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On the contrary, I do not find in Spontini's works any trace Poor, cried down by the throng of musicians of Paris, Spontini
of this influence which, in a purely musical point of view, the forgot everything, and descended with eagle swoop upon his
German masters, Haydn, Mozart, and Beethoven, might have rich prey. He shut himself up in a wretched garret, neglecting
exercised over him. The latter was hardly known by name in his pupils, and regardless of the first necessities of life, hệ
France, when Spontini arrived there ; and the Vestale and Cortez applied himself to his work with that feverish ardour, that
were already achieving brilliant triumphs at the Grand Opéra trembling passion, sure indications of the eruption of his musical
of Paris, when their author visited Germany for the first time. volcano.
No, instinct alone in Spontini guided him, and suddenly revealed

(To be continued.)
to him in the use of vocal and instrumental masses, and in the
enchainement of modulations, so much wealth unknown, or at

FOREIGN
least less resorted to in theatrical compositions by his predeces BERLIN.—The most important event at the Royal Operahouse
sors. We will soon see what was the result of his innovations, during the last week has been the production of Guillaume Tell.
and how they drew down upon him the hatred of his compatriots, This opera had not been performed here for a considerable time.
as well as that of the French musicians.

Herr Radwaner made his debut as Tell, with very fair success.
Resuming the thread of my biographical sketch, I must confess | His voice, although not very strong, is agreeable, and
my ignorance with regard to the actions of young Spontini after his appearance prepossessing.-Mdlle. Johanna Wagner has
he had produced at Venice his third opera. I am no better appeared as Romeo in I Capuletti e Montecchi, and was as much
informed as to the theatre at which he brought forward those applauded as ever. Mad. Köster will shortly appear, for the
operas which followed his third. Without doubt they were as first time since her return from her provincial tour, as Fidelio in
little productive of money as of glory, since he resolved to seek Beethoven's chef-d'oeuvre.--Herr Dorn has just completed a
his fortune in France, without being called thither by the public comic opera, in two acts, entitled Ein Tag in Russland.
voice, or by its powerful protection.

BRESLAU.—Mad. Maximilien has produced a highly favourable
We know the titles of some thirteen or fourteen Italian scores impression, and, after having played in five different operas, been
composed by Spontini during the seven years which followed his engaged as prima donna for next season, in the place of Madame
first and ephemeral success at Rome. These are-L'Amor Secreto; Nimbs.
L'Isola Disabitata; L'Eroismo Ridicolo; Teseo Reconosciuto; | MAYENCE.-Les Huguenots has been produced with great
La Finta Filosofa; La Fuga in Maschera; I Quadri Parlanti; splendour, and proved extremely successful.
Il Finto Pittore; Gli Elisi Delusi; Il Geloso e l'Audace; Le HANOVER,--Donizetti's Linda di Chamouni has been revived.
Metamorfosi di Pasquale; Chi più Guarda non vede; La The next operas on the list are Herr Richard Wagner's Tann-
Principessa d'Amalfi, Berenice.

häuser, Le Nozze di Figaro, and Die Zauberflöte.
He preserved in his library the manuscripts, and even the BRAZIL.—Mdlle. Emmy Lagrua, from Paris and Vienna, has
printed libretti of all these pale compositions, which he some-made her debut at the theatre of Rio Janeiro, as Desdemona,
times showed to his friends, with a disdainful smile, as the play | in Otello, with great success.
things of his musical infancy.

HAMBURGH.- Robert le Diable has been revived at the Stadt-
On his arrival in Paris, Spontini, I believe, suffered much. theater. "
He contrived to eke out an existence by giving music-lessons, | NAPLES-On the fifth of September, a lease of three years for
and obtained the representation at the Théâtre Italien of his the San Carlos theatre was conceded to Signor Luigi Alberti,
Finta Filosofa, which was favourably received Notwith-

who represents a company of fifty shareholders, of the royal standing what most of his biographers say upon the subject, I

theatres. The repertory will consist of the following operas. believe that the opera of Milton of M. Jouy, was the first at

The theatre will open on the 4th October, with Verdi's Violetta, tempt of Spontini to French words, and that it immediately

sustained by Mad. Beltramelli, Signori Stefani and Colletti. preceded the insignificant work entitled, Julie, ou le Pot de The next opera will be Lionello, with Mesdames Medori and Fleurs.

Paganini, and Signori Colletti and Stefani. The Trovatore will On the engraved title pages of these two scores we find, in

then be played, subsequently Il Pirata, to be followed by deed, that Milton was represented at the Opera Comique on the

Rossini's Assedio di Corinto and Bellini's La Straniera-though 27th of November, 1804, and that Julie appeared March 12th,

old operas, are novelties in the repertory. Three new operas are 1805. 'Milton was pretty well received. Julie, on the contrary, I also announced. One by Signor Pacini, who has sold his copybroke down beneath the weight of the public indifference, like right for 2500 ducats, to the management; Gabriella di Vergy, a thousand other productions of the same stamp, which are daily

a posthumous work by Donizetti, and Il Camma, by Sig Tomborn, and die, without attracting the notice of anyone. One air masi. Two ballets, composed by Sig. Taglioni, and a third by alone has been preserved by the vaudeville theatres; that is | Sig. Izzo, will also be produced. the air: Il a donc fallu pour la gloire. The celebrated actor

| FLORENCE. — Lucrezia Borgia has been successful at the Elleiron became quite attached to Spontini, and wishing to

to Spontini, and wishing to Pagliano. Signor Sebastiano Ronconi is spoken of as a superior furnish him with an opportunity for a revanche, he procured | actor and a good singer. He appears to have given great satisfor him a libretto for a comic opera, in three acts: La Petite faction in the part of Alfonso. Mesdames Gori and Conrani Maison, which the imprudent musician had the weakness to

were much applauded in the part of Lucrezia and Maffeo accept. La Petite Maison was so completely damned, that not Ansini. a trace of it remains. The representation was not even finished.

MILAN.-On the 15th September the Canobbiana opened with Elleiron played an important part, and, indignant at one or two the Favorita, which was coldly received by the public, although isolated hisses, he forgot himself so far as to make a con

the new company seems to be much superior to their predecestemptuous gesture to the audience. A most frightful tumult

sors. The tenor, Sig. Giuglini, is young and possessed of a strong, was the result; the enraged pit rushed upon the orchestra,

firm, extensive, sweet, and sonorous organ ; he phrases well, and drove away the musicians, and destroyed everything that came

has moreover a perfect command over his voice and what is to hand. After this double failure of the young composer, every door

hardly less than all as a recommendation in a tenor-he is good

looking and elegant in appearance. Signor Zacchi, the new would necessarily be closed against him. But still he had a baritone, was also much liked. As regards the women, the less high protection, that of the Empress Josephine. She was good said about them the better. Their names will suffice-Mesdames to her word; and it is certainly to her alone that the genius of Bocherini and Llorenz. The orchestra was tolerable, the chorus Spontini, about to be extinguished even before its rising, owed

detestable, the decorations pitiful, and the dresses disgraceful. its power two years later to make its wondrous ascension into the heaven of Art. For a long time M. Jouy had preserved in M. HECTOR BERLIOZ is about to leave Paris for Vienna, where his portfolio a poem for a grand opera, La Vestale, refused by | he intends to give several performances of his own music. One Méhul and Cherubini; Spontini solicited it so eagerly that the l of the principal features will be his latest work-the “ trilogy,' author at last decided to give it up to him.

called L'Enfance du Christ.

THE MUSICAL WORLD.

promoters feel that the progress of musical taste and education in this country warrants the belief that the

time has now arrived for commencing so desirable and • LONDON, SATURDAY, OCTOBER 6TH, 1855.

important an undertaking." It is good to support native talent; certainly that should be the primal object of a

national institution; but we trust it does not imply We are going to plead guilty to the accusation of being the exclusion altogether of foreign artists, vocal and instrufalse prophets. We are pleased that our fears and surmises mental. Of the “ progress of musical taste and education in have proved unfounded. No later than last week we told this country," there is hardly a doubt; and that there is our reader3—and with somewhat of a confident air—that plenty of material for the constitution of an opera we have there was no talk of an English Opera, and no prospect. always considered and made known. We must not, however, We are glad to be made so soon to swallow our own words. | be led to suppose that there is more vocal talent at the preThere is now both talk and prospect. A prospectus has just sent time in England than on any former occasion. A glance been sent to us, headed “National Opera Company (Limited.)” | at the bills of Covent Garden and Drury Lane some twenty An English National Opera is about to be established by a com- | or thirty years ago will convince the most sceptical of the pany of shareholders. The complete scheme is now announced, contrary. There is, nevertheless, talent sufficient for all and is, or will shortly be, before the public. What private purposes, and some of the most sterling kind. enterprize could not effect from want of means, or public The Lyceum theatre has been secured for a term of years, spirit would not undertake through fear, the wisdom of the We should have preferred Drury Lane; but the Lyceum will legislature has placed within the bounds of accomplishment.do to begin with. It was there that English National Opera The late enactment for the Limitation of the Liability of first made a stand ; and it would not be contrary to poetical Shareholders—under the provisions of the Act, 18 and 19 ) justice if there it should be resuscitated. The situation, Victoria, cap. 133—has opened a new road to speculation. moreover, is centrical and good, and Fashion does not turn Men may now venture and see the way clearly before them. its head therefrom. Despite, therefore, of some drawbacks, A few pounds may be hazarded without a chance of ruin. the Lyceum, we repeat, will do to begin with. Formerly he who purchased a single share in a company was In clause six, we find it stated that the “operatic departmade liable for any amount of loss sustained. The new | ment will comprise the best vocal and instrumental talent." Bill has removed this clog. At present, as the pro- | This is indispensable to success, and will alone ensure a perspectus of the National Opera indicates, “No Share-manent foundation to the establishment. Such an object holder is liable beyond the amount of the Share or should never be lost sight of ; at the same time, economy Shares for which he may subscribe.” If John Nokes | should be borne in mind, and exorbitant teims to artists buy his ten pound share, he is made liable for ten pounds. carefully eschewed. To keep a theatre open for no other Each holder is bound to meet his exact subscription-no | purpose than that singers might display their idiosyncracies, more. Every man to his own share is a good law. The live like kings, and drive in their chariots round Hyde-pank, lawyers were late in apprehending it; it was too plain and would be as little politic as remunerative. natural for their subtleties. Better late than never. The Let artists be honoured and awarded in just proportion to law, as it stands, is a good law. Let it be honoured, which their value, but not beyond. At the same time there is more than can be prayed for all laws.

should be no want of liberality. The mean between profuseThe prospectus of the “ National Opera Company” is in ness and parsimony should be observed. These are truisms, our hands. We have examined it carefully, and weighed it but cannot be too frequently inculcated. in the balance of our judgment. We have been so often de. It is proposed that “the season consist of forty weeks," and ceived in matters connected with English opera, and have so that “there be six representations each week.” The first often been deluded by false hopes, that we are naturally distrust- proposition involves a difficulty; the second is open to ful, and feel inclined to place but little confidence in any scheme objection. A season of forty weeks-supposing it to or speculation on the subject. The document before us, commence with November - would bring the series of perhowever, appears so straightforward and, to a certain extent, so fomances to the end of August, and consequently include satisfactory, that it at once enlists our sympathies, and has the whole period of the Italian opera. Now, it is given rise to the most vivid anticipations for the establish- avouched in the prospectus, that the best vocal and instrutment of a National Lyric Theatre. The following are the mental talent will be secured ; but, as there are to be main features of the new speculation :

representations every night in the week, and as we may The National Opera Company is proposed to be carried with certainty conclude that “the best performers” will be on by a capital of £10,000, in one thousand shares of £10 | demanded and obtained for the Italian Opera, or Operas, we each. The object is to establish a “permanent English | know not by what means the proprietors can keep their Opera” for the performance of works of British com- pledge. Mr. Henry Blagrove may officiate at the Lyceum posers, and of such foreign operas as may seem most on the non-Italian nights, but how for Tuesdays, Thursdays, appropriate for the English stage. This last clause, ) and Saturdays, to say nothing of the sometime Monday and which we have italicised, is excellent and proves, Friday Extras ? Will Mr. Henry Blagrove forego Covent. so far, the absence of all cliquedom. The Grand Garden and take his stand by the Lyceum? This difficulty Opera and Opera Comique of Paris, although so-called | we should like to see solved. With regard to performances “National Theatres,” both act on the same principle. The every night in the week, that is a subject for the gravest nationality is sustained in the language alone. Michael consideration. We have always been opposed to these sucWilliam Balfe wrote an opera for the Opera Comique; why cessive representations, and have lifted up our voices against not Daniel François Esprit Auber for our National theatre. them upon every occasion. There is one thing certain;

“One of the great objects sought to be obtained," says the although tried often they have never succeeded. The operatic prospectus, “is the employment of native talent; and the performances last year at the Haymarket Theatre-a nonoperatic establishment-were mainly indebted for their suc- We shall touch uo farther upon the “National Opera cess, we believe, to their limitation to three nights in the Company at present, but content ourselves with calling the week. We are aware that the Opéra Comique in Paris-- most serious attention to the prospectus, which, we doubt the theatre with which the National Opera might be best not, from the names attached and the statements set forth, compared is open every night, and that the system is will not fail to enlist the sympathies of the entire musical found to pay well; but that theatre is an old-established public, and tend once more to awaken a hope, long dormant, one, the orchestra has gained an European repu- | for the revival of English opera in this country. tation, and the general management has become a model. Moreover, at the Opéra Comique the singers are numerous,

PARIS. and the indisposition of a soprano or tenor, unless in rare instances, does not necessarily involve the withdrawal of the

(From our own Correspondent.) opera. If Madlle. Caroline Duprez be indisposed, Mad. Ugalde A PERFECT deluge of noveltieshas succeeded the musical is ready to take her place in L'Etoile di Nord or Haydée ; drought under which Paris has so long been suffering. As the or, if not Mad. Ugalde, Madlle. Miolan, Madlle. Dussy, or

attractions of the Exposition begin to wane, and the foreign and

provincial invasion under which we have suffered commences some other prima donna. There are four or five distinct

its retreat, each opera and theatre lays aside stock pieces, worn companies at the Opéra Comique, and by this means alone threadbare for Parisians, and prepares a new and choicer bill is the theatre enabled to give representations six times of fare for the inhabitants of this fair city, who are now rein the week. Now, is it possible to muster even a regular turning in shoals from all parts of the country. double company at the Lyceum? We are not much The Grand-Opéra has opened the ball with Sainte-Claire, the versed in these matters; but, we think, adhering to native composition

composition of Prince Albert's brother, the reigning Duke of talent, it would be rather difficult. How then give six

Saxe-Coburg Gotha; and the Duke has achieved a triumphant

and deserved success. For this he is indebted to the intrinsic representations in six successive nights! Will your tenor

value of his opera, apart from his position in society. Indeed, cry content, or your soprano not be induced to try the very the latter was of some disadvantage to him, for a large portion natural expedient of a cold, or a medical certificate, as easily of the audience evidently determined to pass a severer criticism obtainable? Do not believe it. If the theatre were once on the performance of the Prince, than they would have accorded established, if singers were cheap. choice and plentiful, if to an aspirant, of lower rank, for musical honours. The Duke, the subscription list showed a goodly array of names, if the

however, successfully passed through the ordeal, and had, in public were coming round, then we should say, give per-|

company with the Emperor, the pleasure of witnessing in person

the success of his work. formances as often as you please. By the way, with regard

The curtain rises on the court of Peter the Great. The Czarto the subscription, not one word is mentioned in the pro- ewitsch Alexis (Merly)—whose tragic end is matter of history, spectus, although the prices of admission to all parts of the gives a grand fête in honour of his wife, the Princess Charlotte house are given. We do not even know whether there is to (Mad. Lafon). An animated chorus opens this fête. The Palace of be a subscription. The performances of opera every night the Kremlin is a blaze of light, and the guests throng those vast at the English houses have always proved inimical to the galleries, where all is melody, gaiety, and mirth. Victor de

Saint-Auban (Roger), a French officer in the service of the subscription list.

Czar, is smitten with a young girl he has met with in Germany, · We do not deem it necessary to offer any observations, but of whose name he is ignorant. He breathes forth his upon the statement, that “after a most careful and elaborate passion in a charming romance, “Non, dans ton sein j'épancomparison between the estimated expenses and the average cherai mon coeur,” which is one of the most graceful comporeceipts of the Lyceum Theatre during previous years, it is sitions of the opera. The Princess recognises the voice of the confidently believed that a remunerative dividend will result young officer whose love she reciprocates, though in fear to the shareholders." We may remark, however, that a

and trembling; she suddenly enters the ball-room, pale, agi

tated, and wan. Victor rushes to throw himself at her feet, but chamber estimates are not invariably to be depended on.

is restrained by his friend and fellow-soldier, Alphonse de Laborde · The validity and soundness of the speculation of the (Belval), who whispers ia his ear, “Forbear, she is the wife of the “National Opera Company” is betokened in the names at- Czarewitsch !” This situation is expressed in a quatuor, without tached to the prospectus, to which we would invite especial accompaniment, well constructed and effective, in which the attention. The trustees are, the Duke of Leinster, John voices are grouped with much skill. The Princess, left alone Benjamin Heath, Esq., and Augustus Walter Arnold, Esq.

with her maid of honour Berthe (Madlle. Dussy)—who is beloved The auditors are Messrs. Thomas Oliphant and J. Duff.

el by De Laborde-pours into her sympathetic ear a history of the The Committee of Management is composed of Mr. Alfred

insults and humiliations she endures from her husband. This

duet is rapid, energetic, and passionate. She has no hope but Mellon, (conductor of the orchestra), Mr. Henry Blagrove in flight. Trusty friends have secretly sped to the court of her (leader), Mr. George Alexander Macfarren, Mr. J. Palgrave father, the Emperor of Austria; but they return discouraged Simpson, and Mr. Andrew B. Vyse.

and disheartened. The Emperor has commanded his daughter The fact, that Mr. Alfred Mellon-the most experienced to submit and suffer in silence. The Czarewitsch now enters, and accomplished of British conductors-has accepted the

gloomy and agitated; he suspects a traitor in every apparent baton of chef-d'orchestre is even more significant than that

friend, and commands his wife to dismiss all her attendants, his Grace of Leinster--the only Irish Duke-should be

not excepting Berthe, her tenderest and dearest friend. This

last outrage draws from the princess a cry of surprise and installed as premier trustee. It is no less a good sign that

grief, and Alexis, seeing her misery, offers to withdraw his Mr. Henry Blagrove, the eminent violinist, should take commands if she will receive among her maids of honour, his his place at the had of the fiddles. These two facts speak mistress, Euphrosine. The princess indignantly refuses, volumes in favour of the band. We are, glad, too, to and her husband then resolves on ridding himself of her see the name of Mr. Palgrave Simpson on the Committee of

according to the approved Russian fashion. In the middle

his wife, and of supper he drinks to

requires her to management. It is a tacit acknowledgment that some

pledge him in return. She suspects that her củp is other elements beside the “absolute musical”-as Herr

poisoned, but regarding death as a happy release she Richard Wagner would say—are requisite to the consti- drains it to the dregs, and falls senseless on the floor. Thus tution of an operatic 'establishment and to its administration, concluded the first act, the finale to which is admirable, from

the quintette which follows the entry of Alexis, to the final he gave an air of pensive melancholy to the part of the lover, air for the Princess.

so tender, faithful and discreet; so brave, chivalrous, and The second act is entirely consecrated to her funeral rites. handsome, that the suffrages of the fair sex-ever the best The ceremony is, according to custom, celebrated in the old judges in these matters—were unanimously in his favour. Basilisk of Michael the Archangel. A sarcophagus is raised in He did ample justice to the music, and was in excellent voice. the midst of the chapel, where her corpse is laid in state. Char- That promising young singer, Mdlle. Dussy, sang the music of lotte, her head uncovered, reposes on a bier of satin fringed with Berthe most admirably. She acted with ease and grace, and silver, from the sides of which hangs draped her imperial mantle looked much more the princess 'than the lady who filled that of purple and gold. Hundreds of torches and funeral lamps cast part. Mad. Lafon was aught but happy in the part of Charlotte; a dim unearthly light upon the scene. The act opens with a she was wanting in dignity and distinction, looking the waitingfuneral chorus, and presently Berthe pours forth her grief in an woman rather than a descendant of the Cæsars. She was cold air which leads up to the great situation of the opera. Victor as ice in the air of the first act, where energy and passion were de Saint Auban, left alone with the corpse, exhales his woes in required, but fortunately acquitted herself better in her an air replete with passion and feeling, and in the madness of cavatina of the third act, which she vocalised with great skill, his despair addresses the apparent corpse in language which he Merly was a good representative of the scoundrel Alexis, and had never dared to utter to the living princess. Charlotte Belval (the new bass) sang with intelligence and zeal as Alphonse whose life has been saved by the Doctor Aurelius (Marié) re- | de Laborde. fusing to obey the Czarewitsch's commands, and who suffers from The mise-en-scène and decorations are magnificent, and the the narcotic which the doctor has mingled in her cup, instead of dancing-of which there is much-was among the greatest poison-hears her lover's voice, but is unable to reply, and cannot attractions. Rosati introduced the pas, with which, in the Muette even raise her eyelid. Alphonse comes in search of his friend, de Portici, she electrified Paris last year. Malles. Plunkett, and here occurs the most successful morceau of thé Forli, Beretta, Legrain, Nathan, and Conqui formed a graceful opera, a quatuor, “Les foudres du ciel que j'offense.” It and charming bouquet of fair ones, whereof each came in for a was much applauded. Alphonse removes his friend, whose fair share of applause.. reason is beginning to fail, and they depart just in time. The | Finally—and this it is not given to every successful composer whole court, in state mourning, the archimandrite, the popes, to perform the Duke of Saxe-Coburg has dubbed M. Crosnier and the Czarwitsch himself, pale as a spectre, advance to the commander, and M. Girard (leader of the band) chevalier of sarcophagus. At the moment when the murderer with sacri the order of chivalry instituted in his extensive dominions. He legious hand is about to place a crown of pure white roses on the has also given a splendid snuff-box to Roger, and less sparkling forehead of the seeming corpse, the murdered wife raises her gifts to the male singers ; while bracelets and trinkets of greater hand and stretches it forth to her husband, who starts back in or less value have been bestowed upon Mdmes. Lafon, Dussy, horror. This movement is seen by Alexis alone, who, appalled | Rosati, Plunkett, &c. and terror-stricken by the avenging phantom, falls prostrate Mad. Pleyel has at length broken the spell which hung on the ground. Midnight sounds, the organ is heard, accom- over the whole of the concerts given during the season. Never panying the prayers which all present offer up for the departed. | was there such a season for concert-givers, for while the theatres Suddenly the princess rouses from her lethargy, and casts a have enjoyed a success without precedent, nothing could attract bewildered glance on the last of the lugubrious train who are the public to the Salle Herz, the Salle Sainte-Cécile or the quitting the chapel, and the Doctor who is watching by her side Hotel d'Osmond. Vieuxtemps and Servais, two great performers, confides her to trusty friends.

| announced a series of ten concerts, but, as the first consisted of The third act transports us to the sunny skies of Naples, a tête-a-tête, they packed up their instruments and departed next where the princess has found an asylum. She is adored for her day. A similar fate awaited all other adventurers until Mad. charities and goodness, and the people, grateful for her bounties, Pleyel broke the spell. She played the serenade from Dont have named her Saint Claire. Prince Alexis escaping from Pasquale, the Danse des Fées, and an andante of Rossini's as his father's bonds has also sought refuge in Italy. A mysterious she alone can play them. She was applauded to the wanderer has been seen roaming about the environs of echo by a room crammed to suffocation, and compelled to Naples, and the ever watchful police of that kingdom are at repeat each piece from the beginning to the end. Shc once on the track. Two officers of the Czar also arrive at the introduced, for the first time, to the public, her daughter, Court, bearing orders from Peter for the arrest of his son | Madlle. Marie Pleyel, a young lady of considerable personal Alexis, charged with high treason. Victor Saint-Auban is one attractions ; but on her qualifications for a singer, as I can say of these, and he, still believing the princess murdered, anxiously | nought in praise, I shall be silent. longs to avenge her death. Judge of his astonishment, his joy, The Männer-Gesang-Verein of Cologne, engaged by Mr. his trouble, when he hears the voice of his adored Charlotte, and Mitchell, have also commenced a series of concerts in the small sees before him an angel, a celestial vision, the princess in short, room of the Conservatoire. Of their well-known merits it is idle who dares not raise her veil and assure him of her actuality to speak; suffice it to say that the unanimous judgment of those at the same moment Alexis appears, armed with dagger and present at their first concert in Paris, was a full ratification of sword ;. Victor calls on him to surrender, and in reply to the that passed on them in England and Germany. Great credit is due summonsthe Czarewitsch rushes at him like a tiger. Their swords to Mr. Mitchell for introducing them to the Parisian public, but are crossed, and the princess, clothed in white, phantom-like, I hear the speculation is not likely to be very successful, as the pale, and inexorable, advances towards her murderer, and, with į room was by no means crowded. sepulchral voice, announces “Thou must die, Alexis." The The Théâtre Lyrique has changed hands, M. Emile Perrin prince, mad with terror, staggers back, his legs fail him, his hair being succeeded by M. Pellegrin, for many years director stands erect, and he plunges a dagger deep into his heart.

of the theatres of Marseilles. A curious dispute has, however, Such is the opera of Sainte-Claire. Many of the situations arisen, M. Perrin maintaining that by the terms of her engageare by no means new; Romeo and Juliet and Ginevra having ment he has a right to the services of Madame Cabel, either at evidently been constantly present to the mind of the author. the Théâtre Lyrique or the Opéra Comique, and desiring to The composer has well acquitted himself of his task, for the carry off the fair songstress to the latter theatre, of which he still musie, though devoid of any striking originality, is fresh, remains director. This right M. Pellegrin stoutly repudiates, melodious, and graceful. The instrumentation is what it should declaring that Madame Cabel is attached to the Théâtre Lyrique, be, elegant and effective, without noise or confusion. In short, and that he will not relinquish his prize. As Madame Cabel though the author of Saint-Claire is neither a Mozart nor a cannot be the subject of division by the judgment of a second Mendelssohn, a Rossini or a Meyerbeer, the opera is a remark Solomon, the Minister of State must decide the question. It is ble work—for a Duke.

not, however, too much to say, that the success or failure of M. Roger has gained fresh laurels, and fairly surpassed himself Pellegrin in retaining or losing the services of Madame Marie in the part of Saint Auban. His acting was admirable, and Cabel will entail the success or failure of the theatre, whose good fortune has been mainly owing to the exertions, talents, and sublime thoughts. After listening for some time, we went to acquirements of this most charming singer and delightful actress. dinner, where we found Liszt, who was soon busy discussing the

On Monday night L'Etoile du Nord was performed for the merits of saurkraut and bratwürst-a favourite German dish to one hundred and fiftieth time at the Opéra Comique: and, as which we Englishmen have a decided antipathy-and drinking usual, the house was full to the roof. Meanwhile the manage- to the “good health” of the company. ment is busy with preparations for the new opera of Adolphe The concert commenced at five o'clock p.m. in the Dom Adam, and other novelties.

Cathedral, a splendid building with no less than seven steeples, I have just time to say that the Italiens opened on Tuesday The programme embraced music of the “ Past,” “Present," and with Rossini's Mosè, of which more next week. I have sent you “Future.” Of the first was performed aria with violin obbligato, the names of the company. I shall only now add that Signor from Bach's Passion-musik, sung by Malle. Genast ; violin solo Bottesini is conductor and Signor Salvi director,

by Herr Concertmeister Singer, from Weimar ; two songs of

the seventeenth century, by J. W. Frank, sung by Malle. LEIPSIC.—(From our own Correspondent.) ---As was antici

Genast ; aria from Elijah, “ It is enough" (which, by the way, pated, the commencement of this month threw open the doors

belongs to the “Present" not the "Past”), sung by Herr von Milde, of the Stadttheater. The three long tedious months were over,

from Weimer ; and a fugue by Sebastian Bach, performed by and the temple of Thalia began again her usual routine of per

Herr D. H. Engel, organist of this place. Of the "Present," formances with Göthe's Egmont, music by Beethoven. The first

we had Fantaisie et Fugue by D. H. Engel, who himopera was given on the 3rd inst., for which occasion Mozart's self executed the same, and a Fantaisie on the chorale ever charming Zauberflöte was suitably selected. The new con

“ Ein feste Burg ist unser Gott," composed and performed by ductor, Herr Riccius, possesses all the abilities requisite for his

Herr Schellenberg from Leipsic.—The “Future” was repreimportant office. Some of the oldest and best of the singers have

sented by a Fantaisie et Fugue by Dr. F. Liszt, performed by been retained, as Herrn Behr, Schneider, and Mad. G. Bachmann;

Herr Winterberger from Weimer. Madlle. Genast interpreted and also the most able personages of the acting department. A her songs and aria, though a little anxious, very creditably. great many new “ abilities” have appeared on trial, the most

Herr Singer played the violin very well. Herr von Milde sang successful of which have been engaged. I cannot just now

the Elijah aria with eminent success, in spite of the indifferent remember the names of all the “new engagements," but may

manner with which it was accompanied. Herr Engel played mention Mad. Richter and Malle. Bartel as appropriate acquire his own composition much better than the Fugue of Bach, which ments for our opera, and Herr Wenzel and Mad. Wohlstadt as was announced to be played by quite another person, the Music ditto for tragedy. The choruses have been strengthened, and a

Director from Jena ; but who for some cause did not attend. few good voices added, which was really essential. However,

Herr Schellenberg rendered his elaborate fantaisie, in a on the whole the troupe is not much improved; our expec

masterly, and able manner. He is organist at the Nicholai tations are somewhat crushed, and in a fit of desperation

Kirche at Leipsic, and is well known there as a first rate we have totally given up the idea of ever seeing a good

musician. What shall 1 say of the composition of the dark solid opera established at Leipsic. With such a force as mysterious “Future ?" I cannot say much. It was a great, this, you will no doubt be astonished to hear that L'Etoile monstrous, lumbering, heavy fantaisie, without either form or du Nord has been in active preparation; some rehearsals substance, lasting three quarters of an hour, sometimes melting have already taken place, and the day appointed, should down to the softest P.P.P., then suddenly bursting forth, as if nothing unforeseen occur, is Wednesday, the 3rd prox. The

determined to overthrow the whole building with those heartattempt will certainly be made, and, though the efforts are

rending F.F.F. diminished and superfluous chords of the seventh but feeble to give a due representation to Meyerbeer's chef and ninth, enough to set every musician's feelings on the edge. d'auvre, yet we wish it every success, of which-or the con

In fact it was a composition that might have been played any trary-I shall not fail to inform you.—The directors of the

where but in the house of God; for it had no merits either Gewandhaus concerts have again issued their prospectus for the

sacred or secular worthy of the instrument for which it was approaching winter, and promise, as usual, music only of the

intended. The builder of the organ is Herr Radegast of this town. best class, and artists of the first rank; together with some

The church was well filled, and the “good folks" of Merseburg agreeable alterations concerning the management and appear-appeared quite delighted at the powers of their grand organ. ance of the hall. This will no doubt induce many to subscribe There were present many artists from Leipsic, Weimer, and who have hitherto declined on reasonable grounds. The other places.-Sept. 27th. first concert will take place on Sunday next, the 30th inst., when the Pastoral Symphony of Beethoven and other interesting attractions will comprise the programme. The only thing

Rossini has returned from the baths at Trouville to Paris, wanting at these concerts is a good female bravura singer,

where he intends to pass the winter. The celebrated composer, which it is difficult to procure, as they are so rare in Germany.

consistent in his aversion to railroads, travelled all the way in a The young hopeful composer, Rubenstein, the Russian, is here

postchaise. at present, and intends to bring out a new Symphony and other

SURREY.-A new drama, entitled The Flower Girl, was proworks at these concerts, all of which we hope will be as pro duced on Monday. The piece is of French origin, and the main mising as his last productions. On the 26th of September I set | incident highly dramatic. The acting was good. Mr. Rickards out from Leipsic to be present at an organ consecration in Merse confirmed the favourable impression he had already made, and burgh, as I had heard so much in favour of the instrument; and Miss Marriott was full of spirit and meaning. We would, howthought it would prove something interesting for the Musical ever, suggest more ease and variety in her delivery. Mr. WidWorld and its readers. After a pleasant journey through Halle, dicomb and Miss Saunders had each a character, to which each about twelve o'clock at noon we arrived at Merseburg, and no

did ample justice. The drama was followed by the American sooner had we stepped out of our coach than who should drive piece Emigration. Its only claim to consideration is the chaup to the hotel but that great disciple of the future, Franz Liszt. racter of a rustic who becomes an object of contempt to his friends With flying long hair and animated countenance he handed the and neighbours on account of an impediment in his speech, a ladies from the carriage, very graciously took off his hat and re- | novelty so very distasteful to the audience, that Mr. McVickers, turned our compliments, ordered dinner, and went(with the ladies) in spite of some excellent acting, was compelled, before the end to a private room. We proceeded to the church to have a view at

| of the first act, to beg to be allowed to finish his part without the organ. Herr Schellenberg, from Leipsic, was trying its interruption. If such exhibitions are relished on the other side powers as we arrived. On examination, we found it to be a of the Atlantic, it is far from creditable to brother Jonathan's monstrous instrument, containing 81 stops, 4 manuals, and il taste. The piece had better be withdrawn. row of pedals. It has a sweet, pleasant tone, the stops are BORDEAUX.-Madame Ristori, the Italian comedienne, made judiciously combined, which, when judiciously used, pour forth her first appearance here on the 26th ult, with the same success forth a volume of sounds which lifts up the mind to grand and as in Paris.

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