{From otlr own Correspondent.)

The season has commenced at the Italiens with but a moderate amount of success. The bill of fare presented several novelties,but few were heralded by loud drums or trumpets. The subscription is but small, and it is to be hoped rather than expected that the new management will be more successful than Lumley, Ronconi, Tamburini, Ragani, and a host of others, for whom the Italiens has proved a snare and pitfall. The company is numerous, and many of the engagements must have been contracted on terms somewhat onerous to the manager. In addition to this, he has the great disadvantage of competing with the Grand-Opera and the Opfira-Comique, both of which receive subventions from the State, and the whole expense attending the former of which is defrayed from the Emperor's privy purse. What can a private individual expect to achieve against such competition, and what purse can be found long enough when measured by that of the Emperor of the French? However, I trust my dismal forebodings may prove false, and that at the end of the season the manager may congratulate himself on having had a smooth sea and a prosperous voyage.

The season commenced with Mosi en Eqiito. Signor Angelini was Moses, Signor Carrion, Amenophis, Signor Everardi, Pharaoh; while the female parts were filled by Madame Fiorentini and Mdlle. Pozzi. Signor Carrion is a Spaniard, possessed of a fine tenor voice, sympathetic, and remarkably pure in the upper notes. His agility is surprising, but he abuses his gifts, and rushes into roulades and forituri in a manner that cannot be too strongly condemned. When he sings sotto voce he produces an effect at once pleasing and legitimate; and he gave the " Mi manca la voce " in a manner that left little to be desired.

Signor Everardi is a Belgian, whose real name, as you may suppose, is Everard. His voice is a rich, firm barytone, his method pure, his vocalisation easy, his taste undeniably good, bis intonation admirable, his phrasing large—in short, he is a most accomplished singer and an admirable comedian. His success was undeniable, and he was recalled before the curtain with enthusiasm.

Signor Angelini was Moses, a part in which Lablache was, in bye-gone days, so every-way great. He is young, tall, well made, and good looking. His voice is strong and of fair compass, but wanting in suppleness and roundness. He sings fairly, and with much energy and accent.

Madame Fiorentini looked charming as ever, but failed to make the impression I could have desired from one so gifted by nature. Mdlle. Pozzi is a promising young singer, but was too nervous to do justice to her powers.

To-morrow, Mad. Borghi-Mamo appears in the Cenerentola, with Everardi and Carrion, who are said to be masters of buffo singing. Mdlle. Boccabadati has arrived, Mario appears on the 1st of November, and Grisi at the beginning of January.

The Manner-Gesang-Verein sang at the Grand-Opera a few nights back. They gave "Das Kirchlein," "Schlummerlied," "Der Frohe Wandersmann," Spanism Canzonetta, &c. They were jnuch and deservedly applauded. Their greatest success, however, consists in having drawn Rossini from his retirement. The great master, who had resisted all other offers, went to hear them at rehearsal, and wrote the following letter to Mr. MitchelL which they of Cologne may well consider to be the brightest flower in their musical chaplet:—

"Monsteur,—Je suis trds sensible a tout ce que renferme de flatteur pour moi, la lettre que vous m'avez fait l'honneur de m'addresser. J'ai 6t6 aussi surpris que charmd de ce que la Society Chorale de Cologne m'a fait entendre—veuillez 6tre, Monsieur, mon interpret chaleureux aupres de tels artistes, pour leur exprimer mon entiire satisfaction, et si ma sant6 le permet je profiterai de votre offre bienveillante, assurfe que vous n'y verrez qu'un temoignage de . l'interdt que je prenda a ces charmants concerts. "Gioacchino Rossini."

The Vaudeville has been giving a "Bijou perdu" without the music of M. Adolphe Adam, an omission whereby the public has been a considerable gainer. The "Bijou perdu" is a watch, left

by M. Chambourdon with the wife of a watchmaker, a charming, agacante coquette, to whom M. Chambourdon himself paid his addresses in his bachelor days. He knows that his old flame has become wedded, and dreads at each moment to see her injured husband breathing flames and fury, with the corpus delicti—the watch—in hand. He dreads this the more, that Mad. Chambourdon has had the unhappy thought of advertising for the watch, and offering a reward for its recovery. Delannoy is charming as Chambourdon, his anguish, his dread, his despair, are tragic-comic in the last degree.

Madame Arnauld-Plessy is drawing all the world to the Thfiatre Francais. Since Mdlle.Mars we have had no such finished comedienne; and though tainted with mannerism and somewhat given to affectation, Madame Plessy's graces as an actress are only rivalled by her charms as a woman. She made her rentrie as Elmire in the Tartuffe, and nothing could exceed the delicacy and tact she displayed in the somewhat dangerous scene, wherein she draws from the hypocrite a declaration of his passion, and leads him from words to action, while her husband is concealed beneath the table. If the Russian war has cost us many enjoyments, we are at least indebted to it for the return of Madame Plessy.

The Gaits' has resumed the Sept Chateaux du DiaUe, for the instruction and amusement of all children great and small. The decorations are magnificent, and the piece, though bad and absurd, draws a crowd, and answers the end for which it was written.


Paris.—The Cologne Musical and Choral TJnion gave a concert on the 24th ult. at the Conservatoire Imperiale de Musique. The performances met with the greatest success, and the encores were numerous. Madame Oury performed some pianoforte pieces between the parts, and was encored in her fantasia on "Partant pour la Syrie.'*

Berlin.—The management of the Royal Operahouse have commenced the season in earnest, at last ; their activity is entitled to great praise. In the course of last week we had Adler's Horat, Fidelio, Lucrezia Borgia, aud Le Prophite, quite enough to satisfy the most ravenous musical appetite. Mdlle. Johanna Wagner was greatly applauded in Lucrezia Borgia and the Prophite. Herren Oertling, Rehbaum, Wendt, and Birnbach recommenced their Quartet- Versammlunqen, last Thursday evening in Sommer's Rooms, with Haydn, Mozart, and Beethoven. The selection and execution of the pieces afforded universal gaatification to a very numerous audience.

Aix-la-chapelle.—A grand instrumental and vocal concert was given lately by the Aachener Gesang und Instrumental Verem. The programmes included Cherubini's overture to Les Abencirages, a portion of Mendelssohn's Paulus, a violin-fantasia by Artot, a quartet with chorus and orchestra by Gordigiani, and Beethoven's symphony in C minor. The whole performance, under the direction of Herr Carl von Turdnyi, went off with great eclat. Herr Richard Wagner's Lohengrin has been produced.

Elbino.—Herr Richard Wagner's Tannhduser was performed for the benefit of the CapeUmeister, Herr Genfie.

Posen.—The season commenced in a highly satisfactory manner with Mozart's Don Juan, and, since then, Norma, I Montecchi e Capaletti, Der Freischiitt, MasanieUo, Les Huguenots, and Nabuco have been given.

Matence.—The Liedertafel, in conjunction with the DamenOesangverein, gave a concert in the large room of the Academy, on which occasion they performed several quartets for male voices, and the Morgengesang by Mendelssohn, Ave verum by Mozart, the debet by Franz Schubert, and Salve Regina, by Herr Hauptmann. Herr Jaell played several pianoforte compositions and Mad. Volmer, and Herr Wallau sang songs by Beethoven, Marschner, Esser, and others.

Hamburgh.—Signor Verdi's Rigoletto was produced for the first time here on the 24th ult. It was very favourably received.

Weimar.—Dr. Franz Liszt is engaged on a psalm, with chorus and orchestra. In November, he intends visiting Herr Richard Wagner at Zurich.

Munich.—The grand musical festival was to commence in the Palace of Industry on the 4th inst., with Haydn's Creation. On the second day, the performance was to be composed of Beethoven's Symphony in C minor, the second act of Gluck's Orpheus, Mendelssohn's 22nd Psalm, the finale from Mozart's Titus, the overture to Weber's Euryanthe, the finale of the second act of Beethoven's Fidelio, aud the "Allelujah," from Handel's Messiah. The orchestra consists of two hundred performers, and the number of vocalists, including the members of the Oratorium-Verein, the Conservatory, and all the Liedertafeln of Munich, Ausbach, Augsburg, Eichstadt, Preising, Landshut, Nurnberg, Begensburg, Passau, Ulm, and WUrzburg, amounts to eight hundred.

Stuttgart.—Mad. von Marra is announced for Marie in La FMt du Regiment, and Catharine in L'EtoUe du Nord.

Pesth.—M. Meyerbeer's Etoile du Nord is in rehearsal, and will shortly be produced.


The following is from the New York Daily Times of September 21:—"A romantic drama on one night, and a French tragedy on the next, are rather more than a New York audience can appreciate, even with Bachel in both. It is a trifle too much of a good thing for the head, for the heart, and for the pocket. Bajazet consequently failed to attract a good audience last evening. The metropolitan theatre was scarcely half filled. In every respect it was the worst audience of the season, reminding us of the terrible dramatic season which inaugurated the first campaign at this house, and accustomed the critic to solitude and the contemplation of death. There were, however, some celebrities in the house. Among others we noticed Mr. ex-President Tyler and J. M. Botts, Esq.—the latter of whom illuminated a dark and interminable soliloquy by remarking that the legislative rule should be enforced on the French stage —of not allowing any one person to speak for more than an hour at a time. Giddy trifler!

"Bajazet is a tragedy capable of affording about half an hour's amusement to an American audience. The termination of the fourth act, and parts of the fifth, are just sufficiently exciting to keep you from going to sleep. The remaining portions of the tragedy are wearisome in the extreme: utterly unrelieved by good acting orpowerful declamation. They are narcotic in their influence. Were it not for the gorgeous toilette of Mdlle. Bachel, ever sparkling with diamonds and gold, we are persuaded the audience would have abandoned itself to kind nature's sweet restorer. As it was, we were in constant apprehension that some one would have the indiscretion to yawn. A sympathetic audience would surely have joined in the luxury, and the consequences might have been frightful."

The following letter was addressed to the same journal:
To the Editor of the New York Daily Times.

"Sir,—Mdlle. Bachel, deeply affected by the kindness shown her daily by the press and the public of New York, has expressed to me the desire that I should yield to the wish generally manifested, by fixing the prices of places at her performance more in accordance with the habits of the population of this city. I am myself happy to meet the wishes of the public in this respect, though I do not expect to find any pecuniary advantages in a diminution of prices; for, so far, the average of my receipts have been beyond what I had thought it just to count upon. But the journals of this city have declared themselves on the subject with such unanimity, that I think I ought no longer to refuse to follow their counsels. Accordingly, during the two or three weeks which it will be possible for me to remain at New York, before proceeding to fulfil the engagements I have formed in Boston, Philadelphia, Ha vannah, and the Southern States of the Union, the prices will be as follows :—Balcony and orchestra seats, 3 dols.; parquette, dress circle, and first circle, 2 dols.; upper circle, 50c. There will be no additional charge for securing seats in advance. By communicating these facts to your readers, you will greatly oblige your obedient servant, "Baphael Felix.

"No. 49, Wall-street, Sept. 20, 1855."


Manchester.—The last Monday Evening Concert was characterised by the absence of all but one novelty. Mr. Perring having met with an accident recently, and Mr. G. Cooper consented to sing the whole of the music set down for him. Mr. Cooper acquitted himself to the satisfaction of all present. Miss Cicely Nott was the novelty, and she appeared to take much. pains with the music allotted to her. She has a voice sweet, if not rich and round, there is evidence of carefulness and study in her singing, and, still pursuing such a course, more may yet be accomplished. She must be careful, however, not to attempt too much, and the "French variations," by Adolph Adam, were little more than exercises, and not worthy of her. Miss Nott sings occasionally with a'false Intonation in the higher register. InBarnet's trio, "This magic wove scarf," there were passages in which she shewed a nice feeling, leading us to suppose that expression is her forte at present, rather than brilliancy. Mrs. Winterbottom s notes are almost as rich as ever; she sang Abt's popular ballad "When the swallows homeward fly," ana was encored. The vocal music was interspersed with violin playing by Herr Steingraber, who has taken up his residence in Manchester for the last twelve months. He displays much cleverness, and executed the " Tremolo" of Beethoven very creditably. He was loudly applauded and called for. Mr. Delavanti followed with a ballad, and the first part closed with. Handel's chorus, "Great Dagon." In the second part there was nothing worthy of especial note.

The farewell concert given by Mrs. Thomas on Tuesday evening in the library of the Athenseum, previous to her entering upon a London life, must have been satisfactory to her, as it was to the numerous and respectable audience assembled. Mrs. Sunderland sang throughout with spirit and effect; Mrs. Brooke equally pleased, particularly in a song by Mr. Thome Harris, "Swifter far than summer flight." Mr. Adolphus Lock wood played a solo on the harp. Mr. Thorne Harris played an arrangement of Rossini's "Ecco ridente," and one of Mendelssohn's, "Lieder oline Worte;" whilst the chorus, judiciously selected, sang some of Bishop's interesting dramatic choruses with precision and a nice appreciation of bght and shade. The glee singing, if not all that might have been desired—for want of a better second tenor—shewed signs of good schooling and careful study among some portion of the vocalists. "No more the morn should be confined to the glee club. It is heavy in the concertroom, and demands the most perfect singing, even in the former locality, to be thoroughly appreciated. "Mrs. Thomas," saya the Manchester Examiner, from which we have partly extracted the above notice, "has given evidence for some time past that she possessed musical qualities which, under intelligent direction, would give her a claim upon the attention of the most critical. Her voice is pure in tone, extensive in register, and she sings with an evident feeling, so rare among our English vocalists, who, for the most part, appear to suppose that if a certain number of notes are crammed into a certain space and given in a certain time, they have accomplished the object of their mission. Mrs. Thomas has wisely been pursuing her studies in London under judicious training, and we were much struck with the advance already made,—a progress which we feel tolerably sure will secure her a respectable position eventually in the first ranks of the metropolis. Mrs. Thomas's share of the programme included, among other morceaux, Mercadante's aria, "Ah! s'estinto," and Blockley's "Excelsior." The manner with which she sustained the interest of the last-named song through nine verses, and that too in relation to music not of the highest rank, showed that a little further experience will enable her to do ample justice to the nobler songs of Handel, Mendelssohn, and others of similar character. After what we have heard, we have little doubt that success will attend her efforts in a metropolis where generally true talent has, on the whole, fair play. Mr. JDelavanti sang a very clap-trap sort of song by Hobbs, and was encored of course—a compliment generally paid to clap-trap—and substituted an Irish soug of humour, which he gave effectively.

Liverpool.—The festivities in connection with the Duke of Cambridge's visit to Liverpool terminated with proper eclat, on Wednesday evening, by a grand concert in St. George's-hall, for which Madame Clara Novello, Miss Dolby, Herr Reichardt, and Mr. "W. H. Weiss were engaged. The concert was announced to commence at eight o'clock, but, as the distinguished visitors did not arrive till half an hour later, the audience, about 2,500 in number, had time to gaze upon the beauties of the salle, which is now completed, the organ being finished and presenting a beautiful and chaste appearance, in admirable keeping with the prevailing style of ornamentation used in the hall. A chorus, selected from the members of the Philharmonic Society, occupied a temporarily-erected orchestra, composed of red damask, with white lace, ond flanked on each side with a union jack and a tricolour, surmounted with crowns of laurel. The chandeliers were much admired, but the star-like jets at the top were not lighted. The Duke wore the ribbon and star of the Garter. He was attended by the Earl of Derby, Lord Stanley, Lord Chesterfield, Lord Colville, Lady Derby, Lady Emma Stanley, Mr. T. B. Horsfall, M.P., the Mayor, Mrs. Tobin, and several other fashionables. The audience all rose on his entrance, and cheered him heartily for some moments. Immediately on his entrance, Mr. Best struck up " God save the Queen" on the organ, the solo being sung by Madame Clara Novello. This was followed by " Partant pour la Syrie," both national airs being received with enthusiasm. The concert, we regret to say, proved rather dull. Madame Clara Novello gained the only encores of the evening, in an air from II Giuramenlo and the morceau, "Sovra il sen" from La Sonnambula, both of which were sang with great brilliancy and clearness of tone. Herr Reichardt, fresh from his successes in Hamburgh, was warmly applauded in both his arias, "In terra solo," from Bon Sebastian, and Beethoven's "Adelaide." Since he was last here, his voice is much improved; it is fuller and sweeter, and he has already become one of the popular tenors of the day. Mr. Weiss's solo was a song composed by himself, entitled "Tb0Blacksmith," one portion of which was the "Old 100th Psalm," forming the accompaniment. Miss Dolby sang Mendelssohn's "First Violet." The choir sang two madrigals and one of Mendelssohn's "Four part songs. The madrigal by Ford, "Since first I saw your face," with its graceful and flowing melody, was most admired. Mr. T. W. Best's organ solos consisted of Sebastian Bach's "Passacaglia," Mendelssohn's "War March," from Athalia, and one of Handel's organ concertos, consisting of an Adagio e Maestdso, Allegro, and Allegretto. All these pieces afforded Mr. Best an admirable opportunity for displaying every qualification of the organ, which, in his hands at least, seems one of the grandest and most superb instruments we have heard. The concert concluded with "Rule Britannia," amidst another burst of cheering.

Leeds.(From our own Correspondent.)—Selections from the works of Sir Henry Bishop monopolised the programme at the People's Concerts last Saturday. The vocalist were, the always useful and never ineffective Yorkshire soprano, Mrs. Sunderland, Miss Mary Newbound (a debutante contralto), Messrs. Hargrave and Dodds (local tenors), Mr. Delavanti (bass), and a chorus of sixty voices, the whole under the conductorship of Mr. Spark. I am not able myself to give you a detailed account of this concert, but I append a few sensible remarks abridged from the Leeds Mercury, which may be interesting:—

"The artistes were not Madames and Signori, but plain English Yorkshire people. The London 'stars,' who scour the provinces at this season of the year, have been profuse in their attendance in Leeds; and Italian and other foreign music lias formed the principal item in their programmes. How great the contrast on Saturday. Mrs. Sunderland gained fresh laurels by her oharming voice and exquisite taste. Both her songs were encored; the first, 'Bid me discourse,' could scarcely be surpassed, and 'Tell me my heart,' one of the most popular of Sir Henry Bishop's compositions, was no less admirable. Miss Newbound, a native of Leeds, made her debut on Saturday. She is young, but possesses a voice of much compass, sweetness, and power. Her contralto notes are especially fine, and she is able to sing O below the staff-lines strong and clear. She undertook all the contralto portion of tbe solos, duets, trios, &c. She also sung the soprano solos introduced in the chorus, 'Daughter of error,' so well, that an encore was awarded her. Miss Newbound is a pupil of Mr. Spark. Mr. Delavanti executed the music allotted to him creditably, notwithstand

ing that his forte lies in buffo singing. The tenors were Mr. Hargrave and Mr. Dodds, both Leeds gentlemen—the latter an amateur. Of the chorus we cannot speak too highly. Their pianos and fortes were very fine. By a perfect agreement between the performers and their skilful conductor and trainer (Mr. Spark), by mutual understanding, and previous joint practice, such success could only be ensured. The whole of the chorus are residents of Leeds and the neighbourhood. It included ten ladies, who sang the first soprano, and the choir boys of St. George's church, who sang second soprano. The voices were well balanced. The committee cannot do better than give another selection from Bishop's works, and they will again be rewarded with a full room. The promenade and gallery were crowded."

The committee of the Recreation Society are as indefatigable as ever in providing good and cheap music for the "People." Two concerts will be given under their auspices in the Music Hall next week. The first on Monday, with the Thillon-Braham party; the second on Saturday, when Miss Birch, Miss Lascelles, Mr. Miranda and Mr. G. Bodda, will sing. 1 am informed that the Society is busy rehearsing Acis and Oalatea, Lorely, The Walpurgit Night, etc.. all of which are soon to be given with full orchestra under the direction of Mr. Spark. It is by concerts like these that the public taste will be improved, and music made a source of intellectual enjoyment, as well as a "rational recreation."

Birmingham.(From a Correspondent!)—Mr.Glydon's concert passed off with iciat on the 27th ult. Our noble Hall was well nigh filled. If encores be a proof of success, this concert was most successful, there being no less than seven or eight, which prolonged it to a most unreasonable hour, fatiguing to the artistes and the less exacting portion of the audience. The vocalists were Madame Anna Thillon, Mrs. Insull Barton, Mr. Augustus Braham, Mr. F. Gough, Mr. Farquharson, and the benfficiaire himself. The instrumentalists—Mr. Richardson (flautist), Miss Checketts and Mr. Geo. Case (concertinists), and our townsman, Mr. Duchemin (pianist). Mrs. Insull Barton's voice is far too thin for our great Hall; her style of singing, too, is somewhat rococo. Mr. Augustus Braham somewhat disappointed us: with such an example as his father, he ought to make much more of his fine voice, and have greatly improved his style of vocalisation. Mr. Farquharson is much improved—there was room for improvement. Our young townsman was well received, and acquitted himself well; by diligence and study he may make much of his voice. Mr. Richardson played as well as ever, and that is saying no little. The concertina performances of Miss Checketts and Miss Case, though very clever, were lost in the Town-Hall. Mr. Duchemin played three of Mendelssohn's inspired, "Lieder ohne Worte, and a " Morceaux de Chasse," by Fumigalli, and was, as he deserved to be, much applauded. Mr. George Case conducted.

Gloucester.(From our own Correspondent.)—Our usually quiet city has this week been enlivened by the visit of an operatic troupe, who had been previously playing with great success in Cheltenham. The principal parts have been creditably sustained by Misses Julia Harland, Warrington, Messrs. Herbert*, Henry Corri, Dussek and D'Arcy Read, supported by a small but efficient chorus and band, conducted by Linley Norman. La Sonnambula, The Daughter of the Regiment, The Beggar's Opera, and Norma have been the operas represented, and they appear to have given general satisfaction. The attendance was full and fashionable each eveuing. We hear that they intend paying us another visit about Christmas; if they do, it will be a godsend for the inhabitants of the " fay re citye," who are dreadfully in want of amusement of some kind.

Newcastle.(From a Correspondent.)—An opera company have just given six performances at the Theatre Royal. Mad. Pyne Galton was the prima donna, a Mr. Locksly Hall (query, after Tenyson !) the tenor, and Mr. Rosenthal (announced from some German theatre) the baritone. Their representation of Maritana, with an orchestra composed of two violins and an harmonicon, was the sorriest piece of lugubrious burlesque ever witnessed.—The regular season of the Theatre Royal commenced last Monday. Cinderella (the version by Albert Smith,) was the opening piece, with Mr. Howard Paul as the Prince, and Miss Featherstone as the nursery heroine. It is beautifully mounted, and made a highly favourable impression, as also did the principal artistes concerned in the representation.— Miss Cushman gave two performances last week, appearing in Guy Mannering and Macbeth.

Brighton.{From our own Correspondent)—The concert season opened on Saturday evening, at the Town-hall, with Herr I^Uhe's "annual," and attracted an audience which literally overflowed the large upper room. All the unoccupied space on the platform was assigned to the public convenience, and several persons, who could not be accommodated in the body of the hall, were compelled to put up with places in the adjoining antechamber. The audience, however, were doomed to serious disappointment: the following printed bill was handed to the company:—

"Brighton, Ootober 6th, Six o'clock.

"It is announced with great regret that, in conscquonce of a severe domestic calamity, Signor Mario is unable to appear this evening. The sad intelligence of the sudden death of his mother has pluDged Signor Mario into the deepest affliction.

"Madame Griai, Madame Glassier, and the other artistes, will use their utmost endeavour to atone for the disappointment by introducing other morceaux, and thereby preventing any diminution in the attractions of the programme.

"Money will be returned to any parties who may desire it, on presenting their tickets of admission at the places where purchased." Of course the audience was taken aback, and many complained loudly that the circumstance was not made known sooner— Herr Kiihe coming in for the hardest knocks. Certainly I can see no reason why the public should not have been informed earlier.

I perceive by the public papers that the same identical "dodge" has been tried on in Leeds and Edinburgh. I perceive by the Liverpool papers, too, that a concert was given in that town with the same artists, on Wednesday last, when a similar "sudden" announcement was communicated to the assembled company, and "led to a most discordant scene." The Brightonians, nevertheless, are less inflammable, or, perhaps, more genteel, and do not like "getting up a scene." They received the news of the "sudden" domestic bereavement on Saturday, with perfect faith and enviable forbearance. M. Gassier and Signor Susini commenced the first part with the obstreperous " Suoni la tromba," which is getting out of date and growing out of favour. Its day will never return, even should we get another Tamburini and another Lablache. It was followed by a trio by Beethoven, for piano, violin, and violoncello, extremely well executed by Messrs. Kiihe, Blagrove, and Paque. The barytone air from II Bravo by M. Gassier, was not highly effective. In the duet, "Tornami a dir," M. Gassier was substituted for Signor Mario with Madame Grisi, who was evidently not in good spirits, and the duo was not successful. Signor Susini's " vieni la mia vendetta, from Lucrezia Borgia, was a mistake. The air is bad on the stage, ana worse off of it. Nobody ever made anything of it, nor ever will. Herr Kiihe then played a new composition of his own on airs from

II Trovatore, which was received with marked approbation. Madame Grisi followed with Bellini's aria, "Qui la voce," chastely and beautifully sung. Next came the event of the evening, the debut of Madame Gassier, who surprised the audience by the manner in which she rendered a valse of Yenzano's, called "Ah, che assorta." Madame Gassier possesses a most extraordinary voice, light, fluty, and brilliant, comprehending a range of about two and a half octaves, with an execution almost perfect. Her roulades are miracles of vocalization; her intonation is always just; her taste irreprochable, and, in fact, she is one of the most gifted and accomplished singers of the day. Her high notes have been correctly denominated "points of light." Nothing purer and clearer, and at the same time, more brilliant, was ever heard; whilst her shake is artistic to an extraordinary degree. The audience was completely electrified, and loaded the fair cantatrice with such hearty and vehement applause that she was fain to repeat the valse. A solo on the violin by Mr. H. Blagrove, in his usual neat and masterly style, and a duet byM. Gassier and Sig. Susini brought the first part to aclose. Mad. and M. Gassier commenced the second part with "Jota de Iob toreros," a Spanish duet sung in the Spanish style. For "Good Morrow," by Sig. Mario, Mad. Grisi voluntered a substitution, andsang the grand air "Bell' raggio," from Semiramide.

M. Paque performed a solo on the violoncello on airs from Lucia; he is a good violoncellist, but lacks fire and enthusiasm, his playing, however, is very correct and chaste. Mad. Gassier then gave the famous "Ah, non giunge," from Sonnatnbida, so delightfully as to elicit an enthusiastic encore. She repeated the concluding portion alone, absolutely playing with it—adorning it in the most fantastical and charming manner. This grand display of vocalism was succeeded by a duet, " Se fiato," by Sig. Susini and M. Gassier, and Donizetti's cavatina, "L'Amor suo," by Mad. Grisi. Herr Kiihe played another solo on airs from UEtoile dm Word, and then Mad. Gassier sang a Spanish song, which she dashed off with characteristic effect. At eleven o'clock, although there were two more pieces in the programme, the concert was brought to a termination with the consent of all present.

The first of a series of four promenade concerts, given by Mr. Gates, took place in the Music Room of the Pavilion on Monday evening. Amongst the names of the artists engaged are those of Messrs. Richardson and Henri Drayton. The other artists are Mr. George Perron (tenor), Miss M. Wells, a contralto singer of promise, and Miss J. Wells (soprano). The flute solos of Mr. Richardson on Monday night called forth thunders of applause. His performance of "The last rose of summer," which ne gave for an encore, was inimitable. In the songs of " Rock'd in the cradle of the deep," and "Mother, he"s going away," Mr. Henri Drayton was encored; as was also Miss J. Wells in the cavatina of "Bid me discourse." Mr. George Perren was applauded in the songs of "Philip the Falconer" and "My pretty Jane." During the evening several duets were sung by the Misses Wells and by Miss M. Wells and Mr. Perren. Mr. Gates presided at the piano. "Looking at the prices," says the Brighton Guardian, "it must be admitted that these concerts are well entitled to public support; and Mr. Gates is no less deserving of the full credit of having placed it within the means of almost the humblest lover of music to become acquainted with artists of such respectable standing." An entire change of programme is made for each concert, and the only morning concert was gi vea on Wednesday.

The Voice.—The organ of voice or larynx has been compared to a clarinet, and similar instruments. It is composed of a mouth-piece, the aperture of which admits of expansion or dilatation, and of a tube, which is capable of being lengthened or shortened. The tube is situated upon the superior part of the trachea, so that, as the air passes out during expiration, it may cause the edges of the aperture, at the entrance of the larynx from the mouth,, to vibrate. If the upper part of the trachea be divided, on looking into the larynx from below, the tube, from being cylindrical, is seen to assume abruptly a triangular prismatic form. The two long sides of the triangle extend horizontally inwards and forwards, to meet at the front of the larynx. The base of the triangular opening is short, and is placed transversely. The mouth or orifice of the larynx is called the "rima glottidis:" the two long edges that meet at its fore part are temed the "chordae vocales. On looking into the larynx from above, the epiglottis is seen. It consists of a thin flap of fibrous cartilage, held vertically by its elastic connections against the root of the tongue, but capable of being thrown down to cover the opening of the glottis, or the reflection of the mucous membrane, from the edges of the epiglottis to the posterior margin of the larynx, and the ventrilicus laryngis, as the shallow fossa is called, placed immediately above and to the outside of the chord» vocales, which permits these parts to vibrate freely. The rima glottidis is the mouth-piece of the larynx, and corresponds in some measure with the reed of the clarinet, or with the lips of a person whilst playing the flute. In pursuing the same comparison, we observed a contrivance similar to the stops in these instruments by which the tube may be shortened or lengthened, in the alternate rising and falling of the larynx. When the larynx is raised, the vocal tube is shortened; when it is depressed, the tube is lengthened. Accordingly, when an acute note is uttered, the larynx is felt to rise, and to sink when the voice falls to a grave tone.—Curtis on the Deaf and Dumb.


Drury-lase.—On Monday night a change came over Old Drury, Music fled away afeard from its walls, and the drama was allured once again, by false promises, to its ancient home. It was a new awakening for the drama, as was anticipated, and everybody was attracted to behold so devoutly-to-be-desired a regeneration. The revolution was to be brought about by Mr. Edward Fitzball's new and original Egyptian play, Nitoctis; and so much was said about it in the advertisements, that a tremendous success was confidently reckoned upon; Mr. E. T. Smith and his co-partners fondly asserting "that Sardanapalus could not hold a candle" to it. In short Mr. Edward Fit zball was about to extinguish Lord Byron. Those who remembered Mr. Fitzball's rhymes and librettos did not consider him exactly the sort of scribe to "snuff out" the author of Cain and Manfred. Mr. Smith, however, had expressed his opinion and pledged his word. The new play was produced with an amount of splendour, and completeness in the scenery and decoration, which must have gone far to ensure a certain success, but for the insignificance and entire want of interest in the drama: The failure was "utter," as the Times said, and the audience received it with unmistakeable signs of disapproval The cast was strengthened by Miss Glyn, Mr. Barry Sullivan, Mr. Stuart, and other experienced " hands," and nearly three hundred auxiliary assistants, but nothing could redeem the piece from "salvation," as Dogberry says. The music, composed by Mr. Henri Laurent, jun., is spirited, well written, ana full of character. It pleased every body, and not only arrested attention on Monday night, but frequently diverted it entirely, and with good effect, from the progress of the drama. Nothing, however, could have saved Nitocris—not even Bossini's music to Sern.iram.ide.

On Wednesday, Mr. Charles Matthews made his first appearance in The Wealthy Widow—an old, not a new piece, Mr. Smith—and was received with unbounded applause. The popular comedian will help to make some amends for the terrible loss sustained by the new Egyptian play. The manager, very wisely, turned Nitocris into an after-piece the same night, and its success as a farce-spectacle was immeasurably greater than as a classic drama.

Haymarket.—A new two-act comedy was produced on Thursday for the purpose of giving Miss Blanch Fane the opportunity of essaying her talents in an original part. The young lady, of whose histrionic capab.lities we have hitherto not entertained a very high opinion, took the audience by surprise in her new character, and achieved one of the most triumphant and legitimate successes we have witnessed for many years on any stage. Whether it was that the part was specially suited to her, and having no model to guide her, she followed her own instinct, and appeared more natural than before, we cannot say; but certainly a more real and delightful performance we have seldom seen any where. Miss Blanche Fane has made herself famous, and Mr. Buckstone has cause to be proud of his "Little Treasure." By the way, this is the name of the new comedietta, which is taken from Lajoie de la Maison, by MM Anicet Bourgeois and Adrieu Decouroelle, produced at the Vaudeville theatre last March. It is a most charming little picture of domestic life, and cannot fail to have a long run. It was received with thunders of applause at the conclusion, and Miss Blanche Fane was honoured with a separate re-call after each act.

Steakd.—Thislittle establishmenthas once more changed hands and has made a fresh start with Coleman's comedy of the Heirat-Law, which, with the aid of Mr. Shalders as Doctor Pangloss, Mr. Gaston Murray, and Miss Helen Love (debutantes here) went off with unwonted spirit. Miss Prescott Warde also lent some valuable aid to the new management in a vaudeville, in which she personated a variety of characters, the most original of which was a French female shaver, which she gave with a quiet and raoy humour which told with due effect on the audience.

Panopticon.—This institution, after closing for a few days, re-opened on the 1st instant, for the winter season. The most attractive novelty is Mr. Buckingham's lectures on English and Italian music, (divided into a series for each.) with illustrations on the organ. The lectures are curious ana interesting to the classical amateur. We must, however, object to the reasons

given by Mr. Buckingham for the imputed national degeneracy; for it would, indeed, not be difficult to find causes mora closely connected with the political and religious history of the country than the lecturer seems to think. We have no space for such an inquiry at present, but while England possesses so many works of creative power which have hitherto been the admiration of musicians of all countries, we must hesitate to account for the degeneracy of national music by cant phrases and vague assertions like—" national genius practical rather than imaginative"—"mechanical organisation"—"race of ingenious shopkeepers," etc., etc. Such are among the current opinions on this subject, whicn look more like an endeavour to elude inquiry altogether, thau the result of that patient investigation which the matter requires. The first lecture comprised an account of English music from the middle ages to the time of Charles the Second. The early illustrations must be regarded as curiosities only, although there is a rude and unmetrieal energy about them. The Norman war song, sung, as we are told, on the field of Hastings, is the most spiriteo, perhaps from association. This quaint and unrythmical character does not appear to have entirely left our primitive music until about the time of the Tudors, which may perhaps be considered as the true period of the birth of the national music. Tye's anthem, " I will exalt thee," Farrant's, " Lord, for thy tender mercies' sake," and a madrigal of O. Gibbons, were among the best, because the least known, of the illustrations of this period. A selection from the music of Macbeth concluded the lecture, but if Mr. Buckingham's account of the origin of this music be true, it is high time that we ceased to call it Lock's.

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"For some time past, the Opera has been the luckiest of theatres; it is never empty. The enormous success of Les Vipres Siciliennes still continues the same, because it cannot increase. The receipts produced by this work, six or seven times a month, exceed, in density and hardness, all the showers of gold ever collected in that tub of the Danaldte called the treasury of the Opera, a tub which, however, people say, is beginning to have a solid bottom. This is easily intelligible: Verdi has raised himself to a great height in his new production. Without wishing to underrate the merit of his Trovatore, and So many other moving scores, we must admit that in Les Vipres the penetrating intensity of the melodic expression, the sumptuous variety, and the learned sobriety of the instrumentation, the fulness and poetic sonorousness of the concerted pieces, the warm colouring that we everywhere perceive, and the force, passionate, but slowin developing itself, which forms one of the characteristic traits of Verdi's genius, impart to the entire work a certain stamp of grandeur, and a sort of sovereign majesty more strongly marked than in any of the author's previous productions. We must add that Verdi, while writing for his four principal interpreters, Mdlle. Cruvelli, and MM. Gueymard, Bonnehle, and Obin, has succeeded in extracting the essence of the talent peculiar to each of them, and presenting it in the most favourable light. Hence, the splendid execution which has surprised so many persons, a surprise too well-founded upon previous performances of master-pieces, in which the defects that characterise a bad performance were pretty well all united.

"When they want to do anything at the Opera, they are generally able to do it. When it is the author who presides at the preparatory studies, they almost always wish to do something. When, however, it is a master-piece whose author is either dead or absent, it almost always happens that they are neither able nor willing to do anything. Verdi is particularly alive, and was present at all the rehearsals of Les Vipres; hence the exceptional beauty, to which we have directed attention, of the .execution."

Rio Janeiro.Madame La Grua began her engagement as Desdemoua and Norma. She was enthusiastically received, and buried, not under a shower of bouquets, but of wreaths of humming-bird feathers. Her horses were taken from her carriage, which was drawn by her admirers, who also sought a vent for their feelings in illuminations, serenades, and fire-balloons.

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