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ROYAL ITALIAN OPERA.

however, triumphant its success, it came too late to materially L'Etoile du Nord sustained its attractiveness up to the last

affect the treasury, though, had it been produced earlier, it might

have made the fortune of the establishment. The unexpected night of the season. It was given on Monday, and was so suc

reappearance of Mad. Grisi was an important step, since it cessful as to justify the management in repeating it on Thurs

brought back a great public favourite, and, with her, certain day, although I Trovatore had been previously announced for the final performance.

operas that, when well cast, never fail to draw.

Signor Verdi's new opera, Il Trovatore, must equally be taken The second representation of the Prophète on Saturday was

| into account. It was admirably performed and decidedly attracbetter attended than the first. It is doubtful whether the pro

tive. The new German prima donna, Malle. Jenny Ney, made duction of this grand work so late in the season was wise. The

a “hit," and the universally popular Tamberlik reaped new subscribers, however, look for novelty at the last moment, and

laurels in this work. Signor Mario, who was a greater “ card” their tastes could hardly have been more appropriately consulted.

than ever for the theatre, sang still better than last year, and Madame Viardot's Fides is beyond a doubt her finest assump

resumed some of his old parts (among others, Ottavio in Don tion, and the Jean of Leyden of Signor Tamberlik one of the

Giovanni, and Conte, Almaviva in Il Barbiere), as if he was most vigourous impersonations of the modern lyric stage. This

determined to go back to his original répertoire. Don Giovanni admirable artist sang with his usual power and effect on Satur

and I Barbiere—with the assistance of Signor Tamburini, who day. The opera in other respects was well done, but the whole

was engaged expressly to play Don Giovanni and Figaro—both of the tent scene was again omitted, although Signor Albucini was substituted for Signor Mei. Malle. Marai sings the music

drew good houses. The re-engagement of Signor Lablache was

of vital consequence; but the secession of Signor Ronconi was of Berta most charmingly, and looks and acts the part to per

irreparable. The operas which, next to the Etoile du Nord, fection. This young artist has become a great favourite with the

turned out the most attractive were Les Huguenots, Lucrezia visitors of the Royal Italian Opera, and justly. Where was

Borgia, La Favorita, Norma, Il Conte Ory, and Il Trovatore. Signor Luchesi ? Surely he knows the music of the tenor Ana

We must look, however, to causes unconnected with operas baptist, and would readily have undertaken the part.

and singers, for the great success this year. Circumstances The one performance of Rossini's Otello on Tuesday, but for

for which would naturally be supposed to militate against & Signor Tamberlik's representation of the Moor, would be open

favourable result rather tended, on the contrary, to proto criticism. The cast was not what it might have been. We

duce it. The disasters at Sebastopol, which placed so many remember when it was considered worth while to assign nearly

families in mourning, precluded, in a great measure, balls, every character in this opera to a first-rate artist. Rubini,

fêtes, and réunions, and drove people to the theatre for recreaMario, Tamburini, Lablache, and Grisi have appeared together

tion. The subscription list was less promising than in former in Otello, at her Majesty's Theatre. Madame Viardot is not the

years, but more boxes and stalls were let nightly, and a greater “gentle Desdemona.” Of course, the usual skill and intelligence

number of single tickets sold. are there, but neither the music nor the character are in her

The shortness of the season may also count for something. The way. Signor Tamberlik is eminently fitted for Otello. In

theatre opened on the 12th of April, and closed on the 9th of no other part—not even Masaniello, Florestan, and Jean

August-embracing a period of barely four months, while former of Leyden-does he appear to such advantage. The

seasons have extended to five, six, and even seven. It remains music 'suits his voice, and the fiery passion of the

for directors to ascertain whether a long or short season is most Moor is just what he can pourtray with surpassing truth

remunerative. An example in favour of the latter may be and vigour. From the first scene, in which occurs the scena,

deduced from the present year. “ Ah! si per voi,” to the last, in which he stabs Desdemona, thé

Rossini's Il Conte Ory began the season with great éclat, and performance of Signor Tamberlik was beyond reproach. We

introduced Signor Gardoni to the Royal Italian Opera in the have great hopes of Signor Graziani, whose voice is one of the

character of the Count. This masterpiece was performed three finest barytones ever heard; but Iago is out of his way, too. Signors Tagliafico and Luchesi were both good in Elmiro and

times in succession with increasing favour, Madame Bosio singing

miro and delightfully, Mdlle. Marai appearing to great advantage as Roderigo, and Mdlle Bellini played Emilia with intelligence.

the page, Mdlle. Nantier Didiée as the Chatelaine. Signor The performance was received with great favour, Madame

Gardoni was as successful as his warmest admirers could have Viardot and Signor Tamberlik being recalled at the end of the

wished. second and third acts.

On Thursday, the 19th, Fidelio was commanded by the Queen, The season was brought to a termination on Thursday, with

who attended in state with the Emperor and Empress of the L'Etoile du Nord, but an extra performance of the same opera,

French. The house was gorgeously decorated, and the royal at reduced prices, will be given this evening, for the benefit of

box was a prodigy of taste and magnificence. Fabulous prices Mr. A. Harris, the able and zealous régisseur, whose exertions

were given for places, and an enormous crowd assembled. Little in getting up the L'Etoile du Nord, were worthy of the greatest

attention, however, was paid to the opera, the illustrious visitors praise.

absorbing all attraction. Mdlle. Jenny Ney, who subsequently

made so favourable an impression in Verdis Leonora, was by RÉSUMÉ OF THE SEASON.

no means the beau idéal of Beethoven's. Her fine strong soprano The ninth season of the Royal Italian Opera has proved one voice was admired, but the poetical element, so indispensable of the most successful since the opening in 1847. Such a result in Fidelio, was found wanting. Signor Tamberlik and Herr was hardly to be anticipated. The army in the Crimea had Formes played Florestan and Rocco with the same effect as taken away many subscribers to boxes and stalls; the public was before, and Malle. Marai was a capital Marcellina. Mdlle. rendered apathetic by the war, and the general attention diverted | Fanny Cerito made her first appearance at the Royal Italian from amusement to matters of more absorbing interest. The Opera in a scene from the new ballet of Eva, on the same night, untimely fate of so many of our brave officers must, it was con- and was received with distinguished favour. The engagement sidered, be a serious obstacle to success, since, as whole families of this eminent danseuse was a highly politic step of the would be forced into mourning, they would be prevented from director. The ballet had for a long time been unwisely neglected, attending the theatre. The additions to the income and other although a sure means of attraction. taxes, moreover, would leave no money to spend on public On Thursday, April 26th, Signor Graziani, a new barytone, amusements. This reasoning, though good, however, was not made his first appearance in Ernani, and displayed a splendid confirmed by the upshot. In spite of the absence of subscribers voice, without much talent as an actor or great experience as a and habitués, in spite of deaths in the Crimea and families in singer. Madame Bosio and Signor Tamberlik were as good as mourning, and in spite of additional taxation, the operatic season ever in Elvira and Ernani. has been unusually prosperous. This is not altogether unac- ! Signor Lablache made his rentrée, as Dulcamara in L'Elisir countable. The “great fact" of the season - L'Etoile du d'Amore, on Saturday, May the 5th, with Madame Bosio as Nordmust only be taken into limited consideration, since, Adina, and Signor Gardoni as Nemorino, than which nothing

could be better. Signor Graziani's Belcore made us think of care of themselves, as if their intrinsic merits rendered them Tamburini.

independent of support from singers and instrumentalists. The The first performance of Il Trovatore, on Thursday, May the greater the work the greater attention should be bestowed 10th, was eminently successful. The cast included Malle. Jenny i upon it. If an opera cannot be rehearsed it is better not to give Ney, Madame Viardot, who made her first appearance, Signors it at all ; since the directors and conductors only expose themTamberlik, Graziani, Tagliafico, etc. This opera has been played selves to adverse criticism by an imperfect and slovenly peroftener than any other during the season.

formance. In our article on the first performance of Don I Puritani, on Thursday, 17th, brought back Signor Mario, Giovanni, we had to notice many deficiencies, and to point out singing his very best, and well supported by Madame Bosio, | where great improvements might be made in the mise-en-scène, Signors Graziani and Lablache.

etc. It was of no use, however. The last scene remained a Madame Grisi reappeared on Thursday, the 24th of May, as I burlesque in the strictest sense of the term. When Il Don Giovanni Leonora in La Favorita, and, like Signor Mario, had evidently is given next year, the directors will have it in their power to derived benefit from her transatlantic trip. The public welcomed make amends. We trust they will endeavour, but have little their old favourite as a spoiled child, and, instead of chiding, faith in their intentions on this head. With respect to the cheered her! The others parts in the opera were sustained by | Prophète, it was unfair to Madame Viardot (who had played only Signors Mario, Graziani, and Lablache.

two other parts during the season), and to Signor Tamberlik, to Norma was given on Tuesday, May 29th, with Grisi quite as produce the opera in a slovenly manner. What would Meyergreat as before in the Druidess. Of Signor Tamberlik's Pollio | beer have said had he witnessed the performance ? we need say nothing.

Mdlle. Fanny Cerito, whose dancing in the skating scene-in Don Giovanni was performed on Thursday, May 31st., Signor which she appeared for the first time was inimitable for grace Tamburini, who was expressly engaged to play his most cele and picturesqueness, took her farewell for the season. The nebrated part, making his first appearance for three years. The cessity of strengthening the ballet by the acquisition of first-rate acting of this distinguished artist sustained throughout the artists should have occured to the directors long ago. Dancing opera, since, in his case, it was not vor et pretorea nihil, but is one of the chief elements which now engrosses the attention everything except voice. Signor Mario was Don Octavio ; Signor | of the administration of the French Grand Opéra, and to neglect it, Lablache, Leporello ; Signor Tagliafico, Il Commendatore ; Sig. is a fault of policy. The re-engagement of Fanny Cerito—which, Polonini, Masetto; Madame Bosio, Zerlina ; Mdlle. Jenny Ney, we understand, Mr. Gye has effected-is, however, an indication Donna Anna; and Mdlle. Marai, Elvira. On the following that further exertions will be made to render the ballet departTuesday, Don Giovanni was repeated. On both occasions it ment complete. attracted overflowing audiences. The minuet in the ball-scene The one representation of Rossini's Otello, on Tuesday, the was executed by Mdlle. Fanny Cerito and M. Desplaces.

8th instant, would hardly be entitled to a passing word, were it On Monday, June the 4th, Lucrezia Borgia was given for the not for the singularly fine performance of Sig. Tamberlik, which first time, with Madame Grisi and Signors Mario and Tambu would have redeemed a multitude of sins. Mad. Viardot is not rini: and on Thursday, June 7th, the Huguenots, with Madame our beau idéal of Desdemona, while Sig. Graziani's Iago is by Grisi, Mdlles. Marai and Nantier-Didiée, Signor Mario, Herr | no means so subtle as Ronconi's. It is strange that, notwithFormes, etc. Both performances exhibited all the former excel standing Mr. Costa's well-known admiration for Rossini, there is lence as far as the principal artists were concerned ; but in the no composer whose works receive less attention at the Royal Huguenots the ensemble was anything but creditable to the Italian Opera. Even the performance of Guillaume Tell, upon theatre.

which so much stress was laid some years ago, was anything but On Thursday, June the 14th, came Il Barbiere, with Madame what it should have been. Is Verdi supplanting Rossini in the Viardot as Rosina, instead of Madame Bosio. Nothing can favour of the renowned chef-d'orchestre? possibly differ more than the performances of these accomplished The season terminated on Thursday with the eighth perforartists in the same character.

mance of L'Etoile du Nord. On Thursday, June the 28th, we had Don Pasquale with the Looking at what has really been effected, and what has really original Paris cast-Madame Grisi, Signors Mario, Tamburini, been in a great measure overlooked in the past season, it must and Lablache. The ballet of La Vivandière-once celebrated at be acknowledged that the directors are entitled to our good Her Majesty's Theatre-was revived the same night for Malle. opinion. The promises of the directors have been adhered to Cerito.

with the strictest fidelity, not one pledge having been left unThe great event of the season came off on Thursday, July the redeemed. For the secession of Sig. Ronconi, the directors, we 19th, when Meyerbeer's L'Etoile du Nord was represented for need scarcely say, were not responsible, that eccentric artist the first time. The sensation created by this masterpiece, and having simply failed to fulfil the engagement he had accepted. the details connected with its performance, have been so recently Sig. Tamburini was engaged in his place; and, even now, no before the public, that it is only requisite here to make some other could be accepted as a fit substitute for Ronconi. It was passing allusions. Meyerbeer came from Berlin to superintend fortunate that such two “trump cards” were at hand as L'Etoile the rehearsals, which profited greatly by his experience. The du Nord and Il Trovatore, since, without Sig. Ronconi, neither celebrated composer expressed himself thoroughly satisfied, and Guillaume Tell nor Rigoletto could be performed, and both of was surprised to find so much effected in so short a time. The these operas were in high favour last year. An attempt was visit of Meyerbeer to London will render the season of 1855 one made to secure Mdlle. Alboni, who was in London for a short of the most memorable in the annals of the Royal Italian Opera. time, but the negociations failed. To pay extravagant terms It is unnecessary to allude to the cast of the Etoile du Nord. is unwise, but it is worth some sacrifice to get such an incomExcept in one or two instances it could scarcely be improved. parable singer as Alboni, who will be indispensable next year, if Next year, no doubt, the distribution of parts will be perfected. Grisi is not again to be confined to the stereotyped four parts.

The Etoile du Nord was played four times in succession, and Alboni is engaged at the opera in Paris as well as Cruvelligave place one night-Saturday, July 28th-to the Huguenots, why not at the Royal Italian Opera ? when Mad. Grisi and Sig. Mario appeared for the last time this With respect to the re-engagement of Mad. Grisi, of which season, and were greeted with an enthusiastic“ ovation” at the we entertain no doubt ; for the last few years, the répertoire of end of the opera.

the great prima donna has dwindled down to four operasThe Prophète was represented on Thursday, Aug. 2nd, for the Norma, Les Huguenots, Favorita, and Lucrezia Borgia-and first time, with Mad. Viardot, Malle. Marai, and Sig. Tamberlik. l occasionally a fifth-Don Pasquale. The public are, however, There had been no rehearsal ; the first Anabaptist (Sig. Mei) getting tired of them all, except the Huguenots ; why not revive was indisposed, and the finest scene in the opera was obliged to Semiramide, La Gazza Ladra, Anna Bolena, and Le Nozze di be omitted. Such indifference to so great a work cannot be too Figaro-in all of which Grisi has great parts ? highly reprehended. While the utmost pains were lavished on Il Trovatore, Don Giovanni and Le Prophète were left to take

PARIS.

Paris, but, touched by the beauty and grace of Généviève, pro

tectress of the city, bows the knee before her, and withdraws (From our own Correspondent.)

his barbarian hordes.

Thus ends the first act. The second opens in the Middle Ages, “ NOTHING new in the musical world. The condition of the with a fête of asses, a fête of which the tradition alone now exists, Opéra is excellent.” Such-to borrow a stereotyped Sebastopol but which is inexpressibly amusing with its asinine herd wagdespatch—is the condition of affairs in Paris. Both Operas are ging their ears and braying in chorus. The scene, which is charfull to the roof every night, and no novelty will be produced mingly painted, represents old Paris at daybreak, and the stage before the Queen of England pays her long-expected visit. Mean is alive with the clerks, scholars, bourgeois, and gallants of the while the Exhibition is complete, and Paris is regularly taken Middle Ages. Abélard and Héloise serve the purposes of the by assault, by thousands upon thousands of foreigners and pro

drama; but truth to tell, the charming story, so poetically told vincials. Every language may be heard in the streets, every by Pope, is lowered to the level of a vulgar intrigue. Abélard, form of patois may be studied by those who are curious in the as he coolly announces, has had his youthful escapades, and is various peculiarities of Gallic speech. The weather is lovely, father of a natural son called Alienor. Héloise hates this offand your Queen will probably enjoy the sunshine which never spring of his love with another, and he is killed in a duel with seems to fail her at every fête and solemnity.

Goutrad. The departure for the Crusades puts an end to the Meanwhile all the world rushes to the theatre of the Porte woes of Abélard, and the curtain fortunately falls before FulSaint-Martin. The attraction consists in a new drama entitled | bert takes his well-known vengeance. Paris, in twenty-six tableaux, and with prologue and epilogue. Joan of Arc follows next in order, and never on any stage has Polonius might well describe it as “ tragical, comical, historical, a more magnificent pageant been presented than that reprepastoral, pastoral-comical, historical-pastoral, tragical-historical, senting the cortege of Charles VII. proceeding to Notre Dame. tragical-comical-historical-pastoral, scene indivisible, and poem

No less than five hundred persons appear on the stage, and the unlimited.” All writers, whether of time, or place, or character, costumes are perfect, both as regards historical accuracy and are laughed at, disregarded, and set at nought. Part of the colour and effect. Madame Marc Fournier, who is an admirable action takes place on earth, part under the earth; one portion antiquarian, and second only to Mr. Planché in knowledge of all in heaven, another in hell. Statues walk about and con- belonging to the history of costume, herself designed the dresses verse gravely; tombs open for the convenience of venerable and superintended their preparation. The scene terminates with spectres who can a tale unfold; age jostles age; events a ballet of Les Villes de France, and the Opéra in its best days jibe the heels of events, and historical personages of all sorts never produced anything more graceful or charming. elbow each other, amidst the magnificence of a mise-en-scène un

The third act brings us to the Renaissance, and M. Paul precedented in splendour and brilliancy, and in a piece, the Meurice, deeming it essential that royalty and commonalty action of which extends somewhat over two thousand years. should have been suckled at the same breast, informs us that the M. Paul Meurice is the author of this play, in the production of mother of Henry IV. was the nurse of Jean Goujon. We see which the manager, M. Marc Fournier, has expended upwards Catherine de Medicis poison Jeanne d'Albret, with a glove preof £4,000, independently of the incessant labour he has bestowed pared by the perfumer René, of execrable memory. Nothing on it during the whole of the past six-months.

can be more striking than the apparition of phantoms after the The curtain rises on the foyer of the Opéra, in the year of massacre of St. Bartholomew. Catherine, seated at the balcony grace 1856. Two youths, with more valour than discretion, of the Louvre, silently gazes on the waters of the Seine, running quarrel about a domino, who is intriguing all comers, and fix red with French blood shed by French hands. The ghosts rise the Bois de Boulogne as the rendezvous for a duel to be held the in their winding sheets, and pass before her in ghastly and silent following day. “L'Ame de Paris," present among the masques, array. The Queen, terrified and alarmed, shrieks, and falls faintis determined to prevent this unnecessary waste of courage, and ing to the ground. A splendid transparency of the entry of can hit on no better plan than that of parading before them in a Henry IV. succeeds this spectral tableau, and finishes the act dream the bloody battles and fratricidal combats of which France with éclat. has been the theatre from earliest times. The idea is taken Louis XIV. and La Vallière, Molière and his servant, the from an old friend, Victorine ; ou, La Nuit porte conseil, but the gardens of Versailles and the fountains, represent the age of the execution is both beautiful and poetical. "L'Ame de Paris" Grand Monarque. The universal armament of '92, Charlotte quits her domino, and reassumes her garb of marble. The foyer Corday, Madame Roland, the distribution of eagles at the disappears, and the city is beheld, calm and peaceful in the still- Champs-de-Mars, that of the Revolution, of the Empire, and the ness of night. “L'Ame de la France” descends from her pe dream is finished. The youths, whose quarrel commenced the destal in front of the Pantheon, and arranges the order of the piece, are reconciled, and France receives all the nations of the spectacle with “L'Ame de Paris.” Both statues then vanish, world in a wonderful apotheosis. and the dream begins.

To produce this drama and its wonderful mise-en-scène, no less First we have Velléda and Merlin the enchanter. The | than eight painters of no small merit have been at work night druidess has two children, of whom the elder, Herimann, is legi- and day during several months. Eighteen hundred costumes are timate, and the younger, Fulvius-Marcius is a bastard. The due to the charming designs of Madame Fournier, and the family lives in the midst of constant brawls, and a Druid, numerous ballets sown broadcast through the piece are models delighting in mischief, encourages the paternal quarrels. “Be- / of all that is graceful and pretty. hold the son of your mother's seducer,” says he to the Gaul; Madame Guyon fills the various rôles of Velléda, Héloise, “regard the son of your father's murderer,” he whispers to the Jeanne D'Albret, and Madame Roland, and is admirable in all. Roman, and the brothers are about to engage in deadly fight. Her death scene, as Jeanne D'Albret shewed to what purpose Velleda interferes, and offers up herself as an expiating sacrifice, she had studied Rachel in Adrienne Lecouvreur. She was reand the enchanter Merlin gives excellent advice to the recon called amidst a tempest of applause in this scene. Mad. Lucie ciled brothers.

Mabire was an excellent representative of passion, fury, and The next tableau represents the dawn of the Merovingian hate, in the parts of Impéria, Mélusine, and Catherine de Medicis. age. The Roman rule has proved fatal to poor Lutece, and the Madame Naptal-Arnaud was a becoming and graceful type of Parisians are starving. The people murmur, but St. Généviève Généviève, Jeanne D'Arc, and Charlotte Corday. Madame comes to the succour of her good city, and arrives with corn in Delphine Baron, successively Flamette, Gallina, Marotte, Laabundance. Nevertheless the conquerors hold high orgy at the forest, Babet, and Grenade, was the true grisette of all times and palace des Thermes, and we have a splendid tableau of the all régimes, loving, laughing, gay, careless, pretty, agaçante, and Romans of the decadence. The courtezan Impéria, reclining on immortal. Boutin was an excellent image of the bourgeois of all & tiger-skin, offers her cup to the drunken Consul, and the ages; Colbrun, the gamin, the scholar, and the page; Vannay, the Menads, waving their thyrsi, assume every variety of lascivious hypocrite and the traitor; and, lastly, Deshaies, natural, vivapose and gesture. Meanwhile Attila thunders at the gates of i cious, and hilarious, was a charming Jaques Bonhomme. The

piece is now in the full tide of success, and will probably run for

ORIGINAL CORRESPONDENCE. two or three hundred nights. At the Italiens, Madame Ristori has appeared in a lugubrious

ITINERANT MUSIC-SELLERS. tragedy entitled Pia di Tolomei, written by a modern Italian

To the Editor of the Musical World. author on an episode of the Divina Comedia of Dante. The sanie

SIR-I have read the letter signed "A Professor of Fourteen Years' subject had already inspired the Marquis de Bellay, who, some

Standing" with considerable pleasure. If the profound respect which two years ago, wrote a drama which was represented with some

he entertains for bimself and his brother professors is commensurate success at the Théâtre-Français, under the title of La Malaria.

with the profits he derires by selling music, he is much to be envied, The French author wisely presented a short drama to the public;

and I should be the last person to advise him to abandon bis trade. the Italian scribe spins out his action through five dreary acts. But he has misunderstood the nature of my remarks: they were not A species of Brummagem Iago, in love with Pia, and whose meant as an attempt to raise a cry against my profession-on the addresses are rejected, determines on revenging himself, and contrary, it was their interest wliich prompted my short note. My denounces her to her husband as guilty of adultery with some purpose was to suggest a course which it appears to me the musical gentleman unknown. The Italian Othello forthwith immures profession must inevitably adopt sooner or later. If they take the his wife in an old baronial castle, surrounded by pestilential initiative, it will be an act of grace on their part; but, if they are com. marshes. Here consumption soon sets its grasp upon her, and pelled to follow the stream against their own efforts, it will be an act when the husband, too late enlightened as to his wife's inno

of disgrace. We are all commercial men, and I wish the subject of cence, flies to her rescue, it is too late, and she expires in his

selling music to our pupils to be regarded in a commercial light. arms pronouncing his pardon. The Italian author, Signor Carlo

This view my respondent eridently takes; his enthusiasm for his fellow Marenco, during the first four acts presents us with the some

craftsmen is to be viewed in the same light as the cry of the poor what revolting spectacle of a husband duped through the most

silversmiths of Ephesus when their trade was threatenedtransparent artifices by a low bravo; the last act alone is inte

“Great is Diann of the Ephesians." resting and dramatic. The Frenchman compressed tbe first four Passing orer his excusable tenderness, I will proceed to explain what acts into one, and led at once to the dénouement. Madame I hinted in four words : “The manner now customary," and which, Ristori has added nothing to her laurels by this new imper- notwithstanding fourteen years' experience in trading, my brother sonation. Her death scene was too violent, and she seemed to cannot, or will not, understand. have taken too servile a copy of Rachel. She evidently forgot It is very well known that musical publications can at the present that while Adrienne Lecouvreur dies from the effect of an active

time be bought by professors at something like half the price they paid poison, Pia expires after months of gradual exhaustion from con for them a very few years ago. What enviable profit there must be, sumption. Madame Ristori will do well to return to Mirrha

the initiated know very well--and the uninitiated will guess. The reduce and parts of that description, which afford full scope for her fine

tion is to be ascribed principally to competition of trade, aided by the talent.

destruction of forcign musical copyrights which the House of Lords At the Variétés, Bouffé continues successful with the réprise

effected last year. It would naturally be supposed that a piece of music

which involved no outlay but the plates would fall in price to the of the Abbé Galant, a part he created at the Gymnase some

public. But no; the teachers of music--one and all-raised such a fifteen years ago. He is the same unrivalled comedian as ever, slavnour at the suggestion made by some houses to reduce their publie and presents us with a charming sketch of an Abbé, sincere,

cations fifty per cent., that the proposition was soon abandoned. Nevergraceful, and candid.

theless the pressure of the public for cheap music was very considerable,

and some of the music-sellers, at the risk of losing their professional cusTO MADLLE. RACHEL.

tomers (who threatened to withdraw their account if any concession

were made), were bold enough to make an allowance to their retail Young foreigner, in whose dark eyes

customers on all their purchases. Others, who were desirous of pleas. So much of thought and feeling lies,

ing both professor and amateur, printed their publications with two When cheers of triumph swell the while,

title pages. On one a low price was affixed for retail sale; on the How trembling, yet how pleased, thy smile!

other a double price was priuted for disposal to the profession. I men. Ah! may the laurel wreath which now

tion these facts to show that publishers could afford to reduce their So lightly binds thy youthful brow,

prices, and that there was a general demand for it by the public. If the Unmixed with thorns,- unstained by tears,

price of music is not generally reduced, and if a disgraceful system of Be precious still in after years ;

trade is engendered, the musical professor is responsible for both state May Fate forbear thy hopes to tame,

of things. He is not satisfied with a handsome profit (double the profit Nor sever Happiness from Fame ;

on books to the dealer), but, on an opportunity presenting itself when Thine early day in glory rose,

the world may hare the advantage of cheap music without Bright as a sunset be its close!

disadvantage to him, he, by threats and intriguing, endeavours [Addressed to the celebrated French actress, on her first visit

to maintain an unnecessary high price; and, when at last the

man of business gives way to public demand, he com pels to this country, by Mrs. Norton, and published in the “ Pocket

him to print a publication with a fictitious price to enable him to Album " of Mr. Albert Schloss.-ED. M. W.]

swallow a dishonest commission, which he would be ashamed to avow.

I say dishonest, because the price ho charges is not the publisher's Miss ARABELLA GODDARD.--This distinguished pianiste has price, as it professes to be. I found that a servant of mine-whom I been giving two concerts at Lubiana with the violinist Strauss, entrusted to make purchases for me-cajoled shopkeepers into writing which have been beyond measure successful. All the authorities out accounts at a rate of fifty per cent. above the value of the items, to of the city, amongst whom was the governor, and all the nobility

| enable him to pocket that difference, I should certainly not view his. assisted at it, testifying their unbounded satisfaction. Miss

conduct as honest, and, without any compunction, dismiss him. Thero Goddard played several pieces, but the themes with variations

is no difference, in my eyes, between the dishonest steward and the pro. on airs from Mosè and I Puritáni excited the enthusiasm of the

fessor who sells music at an unreal price. The pupils will soon discover

his cupidity. Many have done it already, but “etiquette" forbids audience, who after the concert, assembled to greet the eminent

them to notice it. I think I am, therefore, justified in saying "tho artiste with expressions of esteem and sympathy. She was,

manner now customary" will turn out neither honourable nor profitable moreover, elected an honorary member by the Philharmonic

to those who continue to practise it. Society. Miss Goddard is now gone to Roitsch, and will thence

As to wbether much music is not unnecessarily foisted on pupils, I proceed to Klagenfurt, Marburg, and Ischl, with the intention

leave those to judge who have brought up children. Ask any such of giving a series of concerts.—(Giornale di Trieste.)

person whether they have not had to pay for dozens and dozens of STRAND.-A group of the Spanish dancers, with Senor Marcos Diaz expensive pieces which the pupil has never played. It is not uncommon and Malle. Anna della Fuerte at their head, have been transferred to for a young lady to return from school with a portfolio laden with this theatre and have proved highly attractive. The lady, a pretty and music. The delighted mother views it with joy, and is charmed to graceful inferiority to La Nena, is nightly complimented, like her think what progress her daughter has made. But when the piano is compeer, with a coronal of bouquets.

opened and the infant genius is requested to show off, it turns out she can hardly play one quarter of the musical library her master has so sentence clear, some one or other of the localities named a little liberally supplied her with. The remainder is for “practice in the further on should have been inserted after the words "Musical holidays ;" but, at the end of the vacation, it is apparent to the dis. Degrees.” As it is, we are free to imagine that musical degrees appointed parents that the surplus music was not intended for use at Oxford, or Dublin, or Lambeth, or York, or Halifax if you please, (like the razors), but was only a piece of “sharp practice" on the part have been no sign of merit; but nobody in his senses would imagine of the musician.

that Cambridge needs be called upon to look out" of such a quagmire. When the teacher is a composer, the pupil has a good opportunity of We abstain from naming individuals, living or deceased, but we have fully appreciating her master's original ideas. But, if his works are dull the happiness of knowing that there are and have been men whose and meaningless, woe betide his unlucky protégée. “A Professor of merits were so tested at Cambridge before they received their honourFourteen Years" does not believe that the composer would ever inflictable diplomas, as to leave little doubt on the minds of real musicians his effusions on his pupils in this case. Unsophisticated man! has he that Genius and Art might safely publish there their marriage-banns, never been inspired during the fourteen years he has taught the young and there receive connubial benediction, no man forbidding; whilst idea! Perhaps not-and so much the better for his pupils.

many a licensed aspirant, with only his purse to recommend him, I have a friend who believes himself a genius, but who is regarded would be sent empty away-a fact too honourable to Cambridge to be by his friends as a good fellow without an idea. Well, he spends his forgotten or blown to the winds by the first or the fiftieth puff put leisure moments in composing works, which, but for his pupils, would forth on behalf of Oxford regenerators. be entirely devoted to “posterity.” He generally brings out three But we have hinted at the dearness of a degree at the place for effec“heavy” works in the course of the year, and his last production was tually testing the merits of the candidates :--and what do we mean? a “Third Symphony,” for pianoforte, four hands, dedicated to his Simply this, that a man of genius may take his exercise to Oxford, pupils, Opus 146. He sold thirty-six copies of it to his pupils, and not one quail under the sublime ordeal, and sneak away again, with only the to the public. Is it to be assumed that every one of these bought the world to appreciate what Oxford may chance to scorn, if the said genius symphony from real choice, or from a desire to give their master “a be not rich enough in technical lore, and fishy coolness to work out "in turn ?” 146 works bave been taken up in the same way by generation his presence" (the Professor's), and in the required number of parts, a after generation of students, and as they are all equally meritorious, fugue on a subject then to be administered. Who shall say that a man I leave to calculate the amount of taxes which this man's pupils have without ears might not stand the best chance of a triumph ? Nay, paid him because he has a mania to write. I will conclude, trusting even a man without hands-for there sits a man in Oxford Street, who, that my brother will have changed his mind on the subject of our dif- with only a pair of arm-stumps, daily “works out” equally clever things ference long before he can call himself,

for his subsistence. A PROFESSOR OF TWENTY-THREE YEARS STANDING. If this is to be the method of raising the musical degrees at Oxford,

we shall long have to hold on our note of congratulation for Cambridge,

while she pursues her even tenor, unabashed by supercilious neighTHE ORGAN IN ST. GEORGE'S HALL, LIVERPOOL.

bours, and happy in the love of goodly children who shall still go forth To the Editor of the Musical World.

to chant the praises of Alma Mater, in strains that English hearts at

least will ever welcome. SIR,—The Liverpool Organ appears to have been made the subject of much premature and adverse criticism in many quarters of late; if,

We are, Sir, yours very respectfully, therefore, you can spare room for the following few lines, I shall be

6th August, 1855.

FIFE AND DRUM. much gratified.

I had the pleasure of playing upon it about two months ago, when, althought not quite complete, a fair estimate might be made of its

FOREIGN MISCELLANEOUS. merits.

ITALY.–At Naples, Signor Battista's opera, Anna la Prie, has In my opinion, as well as that of some others, perhaps better able to

been re-produced with success, although the papers are loud and determine critically on the subject, it must be considered a masterpiece,

vehement in their condemnation of the singers, who were Mad. both musically and mechanically, and reflects infinite credit on the

Beltramelli, Signori Cecchi, Mongini, and Brignole. They lament artist who built it. When heard in its integrity, I feel confident the instrument will

the ancient times of San Carlo, when the same opera was written, claim the most unqualified praise from all unbiassed judges.

in 1843, for such singers as Mad. Griutz and Signori Tamberlik, I am, sir, your obedient servant,

Fraschini, and Beneventano.--At Milan we find that La Scala,

W. T. BEST.' which had so long gone a-begging, has at last been taken by a 98, Regent Street, Aug. 9th, 1855.

company composed of forty members of the orchestra, repre

sented by Signor Mazzucato, to be assisted by five of their own "MUSICAL DEGREES.”

body. The Gazzetta Musicale is enthusiastic on the matter, and

predicts immense profits, public favour, and gratitude. The To the Editor of The Musical World.

latter are all very well in their place, but we doubt about the SIR,—You have a paragraph in your present number, "abridged profits, and have a strong feeling that the question lies between a from the Manchester Courier,” which affords us immense delight. Will theatre and no theatre-that is, bread or no bread-and we have you indulge us with a little space that we may make mirthful comment a further opinion that the screw has been twisted pretty tight on the occasion ? We are rejoiced to find that musical degrees are so to bring about the present arrangement, by the paternal governcheap, on the one hand, that even we shall be able to get one; and soment of the Emperor, represented in Milan by the gracious and dear, on the other, that genius itself will not be likely to afford the | gentle Radetzki. In vain the unfortunate forty pleaded for a price. To explain. We have got through a Te Deum," a " Jubilate,"

further subvention of 35,000 lire (Austrian); it was refused. We, and an Anthem, and, as a natural consequence, we shall proceed to the

however, heartily wish them success, and shall be delighted to Examination Hall of Trinity College, Dublin, and accumulate the degrees of Bachelor and Doctor in Music, “when our money-tree

see these forty poor musicians—who have been obliged to deposit blows," and its fruits accumulate to the requisite amount. This

their hard-earned savings in the hands of the government to is wbat we call the easy part of the business, and “Manchester

furnish the caution-money necessary to work the Scala-reap an doubtless agrees with us thus far, seeing that he leads off with

| abundant harvest out of the speculation. — The Carcano has Dublin in order, be it supposed, that he may lead on to Oxford with the

closed once more. So much for Austria again. King Cliquot and greater effect-to Oxford, whose effectual test is to try the merits of | King Bomba are at least national curses; but Austria in Italyfuture candidates--to Oxford, whose standard of musical degrees is now pshaw !-At the Teatro Rè the Gazza Ladra has been followed to be raised (in proof that it required raising)-to Oxford, which needs by Cenerentola, but with the same want of success. Apparently, to be saved from its friend, Manchester," lest it should be thought to the present race of Italian singers cannot sing Rossini's music. adopt the inflated idea of recommending “ Cambridge to look out, if it BERLIN.-The Neue Berliner. Liedertafel gave a grand festival, last wishes its degrees to be worth having—because, forsooth, it has just week, at the Tegeler See, when they performed compositions by Menlooked out of its own candle-box, and discovered a much larger world delssohn, and others, under the direction of Herr Hermann Krigar. The beyond than it ever dreamed of, and all lighted with gas into the festival concluded with a display of fireworks. bargain!

EMS.- Mad. Jenny Lind-Goldschmidt lately gave, in conjunction But Manchester says "it has long been a matter of complaint that with Mad. Clara Wieck-Schumann, a concert for the benefit of Herr musical degrees have been no sign of merit.” To make this | Robert Schumann, who is again in a state of almost hopeless insanity.

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