to be found in the melody of the works, both heroic and adieus of the lovers of the majestic air of Telasco, “O patrie ! passionate, which succeeded La Vestale and Cortez. But what ô lieux pleins de charmes !" of that of Julia in La Vestale : are these vague reminiscences, compared with the barefaced-“Impitoyable dieux !" of the funeral march ; of the air at the ness with which certain Italian masters reproduce the same tomb, in the same opera ; of the duo between Licinius and the cadences, the same phrases, and the same pieces, in their high-priest, a duo which Weber declared to be the most wonderinnumerable scores ? The orchestration of Spontini, the embryo ful he ever knew? How shall I speak of the triumphal and of which is to be found in Milton and in Julie, was a pure inven religious march in Olympie; of the chorus of priests of Diana tion of his; it proceed from none but him. Its special colouring is in consternation when the statue veils itself; of the extraowing to a use of wind instruments, if not technically skilful, at ordinary scene and air in which Statira, sobbing with indignation, least very learnedly opposed to that of the stringed instruments. reproaches the hierophant with having given her for a son-inThe part, new as well as important, confided by the composer law the assassin of Alexander ; of the choral march of the to the altos, sometimes taken together, and sometimes divided cortege of Telasco, in Cortez : “Quels sons nouveaux," the first like the violins into first and second parts, contributed greatly to and only one ever written in 1 time: of the bacchanale of Nurcharacterize this instrumentation. The frequent accentuation mahal : of those innumerable recitatives, as fine as the finest of the feeble times of the measure ; dissonances, turned aside airs, and of a truth sufficient to drive to despair the most skilfal from their path of resolution in the part in which they were masters ; of those slow dancing airs, which by their soft and heard, and resolving themselves into another part; broad dreamy inflections invoke the sentiment of voluptuousness by designs of bass arpeggios, of all sorts of dimensions, majestically poetizing? I am lost in the meanderings of that great temple modulating beneath the instrumental mass ; the moderate, but of expressive music, in the thousand details of its rich archiexcessively ingenious use of the trombones, trumpets, horns, tecture, in the dazzling fouillis of its ornaments. and cymbals; the almost absolute exclusion of the extreme The unintelligent, frivolous, or vulgar crowd abandons it now, notes of the sharp scales of octave flutes and clarinets, impart to and refuses or neglects to sacrifice therein ; but for certain the orchestra of the grand works of Spontini a majestic physiog-persons, artists and amateurs, in greater numbers than one nomy, an incomparable power and energy, and often a most would believe, the goddess to whom Spontini raised this vast poetic melancholy.

monument is always so beautiful, that their fervor knows DO As to modulations, Spontini was the first who introduced into cooling. And I do as they do, I prostrate myself, and I adore ! dramatic music enharmonic modulations, and those called foreign to the principal tone. But if they are frequent in his works, they always originate in, and are put forth with an admirable

TO CORRESPONDENTS. art. He never modulates without plausible subjects. He is JUANITA.- We cannot say. Most probably, if Mademoiselle Crunot like those restless and sterile musicians who, weary with velli retires, Madame Stoltz will take her place. tormenting in vain a certain tone, change it in the hope of | EMPRESS.—The opera in question was produced, for the first time, better luck. Several of the eccentric modulations of Spontini at the Princess's Theatre, and Miss Louisa Pyne appeared as are, on the contrary, lightning-flashes of genius. I must place the heroine. We cannot answer the other query. Apply to at the head of all, the abrupt passage from the tone of E flat to Mr. T. Prowse, Hanway-street: he may inform you. that of D flat in the soldiers' chorus in Cortez : Quittons ces bords, l'Espagne nous rappelle.At this unexpected change of tone, the listener is suddenly impressed in such a manner, that his THE MUSICAL WORLD. imagination clears, in a leap, an immense expanse, that it flies, so to speak, from one hemisphere to another, and, forgetting

Mexico, it follows in Spain the thought of the revolted soldiers.
Let us cite another, which occurs in the trio of prisoners, in
the same opera, at these words :

The National Opera Company has vanished into air. A
Une mort sans gloiro

thousand subscribers could not be obtained in time to secure Termine nos jours,

the Lyceum Theatre. Mr. Arnold, the lessee—although a the voices pass from G minor, to A flat major : and also the shareholder and one of the promoters—would not wait any astonishing exclamation of the high-priest, in La Vestale, where longer for an answer, and the directors were obliged to close his voice suddenly falls from the tone of D flat major to that of the negotiation with a negative. C major, at these words :

It is not a matter of great wonder that this result has Vont-ils dans le chaos replonger l'univers ?

ensued. We do not think that the performance of operas It is also Spontini who invente le colossal crescendo, of could be well carried on by a joint-stock company, and we which his imitators have only given. very microscopic diminu are not surprised that the scheme should fail. The directors tive. Such is that of the second act of La Vestale, when Julia, I did not take the right steps to ensure success. They made raving and no longer resisting her passion, feels terror join and increase with her love in her distracted bosom :

a faux pas at the outset. Instead of leaving to the shareOu vais-je ?_ô ciel! et quel délire

holders the right of appointing their own officers and mana. S'est emparé de tous mes sens ?

gers, the directors were so blind as to elect themselves to all Un pouvoir invincible à ma perte conspire ;

the principal posts. "Il m'entraîne—il me presse --- Arrête! il en est temps !

This was impolitic, to say the least of it. How could the This progression of groaning harmony, interrupted by dull shareholders feel satished

shareholders feel satisfied that their affairs would be managed pulsations, increasing in volume, is an astonishing invention; the with prudence and impartiality by gentlemen, who showed whole value of which can only be appreciated at the theatre, and that their first consideration was to look after their own not at the concert. It is the same in the first finale of Cortez, individual honour and interests. If they had been eligible when the Mexican women, wild with terror, fling themselves at the feet of Montezuma:

by their position and talents, the subscribers might have

overlooked this little act of selfishness—for it is not to be Quel cris retentissent!

expected that men will start projects solely with philanTous nos enfants périssent !

thropic motives. But the directors were not the men to I have already mentioned the finale of La Vestale. How shall I manage an operatic company; they were decidedly unsuited speak of the duo between Telasco and Amazily, which commences with, perhaps, the most admirable recitative ever written; of that

for it, as we will show. In the first place, the greatest between Amazily and Cortez, in which the warlike flourishes of difficulty the managers of a joint stock company would have the Spanish army are so dramatically mingled with the passionate to contend with, would be in making the selection of operas.




They would have to choose one good opera from a thousand is one of the most gifted and accomplished cantatrice of the
bad ones. If these thousand bad ones were composed by the day. Her talents and style are, perhaps, even better adapted
directors, shareholders, and their friends, what great caution to a concert-room than a theatre. In the provinces, lately,
would have to be used. The only way to ensure impartiality she created a furore wherever she sang, and was praised, in
and fairness would have been by electing, as directors, clever, lavish terms, by the whole press, without one dissentient
clear-headed men of business, unacquainted with composers, voice. But our readers need not be informed of the ex-
and strangers to cliques. Such men, although possessing no cellences and talents of the celebrated prima donna, for have
knowledge of music themselves, would be more competent they not heard her at Drury Lane, as Rosina in Il Barbiere;
to decide upon the works for performance. They would take are not the magic notes of her voice in Venzano's Valse
the advice of independent musicians, but act on their which is Strauss's-introduced in the singing lesson, still
own judgment. Now the proposed directors were not | ringing in their ears?
such men. They all belonged to cliques. There M. Jullien has announced a list of new compositions to be
were three musical men among them, and it is not too produced during the forthcoming series of concerts. Among
much to say that two of them would succumb to the opinion these we may particularize the new quadrille, “The Fall of
of the third. This gentleman, holding a most respected Sebastopol,” which is likely to attract more than a common
position as critic and composer, would, no doubt, act with degree of notice. The subject is all-absorbing, and, no
all possible conscientiousness. But could he ignore his own doubt, M. Jullien will devote his most graphic and varied
works? Could he become suddenly indifferent to his own powers to its illustration. The orchestra, we are informed,
predilections ? Certainly not. Whether his judgment were will be on the same scale of completeness as before, and all
right or wrong, it would be too much responsibility to throw the old hands will be present. The theatre has been newly
upon one man the power of commanding the success of the decorated and warmed; the refreshment and newspaper

rooms remain as before, and everything continues, as on Another director was the lessee, who, no doubt, would former occasions, to indicate how much has been studied and vote for any opera to please the directors. Another director effected for the convenience and gratification of the public. was a poet, who would naturally become married to the 1 Among the winter amusements of the metropolis, composer-in the Wagner sense and their vote and interest M. Jullien's Concerts stand pre-eminent. They constitute would be the same.

indeed the true carnival of the season, and are always anti· We hold then that the directors, in appointing themselves, cipated with eagerness and hailed with delight. That the appointed wrong men. They furthermore showed their in- present series will exhibit no falling off on the part of the difference to the wishes of the company, by making several director himself, as to the entertainments furnished, nor on important arrangements without proposing to submit them the part of the public in supporting them, we feel assured, no to the shareholders. The profits of the company were to be less from the tempting bill of fare held out, than from divided in an objectionable manner. There was to be 20 the amicable feeling which has always subsisted between per cent. set apart for a sinking fund, quite unnecessary, in M. Jullien and his visitors. our opinion, when the whole shares are not paid up-and 5 per cent. was to be bestowed upon the promoters for STRAws and feathers thrown up in the air point out the having projected the scheme. Whether these gentlemen | direction from which the wind blows; so the gossamer conmerited such a handsome compliment, we will not say. At tributions, in themselves worthless, frequently sent to us, all events, such an act of grace should have proceeded | indicate the bent of the public mind. The subjoined letter, from the proprietors—and, we presume, whatever expenses | by no means remarkable for its arguments and its logic, is they had incurred in the preliminary proceedings would nevertheless one of those feathers or straws, which shows us have been returned to them besides.

clearly to what quarter the prevailing taste inclines, and as We think, altogether, that the National Opera Company

such, acting as a useful monitor, if not an actual teacher, is did not merit success. As long as it was a thing probable, worth the quoting. From the main substance of the letter, we supported it, but now that our assistance can no longer we fancy that few of our readers will be found to dissent :be of service, we think it our duty to point out its fallacies,

THE RATCATCHER'S DAUGHTER.. which may be avoided by others treading in the same steps

To the Editor of the Musical World. as the ex-directors.

SIR,_Everywhere I go in London, to whatever end-east, west, M. JULLIEN has announced his annual series of concerts,

north, or south-I cannot escape the infliction of having my ears

| stunned with some hideous words relating to the daughter of a which commences on Monday at the Royal Italian Opera. ratcatcher and a seller of sand, set to a most vile tune. Had I only Monday night, then, will be the veritable introduction to the heard it everywhere, it would have merely annoyed me while hearing it; winter season, although Mr. Hullah proclaimed its advent

but when I behold it' advertised in' calm type, and anti-advertised with a loud voice on Wednesday evening week at St. Martin's I by opposing publishers in grave journals, I cannot but imagine that the

song is a real popularity, and that there must be some grounds for the Hall. The concerts of M. Jullien come exactly in the

favour it has met with ; and consequently I have taken it into my connick of time when people return from the seaside and | sideration, and write to you to help me to solve a very serious question begin to light their fires; when days grow short and the --namely, why should English ears and English tastes be so necessarily winter evenings have not yet fixed themselves; when a polluted as to give the preference to that which is essentially vulgar and

polluted as to give the preference to t.

common.place ? long cessation of entertaiments has given the mind a

I should perhaps, although induced to address you on the subject, new elasticity for enjoyment, and when, in fact, have forborne to do so for the present, bad not the following advertiseM. Jullien has been absent, and brings back ment met my eye in the columns of the New York Musical World:his welcome face. The main feature of the announce- THE RATCATCHER'S DAUGHTER. THE GREATEST COMIC SONG OF ment is the engagement of Madame Gassier, the eminent

11 the age It is sung throughout England and Scotland by everybody, from

Queen to Peasant. Composed and sung by Sam. Correll, the great English cockney ballad singer. It is embellished with a Lithographic Title, descriptive of the fate

of both “ The Ratcatcher's Daughter," and " The man who sold lily vite sand, oh,' lays especial stress. Madame Gassier, in her particular line,

Price, 25 cents. Published by

J. SAGE & SONS, 209, Main st. Buffalo.

Now, what are the pretensions of this comic (?) ballad, the value of seems hardly to be aware that the popularity of this song which the public accepts, and to which publishers lend their solemn

has caused it to be dramatised, and that a grand three-act countenances ? The words are worse than villanous, and have not an atom of point. Moreover, there is an oversight in the last stanza,

serious play is now being performed at the Surrey Theatre which none but the veriest bungler in rhyme that ever took pen in “ with unprecedented success," under the euphonious and hand could have overlooked. It is thus :

attractive title of The Ratcatcher's Daughter, founded on the "And that was the end of the lily-white sand,

ballad. Had he known this we suspect his wrath would have And the pretty little ratcatcher's daughter!"

waxen high in proportion. But he must learn to endure whereby the poet (!!!) makes out that the ratcatcher is “pretty" such inflictions, steer clear of the thoroughfares, or put and “ little," which he does not intend, in place of the daughter. The

cotton in his ears when he ventures upon London. air is, perhaps, better. It is tuneable and catching. It is closely copied from a serenade by Augustus Wade, well known to me--the

We are sorry that our acicular correspondent should have name, however, has escaped my memory—but is as completely vulgarised come down so hard upon the unbonneted heads of Messrs. as was Rossini's “I matutini albori,” (La Donna del Lago) in the Henry Russell, Lindley, and Barker, who, although neither English version, “Oysters, sir, says she," which folks, at the time

musicians nor composers, are sturdy and pertinacious labourers of its publication, purchased largely, and called “comic." I have been told that the author of “Oysters, sir, says she," made more

in the vineyard, and are indeed worthy of their wagesmoney by his shameless “transmogrification," than Rossini did by which is paid them certainly in a strange ratio to their merit his whole opera. And most certainly, many of our “native com compared with that of their better fellows. Well-perhaps, poserg" - he was a real “ native" who wrote the “oysters"-have taken

after all, they earn it by the sweat of their brow, not content the bint, and thrive, not by their own wits, but those of others ; levying large contributions on ideas which never could have occurred

with carrying out their daily work, but, when their morning to themselves, and disfiguring them with the least possible ingenuity.

tasks are done, playing at “digging in the cellar" by night, The most remarkable instauce I know of this barefaced plagiarism toiling and moiling, while genius sleeps hard by, snoring away occurs in Mr. Henry Russell's “Life on the Ocean wave," the first part the fumes of inspiration, carrying the sluggard hour into the of which is literally note for note an air in Balse's Falstaff. But Mr.

next day noon, and making no effort to be active and to be Henry Russell took a popular theme, and the public never bothered itself who was the composer. Almost every one of Mr. Russell's tunes

doing. The tortoise will beat the hare in the race, if the may be traced in the same way, as may also Mr. Barker's-vide “the

| hare, trusting too much to its fleetness, fall asleep by the Irish Emigrant's Farewell”-and the ballads of Mr. George Linley, way. whom I should not be astonished some day to find calling hinself the It is a difficult matter to find out the taste of a nation, composer of the Marriage of Figaro. Nevertheless, these gentlemen,

especially in matters of art, the doctrines of which require whom nature never intended to be musicians, have their excuse in the fact, that a real original air would not please now-a-days in England,

to be frequently inculcated, or their power is lost. In music and that that which tickled the ear formerly is more likely to tickle the the people will be always led by the ear, and the public ear ear now, when the public ear must be tickled. The case of the “Rat- must be pleased. That is the duty of the composer who catcher's Daughter" is not a rare occurrence. Once in two or three

writes for the public. If the public taste be vitiated, the months, some piece of vulgar plagiarism, like “Pop goes the Weasel,” starts up, and occupies the ear musical of all such as are not guided by

composer must ignore it, and write with some other aim, or taste or education. I should like, sir, to hear your own speculations on

wait until the prevailing taste takes another turn. We bethe subject. For my part, I think it but of little use endeavouring to lieve the best music can be rendered as acceptable to the establish a National Opera, while the present vitiated taste lasts, and uneducated ear as the most common-place music. Mozart while such songs as “Billy Barlow" and the “Ratcatcher's Daughter" bold their sway in the public mind. Is it true, all this while, that

made it so, as did also Rossini and Auber; but these were England is a musical nation? I have my doubts, and doubt it ever

musicians in whom art and genius co-operated without an will be, while it possesses among its teachers Messrs. Henry Russell,

effort, and who were truly inspired, and as such may be George Barker, George Linley, etc., etc.

termed instruments, not doers. The modern composer who Apologising for taking up so much of your time, I remain, etc., would aim at success must either strike out a path for him. Monk Sherborne, Oct. 31, 1855.

self, follow some accepted model, or consult the modern We ourselves have lately felt frequently annoyed with the taste. The first requires the creative powers of a genius; dinging in our ears of the “Ratcatcher's Daughter," in all the second is neither easy nor safe ; and the third-perhaps hours of the day, in all sorts of places, from brass bands, the surest road to worldly fame if not to eminence is surbarrel organs, hurdy-gurdys, eleemosynary harps, cracked rounded with most difficulty. If a man have genius, he will clarinets, coach cornets, whistling gents, and squalling clear out his own path. If he be endowed merely with street ballad singers; but never knew the name of the air talent, education and the bent of his own mind will lead until a few days since, when we heard by chance the relation him to follow some peculiar school. The man, however, of its history. Some songs, like men, have greatness thrust who would write in accordance with the public taste, upon them. We lament as much as “Chanter” the must first ascertain in what that taste consists. This is no vitiated taste of the public, which can be caught by such easy matter. For instance-should a new composer start frivolities, and pleased with such dullness and folly. | up at the present moment, bent upon pleasing, to the best The American advertisement is not to be wondered at. of his abilities, the public taste, how should he learn it, and Yankeeland is the true home of hyperbole. It is just what way decide? If he proceed to the Italian Opera he as true, that the “Ratcatcher's Daughter” is “the will find Verdi's Trovatore immensely attractive, and greatest comic song of the age,” as that “it is sung through Rossini's Conte Ory comparatively neglected. Of course he out England and Scotland (why omit Ireland-) by every would make up his mind, after leaving the opera, to please body, from Queen to peasant,” or as that it was “composed | the multitude by copying Verdi and overlooking Rossini. If and sung by Sam Correll, the great English Cockney ballad he go to a concert-room, he will hear Beethoven's “ In questa singer.” Who Sam Correll is we have not the least notion. tomba” received in solemn silence, and Duggan's “ Over the Whoever he may be, he is the luckiest of his family to have Sea" applauded to the echo. He will, therefore, naturally set his fortune and reputation bubbled up by such a piece of before him Duggan in preference to Beethoven. If he go vapid and unmeaning stuff as “ The Ratcatcher's Daughter," | to M. Jullien's concerts-saying and except on the “Beetwords and music combined. Our correspondent “Chanter" hoven” and “Mendelssohn" nights, when the world is "awed


by a name”-he will find “Minnie," one of the silliest ballads REUNION DES ARTS.—The first soirée musicale of the winter ever penned, throwing the house into extasies, while the season took place in Harley-street, last Wednesday, and attracted slow movement of the " Jupiter,” or G minor symphony of a numerous audience. The programme was well arranged, and

the following artists appeared on that occasion: — Vocalists : Mozart, is listended to with utter indifference. What can

Miss Grace Alleyne, Madlle. Wagner, and Sig. Begaldi. Instruthe new composer learn from that, or how divine the direc

mentalists : Messrs. Schloesser, Bezeth, Paque, and Goffrie. tion of the public taste ? At last, let him go to one of the The programme included a new trio for pianoforte and violontheatres—if one be open and hear an opera-if one belello, by Marschner, and was very effectively played by Messrs. performed. He will be more puzzled than ever. In turn, Schloesser, Goffrie, and Paque; and a new solo for violoncello, he will fancy that the public inclines to Auber. or Balfe. on airs of Il Trovatore, composed and splendidly executed by or Wallace, or Henry Smart ; until he discovers that all

M. Paque.

GREENWICH.—Mr. Charles Salaman, assisted by Mr. H. C. the applause is bestowed on the singer, or is manufactured

Cooper and Miss Milner, delivered his interesting and by the publisher ; the music has produced in reality no effect.

popular lecture on “The History of the Pianoforte and its preWhat will the new composer do then? We have no idea, cursors," at the Lecture Hall on Thursday evening the 25th ult. unless he break his heart with vexation, or turn him to a The lecturer illustrated his observations by performances on good, honest, pounding trade.

the virginals, harpsichord and pianoforte. Some characteristic The truth is—to leave speculation alone-modern taste

violin and vocal music was introduced by Mr. Cooper and Miss and modern criticism are opposed to everything fresh, simple,

Milner. The lecture and musical entertainment appeared to

give the most complete satisfaction to a select and well pleased and healthy. The merely beautiful is no longer esteemed.

audience. What is good is transcended by what is novel. Strangeness TESTIMONIAL TO MR. G. TOWNSHEND SMITH.-On Friday stalks in the vaward ; the natural lags behind. When we last, the Ven. Archdeacon Lane Freer, the chairman of the find it stated in the last number of the Quarterly Review-in Festival Committee, on behalf of himself and the other subscrian article on the works of Mr. Thackeray--that The New-bers, presented Mr. G. Townshend Smith, the organist, a handcomes, as an effort of art and genius, is superior to Tom Jones;

some silver salver, as a testimony of the high sense entertained when we read in the pages of an accredited critic— Gillbillan,

| of the ability, zeal, and untiring exertion bestowed by that

gentleman in the getting up and conducting of the festival perin his “Portraits of Celebrated Authors”—that Alexander

formances. The salver, which is very beautiful and of chaste Smith is the equal of Shelley as a poet, we shall be the less

design, bears the following inscription :-“ Presented to George astonished to find Eli placed by the side of Elijah. Time, Townshend Smith, organist of Hereford Cathedral, in testimony nevertheless, is the test of all excellence; present Fame, of his talent and exertions, by the stewards and committee of however highly or largely awarded, does not necessarily

the Hereford Musical Festival, 1855.”-Hereford Journal. imply Immortality; and sacred Truth, despite of clouds,

HEREFORD MUSICAL FESTIVAL.- We are happy to learn that

Sir H. J.J. Brydges, Bart., T. W. Booker Blakemore, Esq., M.P., and tempests, and obscurations, will shine triumphant at

and J. H. Arkwright, Esq., have each kindly added the sum of length by virtue of its own godlike radiance.

£13 3s. 10d. to their former handsome contributions to the Festival Charity Fund, making together the additional sum of

£39 lls. 6d. The collection now amounts to the sum of MR. AND MRS. LEIGH Murray have just concluded an engage £914 Os. Id., being the largest sum collected at one Festival for ment at Glasgow with very great succegs. It is some time since

many years past, as the following, taken from the books of the the manager, Mr. Edmund Glover, had two such attractive

Committee, will prove :"stars” at his theatre. Mr. Leigh Murray delighted all

£ S. d. the habitués with his Captains Maguire and Damer, in the


727 4 10 Serious Family and Camp at Chobham, respectively; while Mrs.


788 15 9 Murray produced a most favourable impression as Victorine, in


834 4 0 the drama of the same name.-On Monday last, Mr. and Mrs.


... 1060 12 2 Leigh Murray opened in Edinburgh. We copy the following


901 13 0# notice of them from the Caledonian Mercury, a notice which


843 shows in what good repute their memory is held in “ Auld


91000 Reekie":



... 914 0 1
« THEATRE-ROYAL.-It is with feelings of very unusual satisfaction
that we have become apprised of the intended appearance of Mrs. and

* All Saints Church. + Commencement of four morning per. Mr. Leigh Murray to-morrow evening at the 'Royal' To those who

take an interest in the career of an actor or an actress of eminence,
especially when the early indications of talent were manifested amongst

themselves, it may be unnecessary to do more than mention these
names. But the younger patrons of the Drama may not be aware that MADAME GRISI and her youthful family are staying at
this lady and gentleman were great favourites in the regular company Regency House, where they purpose remaining during the
at Edinburgh several years ago. If we recollect aright it is ten years winter. - Signor Mario is gone to Paris to fulfil an engage-
since Mr. Murray appeared among us, and nine since we had the ment, which we understand commences next Saturday. We
gratification of listening to the fine elocution of his lady on the same

understand that Madame Gassier has accepted an engagement stage. Since then, we have, of course, witnessed their impersonations

from M. Jullien, for three years.- M. Jullien has just preat the London theatres, and noted their advance to the first rank in

sented, through Mr. Grattan Cooke, to the band of the 2nd Life their own sphere of genteel comedy, with a feeling of pride that they reflected honourably and well a foregone greatness in our histrionic

Guards, two splendid cornets-a-piston, of the value of forty annals. How justly esteemed they were, both at the Haymarket and

guineas, as a mark of his high appreciation of the musical talent Adelphi, in the southern capital, we require not to say. In both of

displayed by the band when it accompanied him on his recent these, if we recollect aright, and certainly at the Olympic, during the

tour through the United Kingdom.- Meyerbeer is expected at last theee years of the management of the veteran Farren, Mr. Murray

Vienna on the 10th of this month; he is to direct in person the fulfilled the arduous duties of Stage Manager with complete success.

rehearsals of the Etoile du Nord, which will be performed for the It may be proper that we should also advert to the fact of their having

first time at Vienna on the fête-day of her Majesty the Empress. had the honour of performing regularly before her Majesty at the - At the Opera-Comique in Paris, M. Adolphe Adam has proChristmas theatricals at Windsor. They appear to-morrow evening induced his Housard de Berquini. Rossini was present. It is • The Serious Family,' and 'The First Champagne. "

said that he is a great admirer of Adam, the more so as Adam

[ocr errors]
[ocr errors]

has little faith in L'Etoile du Nord, Meyerbeer having given a success with the audience, and the well-known 'All is lost was mortal wound to the amour propre of the Italian maestro, by

encored with enthusiasm." producing his Robert the Devil on the eve of the success of

With respect to Mr. Sims Reeves' Fra Diavolo, which by all William Tell. The accounts of the Norwich Musical Festival accounts is even finer than his Elvino, I must send you an extract -presented after a delay of upwards of twelve months--show a

from the Freeman's Journal, as I did not attend the performance deficiency of £103 Os. 5d., which has been made up by several | myself. You will see that Fra Diavolo was the first opera given, kind patrons. By the last musical festival at Hereford, the fund and was played on Wednesday, October, 24 . for the widows and orphans of clergymen of the dioceses of Wor

“The opera of Fra Diavolo, as given with English words, is a fair cester, Gereford, and Gloucester has been augmented by £914. instance of the clever application of English poetry and recitative to The theatrical world of Turin is excited just now by the pre

the music of a grand piece of dramatic melody. The opera is one of gence of an actress and singer of great powers, Signora Picco

those musical pieces which have been associated with the fame of Mr. lomini. . Her career has a romantic interest ; she is a member

Sims Reeves, not alone as a vocalist, but also as an actor. Its produc of a noble family of Vienna, and could not resist an impulse to

tion on last evening was witnessed by what might well be called a fine

audience. The only section of the theatre interior which was not appear on the public stage, to which her connexions were at first

densely thronged was the dress box circle. There we remarked some strongly opposed.- Madame Jenny Lind Goldschmidt (in reply

lat (in reply gaps in the usually brilliant array which one would imagine (considerto an application addressed to her by Mrs. S. Hall) has expressed

ing the double attraction of a fine opera, with Sims Reeves and Jenny an intention to visit London, for the special purpose of giving a Bauer, Madame and Mr. Weiss, Farquharson, Manvers, etc., and a comic concert in aid of the proposed Nightingale fund.- Mario ap- drama to follow), ought to be filled up with groups of the fair and peared at the Théâtre Italien, on Monday, as Count Almaviva fashionable of both sexes. Yet this comparative thinness of the dress in the Barbiere, with Madame Borghi-Mama (Rosina), Signors circle was only remarkable by reason of the absolute crowding of every Everardi (Figaro), Zucchini (Bartolo), and Angelini" (Basilio). other part of the house. The second box circle was thronged to its The house was crowded in every part, and the great tenor fullest apparent capacity by gentry of Dublin and their families. The was received in his most favourite performance with unbounded pit was an overflowing bumper, and the galleries teemed with an applause. Also Madame Borghi-Mamo made a great hit in audience that seemed, when viewed from beneath, to be packed in dense Rosina. The reprise of Donizetti's Lucia di Lammermoor has

masses. To all the lovers of operatic music, the presentation of this not proved a success, owing to the nervousness of Madlle. Roissi,

opera on last evening must have been a treat indeed. It is now some the young prima donna, who, however, is pronounced to have a

time since Sims Reeves was heard last on the Dublin stage. Mr. Sims beautiful voice and a good. The new tenor, Signor Morgini, is

Reeves will, we believe, proceed almost directly from this to America, much praised for his vocal power and personal appearance.

accompanied by a select and well-chosen corps of tbe élite of English soprano, baritone, and basso vocalists, with Dr. Joy (whilome the popular and much respected stage manager of the Theatre Royal in

days gone by) as agent and impresario for the ensurement of all local PROVINCIAL

arrangements during the tour. None can doubt, and all amongst us

surely must desire, the triumphant success of Mr. Sims Reeres in his DUBLIN.--(From a Correspondent.)—The Operatic Company, transatlantic trip. Rarely, if ever, bas such a glorious tenor voice with Mr. Sims Reeves, at the Theatre Royal, has proved highly been heard at the other side of the 'great water. We have successful, a fact no doubt, mainly due to the great English observed that if Mr. Sims Reeves's voice has been changed in any degree tenor. Madlle. Jenny Bauer possesses a charming voice and a since we last heard him, it seems to have mellowed down into : pleasing style; but she has hardly power and means enough for sweetness and flexibility not often attained by tenors of home origia a prima donna. Mr. Weiss is a good, sound bass, or, more pro and growth. He adopts i he falsetto oftner than was his wont previously, perly, baritone, with a splendid voice but somewhat faulty and not with a success commensurate with the beauty of his natural method. Of course, Mr. Sims Reeves is the great gun of the voice; but as an instance of his unimpaired powers and decidedly im. troupe, and is the principal, if not the sole, lode-star. I went proved taste, we need not go farther than his rendering last evening of to see Sonnambula on Saturday, but was not thoroughly satis

is the spirit-stirring solo in Fra Diavolo, ' Proudly and gaily my banner fied. Madle. Jenny Bauer is not equal to Amina, and though

thwaving,' which he sang in a style that drew down peals of applanse she sang with fluency and taste, there was a great lack of

and a rapturous encore. Tbe Zerlina of Malle. Jenny Bauer was intensity and passion. Mr. Sims Reeves, however, made ample

admirable. The singing of Madame Weiss, as Lady Allcash, was amends for all deficiencies on the part of the prima donna, by

tastefully correct and effective. The other leading parts, supported by

Mr. Farquharson, Mr. Weiss, and Mr. Manvers, were characterised by his magnificent singing and powerful acting in Elvino. He

correct vocalism and clever acting. The choruses, which form so created an immense sensation throughout, and was applauded important a section of the beauties of this piece, were ably and admi. with the utmost enthusiasm. I was not astonished next day rably given. The orchestra, under the direction of Mr. Lery, was (Sunday) and on Monday to find all the papers, weekly and sufficiently perfect and effective to gratify the most fastidious ear, and, daily, loud and unanimous in their praises, I enclose you in all, the opera went off with marked éclat." the following extract (which you may, or may not, pub BRIGHTON.--Herr Kuhe, the pianist, gave one of those agreelish, as you think fit) from the Saunders' News Letter able entertainments—a Matinée Musicale d'Invitation-at the of Monday, the statements of which are but the ex- | Newburgh Rooms, on Tuesday, entirely free of expense. The room pressions in little of the entire metropolitan journalism : was crowded by a fashionable company,chiefly ladies, among whom # The opera, La Sonnambula, was presented to a crowded and the pianoforte is better understood and the cultivation of it gratified house. Mr. Sims Reeves was always gifted with a more studied than among gentlemen. Herr Kuhe has earned voice delicious in its most whispered accents, of splendid volume for himself a reputation as an artist of taste and skill. If we and extensive in its register; and now it is characterised by a were called upon to test his ability as a teacher, we should grace and refinement in the delivery, imparting an increased adduce no further proof than the début of a pupil of his at this charm, the influence of which is at once felt. Every year has agreeable entertainment. The name of the young lady was not resulted in a greater progress in the higher attributes of art. published in the programme; but, if she is intended to follow the He has not been satisfied to trust to the physical powers which musical profession, we augur most favourably of her success, for nature has so lavishly bestowed upon him, and associated as he it is rare indeed that a pupil so young displays so much talent has been with the greatest of Italian vocalists in the sustain- | as this young lady possesses, and which spoke so well for the teachment of the lyrical drama, his reputation as a brilliant and ing of her tutor. The touch and precision she evinced were so accomplished singer is a reality, arising from his own intrinsic characteristic of the performance of Herr Kuhe, that it was difficult merits. The familiar beauties of the arias in the role of Elvino at times to distinguish between the two. M. Paque, the violinwere brought out with freshness and vigour; and while in the cellist, delighted the audience by a solo; and Mr. R. Blagrove did sotto voce passages there was a veiled richness of tone that in its the same on the concertina. A young lady, new to a Brighton 'sensuous' quality had all the sensibility and winning tenderness audience, Miss Fanny Roland, Miss Bassano, Mr. F. Lablache, of the south, the vehement bursts of emotion were in fine and Mr. Genge, formed the other portion of the vocal department. contrast, leaving it a question which produced the greater -Brighton Gazette.

« ElőzőTovább »