played by the band, Had we time we could descant on the gorgeousness of the mise-en-scène-more especially the tableau in the second act, which is one of the most complete "realizations" ever witnessed on the stage, and which might compete even with the "inimitable glories" of another theatre. But we have not, and must defer this as well as other pertinent matters to a future occa

sion. It must suffice now to wind up with stating that the performance was a genuine triumph from beginning to end; that the second act created a furore, resulting in a double recall for M. Meyerbeer, and a summons for the artists; and that when the curtain fell on the third act the enthusiasm was renewed, all the artists, with M. Meyerbeer, reappearing, and the audience literally pelting them with bouquets. And the last and not least gratifying event of the evening was the call for Mr. Costa, and the genuine and hearty enthusiasm with which he was greeted.

JULLIEN AT THE SURREY GARDENS. THE announcement of M. Jullien's first appearance at the Surrey Zoological Gardens, since his return from America, to direct a series of vocal and instrumental concerts, in spite of the tempestuous weather, brought a large concourse of people on Monday. The rain, however, which fell in torrents throughout the afternoon, and never ceased until midnight, put a stop to all enjoyment, and the directors postponed the performances until the following evening and closed the gardens. Tuesday was fine, and in consequence the gardens were crowded at an early hour, and towards the time of commencing the concert became inconveniently full. The band and programme were alike admirable. The former included some of the renowned instrumentalists whom M. Jullien took with him to America-and, fortunately, brought back. Among them we may mention Herr Koenig, the prince of cornettists, M. Wuille, the famous clarinettist, and Herr Reichart, the no less famous flautist. There was also Herr Nabich, a trombone player of high repute from the Royal Chapel of the Duke of Saxe Weimar. The instruments were all wind, brass, or percussion, according to the new arrangement by M. Jullien, who with the knowledge of effect, which he is so well known to possess, soon found out that a military band was the most effective in the open air. The programme was selected with taste and judgment, and contained morceaux both by popular and classical composers. The grand novelty of the evening was the performance of the Zouaves' Pas de Course, or Assault Galop, composed by M. Jullien, which contained effects of a novel kind, and was played in a superb manner by one of the best Military Bands ever yet collected together. M. Jullien deserves a "medal" for his exertions in the cause of "Military Bands," to which he has evidently turned his attention of late. The "Classical" pieces in the programme were the " Presto" from Beethoven's Choral Symphony, and the Wedding March from A Midsummer Night's Dream-the latter, played to perfection. The solos were, one by M. Wuille on the clarinette; on the trombone by Herr Nabich; on the flute by Herr Reichart, which was encored unanimously; and last, not least, on the cornet "The exile's lament," by Herr Koenig, which was applauded "to the echo." The remainder of the programme consisted of Lindpaintner's" Fest" overture, Jullien's popular quadrille from L'Etoile du Nord, Koenig's" Staff" Polka, Jullien's" grand selection" from Il Trovatore, and his new, and we may add, very pretty valse, "The belle of the village," which was received with immense favour. The vocal music was entrusted to Senora Marietta, who has a charming voice, and sang "Una voce poco fa" in a very agreeable manner; and to some "Spanish Minstrels" who gave some of their natural songs with excellent effect. The concert terminated with M. Jullien's " Allied Armies' Quadrille," which was so popular last season, at the concerts in Drury Lane and Covent Garden Theatres, when it was played upwards of seventy consecutive nights. The present arrangement for a military band by no means lessens the effect, which was very great; and the immense audience-upwards of nine thousand persons-applauded it unanimously.

DR. STEGGALL has been appointed organist to Christ Church, Craven-hill. This church, which is one of the most beautiful at the West-end of the metropolis, was consecrated by the Lord Bishop of London on the 17th inst. The organ is by Willis, and stands in one of the chancel aisles. It is a large and fine instrument, having three manuals, swell to CC, and pedal organ.

PARIS.

(From our own Correspondent.)

A FORTNIGHT past in pursuits piscatorial "under the greenwood trees" of the forest of Ardennes-the haunt in days gone by of Rosalind, Celia, and the melancholy Jacques-has prevented my keeping you au courant as to the musical views of this pleasant capital of France. But in truth there is little to tell, except as regards the return of Roger and Alboni to the 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 familiar with the simple, dignified, and touching conception of Mario, or with the more impassioned, vigorous, and manly representation of Tamberlik, Roger may pass for a good representative of the peasant-prophet-king. To my taste he overacts the part, and, in his constant desire to be doing something, misses the effect produced by the calm dignity of Mario, or the quiet but resolute bearing of Tamberlik. Would that actors could see that repose is as necessary to a perfect delineation of character, as it is to a good picture or a fine statue. A study of nature would teach them this truth; a study of the best living artists would bring it forcibly home to them. Non semper arcum tendit Apollo. Observe Mesdames Rachel, Ristori, and Cruvelli. Watch Mario, Tamberlik, Lemaître, or Bouffé. They exhibit no impatient restlessness, no unceasing contortion of the muscles, no constant action of limbs. Rachel in the last act of Les Horaces, Ristori in Mina, Cruvelli in the scene of Fidelio, where the prisoners are let loose and she has sought in vain for her husband, are examples of the truth I would indicate. But, although Roger has yet to learn the ars celare artem, he is an accomplished singer with a fine voice and good style, a thorough musician and a conscientious artist. What can I say of Alboni which has not been repeated a thousand times? To what purpose should I speak of that marvellous voice, limpid, sonorous, of unprecedented compass, ever fresh, ever charming, ever touching? Your readers know her merits, and were the first to appreciate them; for did she not come to Covent Garden unheralded by preliminary flourish of trumpets, and did she not after one single performance awake and find herself famous? But in one character. you have never seen her in England; in that of Fides in the Prophète, and I take leave to doubt whether you have even heard the music allotted to the false prophet's mother sung as we have heard it here. Madame Viardot, though an artist of unquestionable merit, owes more to study and art than to natural acquirements, and in point of voice her most ardent admirers would never challenge comparison with Alboni. Grisi was past her meridian ere she undertook the part, and much of the music was transposed to suit her voice. Nothing can exceed the merit of Madame Grisi's conception of Fides; that the execution was not in all respects equal to the idea formed in the artist's mind is attributable to the unsparing hand of time, which, although it has robbed Madame Grisi of but few of her charms, has brushed the down from off the peach, and impaired that freshness of voice for which she was once unrivalled. To these two ladies has been entrusted, in London, the important role of Fides. They have succeeded in their endeavours and they have deserved success. But to neither of them can be awarded the same meed of praise which is due to Alboni. Her conception of the part is admirable, her execution of the music perfectly marvellous. With her, Fides is a poor peasant woman, whose whole soul is absorbed in one overpowering sensation-love for her son. She is no enthusiast, no high-souled matron; she is a loving, trusting, tenderhearted, devoted mother, ready to yield up her life for her child, but resolutely refusing to sanction an impostor; willing 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 true than that which makes of Fides an austere devotee, cursing the impiety committed by the Prophet, and bowed down by the weight of his wickedness and profanity. Alboni has evidently studied her part with the greatest care and attention, and nothing could exceed the manner in which from beginning to end she portrayed in action the conception she

had formed. Her first air, "Ah! mon fils, sois béni," was sung with a tenderness, grace, and amplitude, of which words can afford no idea; and the exquisite tones of her most lovely voice produced an instantaneous thrill of pleasure through the whole house. She was called for again and again both during and after the opera, and the performance was one continued triumph. Mdlle. Poinsot makes a pleasing Berthe, and the orchestra and chorus, though inferior to those of Covent Garden, are yet deserving of praise for the manner in which they acquitted

themselves.

Here, then, is the Grand-Opéra well provided until the close of the season. Les Vêpres Siciliennes promises its career of success, and Mdlle. Cruvelli has won all hearts in her last and one of her most effective impersonations. Such receipts have rarely been known in the history of the establishment as those of Les Vêpres Siciliennes, and the capabilities of the house would be taxed were there even accommodation for twice the number it now contains. The Duke of Saxe Coburg's opera, Santa Chiara, is in constant rehearsal, in order that it may be produced to do honour to your Queen's visit in August; and, at the end of this year, alas! Mdlle. Cruvelli bids farewell to the stage for ever. The Opéra-Comique is full to the roof each night, and gives alternate representations of L'Etoile du Nord and Jenny Bell. The Théâtre-Lyrique is closed until September, when it opens with Marie Cabel in Jaquarita l'Indienne.

The Exhibition has been a source of enormous profit to the operas and theatres, for the weather has been so uncertain that the balls and concerts al fresco-for which Paris is so famoushave been comparatively deserted, while the theatres and operas overflowed. The receipts during the month of June amounted to no less a sum than 1,309,307 francs, being, I believe, the largest receipt on record, and 377,085 francs more than in the corresponding month last year.

[ocr errors]

fluence, and as though the direction of the Vaudeville were determined to utilize, for public purposes, talents which not a few of the artists attached to the theatre are known to display in more private circles. A more depraved and mischievous taste it is impossible to conceive, and the halo of interest cast round the Aspasia of the moment receives little counteraction from the clouded moral in which the drama is wound up. But it is in vain to protest; the manager thinks only of what will draw, the author of what will attract the public and put money in his purse. And thus is the French drama effectually dragged through the mud by those whose aim should be to exalt and purify it; and thus do some of the best dramatic authors prostitute their pens to purposes the most unworthy.

FOREIGN MISCELLANEOUS.

ITALY.-At Naples things are much in the same state as they have been for some time past. The Teatro Nuovo remains closed; at the Royal Theatre, Verdi's Violetta alternates with the Sonnambula. Don Pasquale has been given once last week and seems to have taken well with the public; it was played by Mad. Beltramelli, and Signor Luzio, Montanaro, and Olivari. Other artists are announced as being engaged, and will appear in Battista's Anna la Prie, and in Betly.

At Milan the authorities have advertised for tenders for the Royal Theatres for a term of three or six years. Two only were presented, and both demanded a considerable augmentation of the subsidy paid by the state. If this be not granted, these theatres will most probably remain closed for some time to come. On Monday last the Theatre Ré opened with La Gazza Ladra.

BERLIN. According to a new regulation, there will in future be no music between the acts, at the Theatre Royal, when the music does not belong to the piece itself. The authorities of the Evangelical churches are now deliberating as to whether they will allow any more musical performances in the sacred edifices, because they say the dignity of the church suffers in consequence. A new stage is being laid down at the Royal Operahouse. The following operas have been definitely Mozart's Idomoneo, Rossini's Tell, and Herr Richard Wagner's Tannhäuser.

Mad. Ristori's success has awakened into life the greatest actress of this or, perhaps, any other age-Rachel. She leaves Paris at the end of the month for London, and thence proceeds, for the first time, on a tour in the United States. She commenced her performances at the Théâtre Français, and has played 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 audience, many of whom had besieged the doors for hours before their opening. Night after night has she been recalled again and again, and well nigh buried in bouquets.

COLOGNE.-Herr Röder, the former director of the Stadttheater, has announced, in the Cölner Zeitung, that he will open the season, about the middle of September, with L'Etoile du Nord, performed by a wellorganised company. This is, however, rather doubtful, as the municipality have petitioned government for permission to deprive Herr Röder of the concession, and bestow it on Herr Kahle.

CARLSRUHE.-The season was brought to a close by an admirable performance of Gluck's Alcestis, the first time, by the way, it was ever produced here.

BRUNSWICK.-Mdlle. Rosalie Spohr, the harpist, was married, on the 19th ult., to the Count Xaver von Sascuma.

SIGNOR VERDI IN LONDON.

M. Emile Augier has written a new piece for the Vaudeville, entitled Le Mariage d'Olympe. This comedy is at present in the limbo of the censorship, from which it will probably not emerge without cuts and omissions. Olympe is a lorette of the Quartier-Bréda school, who passes her time in balls, theatres, orgies, and improprieties of every description. A young marquis, of old family and large fortune, is so smitten by her attractions and allured by her wiles, that, not content with sharing her embraces with other purchasers, he determines to possess her 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 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 magnificent 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 a 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.

« ElőzőTovább »