adieus of the lovers of the majestic air of Telasco, "O patrie! ô lieux pleins de charmes!" of that of Julia in La Vestale: "Impitoyable dieux!" of the funeral march; of the air at the tomb, in the same opera; of the duo between Licinius and the high-priest, a duo which Weber declared to be the most wonderful he ever knew? How shall I speak of the triumphal and religious march in Olympie; of the chorus of priests of Diana in consternation when the statue veils itself; of the extraordinary scene and air in which Statira, sobbing with indignation, reproaches the hierophant with having given her for a son-inlaw the assassin of Alexander; of the choral march of the cortege of Telasco, in Cortez: "Quels sons nouveaux," the first and only one ever written in time: of the bacchanale of Nurmahal: of those innumerable recitatives, as fine as the finest airs, and of a truth sufficient to drive to despair the most skilful masters; of those slow dancing airs, which by their soft and dreamy inflections invoke the sentiment of voluptuousness by poetizing? I am lost in the meanderings of that great temple of expressive music, in the thousand details of its rich architecture, in the dazzling fouillis of its ornaments. to be found in the melody of the works, both heroic and passionate, which succeeded La Vestale and Cortez. But what are these vague reminiscences, compared with the barefacedness with which certain Italian masters reproduce the same cadences, the same phrases, and the same pieces, in their innumerable scores? The orchestration of Spontini, the embryo of which is to be found in Milton and in Julie, was a pure invention of his; it proceed from none but him. Its special colouring is owing to a use of wind instruments, if not technically skilful, at least very learnedly opposed to that of the stringed instruments. The part, new as well as important, confided by the composer to the altos, sometimes taken together, and sometimes divided like the violins into first and second parts, contributed greatly to characterize this instrumentation. The frequent accentuation of the feeble times of the measure; dissonances, turned aside from their path of resolution in the part in which they were heard, and resolving themselves into another part; broad designs of bass arpeggios, of all sorts of dimensions, majestically modulating beneath the instrumental mass; the moderate, but excessively ingenious use of the trombones, trumpets, horns, 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 no cooling. And I do as they do, I prostrate myself, and I adore ! As to modulations, Spontini was the first who introduced into 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 art. He never modulates without plausible subjects. He is not like those restless and sterile musicians who, weary with tormenting in vain a certain tone, change it in the hope of better luck. Several of the eccentric modulations of Spontini are, on the contrary, lightning-flashes of genius. I must place at the head of all, the abrupt passage from the tone of E flat to 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 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: Une mort sans gloire Termine nos jours, the voices pass from G minor, to A flat major: and also the astonishing exclamation of the high-priest, in La Vestale, where his voice suddenly falls from the tone of D flat major to that of C major, at these words: Vont-ils dans le chaos replonger l'univers ? It is also Spontini who invente he colossal crescendo, of which his imitators have only given very microscopic diminutive. Such is that of the second act of La Vestale, when Julia, raving and no longer resisting her passion, feels terror join and increase with her love in her distracted bosom : Ou vais-je ?—ô ciel! et quel délire Un pouvoir invincible à ma perte conspire; Il m'entraîne-il me presse-Arrête! il en est temps! This progression of groaning harmony, interrupted by dull pulsations, increasing in volume, is an astonishing invention; the whole value of which can only be appreciated at the theatre, and not at the concert. It is the same in the first finale of Cortez, when the Mexican women, wild with terror, fling themselves at the feet of Montezuma : Quel cris retentissent! Tous nos enfants périssent! I have already mentioned the finale of La Vestale. How shall I speak of the duo between Telasco and Amazily, which commences with, perhaps, the most admirable recitative ever written; of that between Amazily and Cortez, in which the warlike flourishes of the Spanish army are so dramatically mingled with the passionate TO CORRESPONDENTS. JUANITA. We cannot say. Most probably, if Mademoiselle Cru- THE MUSICAL WORLD. LONDON, SATURDAY, NOVEMBER 3rd, 1855. A THE National Opera Company has vanished into air. thousand subscribers could not be obtained in time to secure the Lyceum Theatre. Mr. Arnold, the lessee-although a shareholder and one of the promoters-would not wait any longer for an answer, and the directors were obliged to close the negotiation with a negative. It is not a matter of great wonder that this result has ensued. We do not think that the performance of operas could be well carried on by a joint-stock company, and we are not surprised that the scheme should fail. The directors did not take the right steps to ensure success. They made a faux pas at the outset. Instead of leaving to the shareholders the right of appointing their own officers and managers, the directors were so blind as to elect themselves to all the principal posts. This was impolitic, to say the least of it. How could the shareholders feel satisfied that their affairs would be managed with prudence and impartiality by gentlemen, who showed that their first consideration was to look after their own individual honour and interests. If they had been eligible by their position and talents, the subscribers might have overlooked this little act of selfishness-for it is not to be expected that men will start projects solely with philanthropic motives. But the directors were not the men to manage an operatic company; they were decidedly unsuited for it, as we will show. In the first place, the greatest difficulty the managers of a joint stock company would have to contend with, would be in making the selection of operas. They would have to choose one good opera from a thousand | Another director was the lessee, who, no doubt, would vote for any opera to please the directors. Another director was a poet, who would naturally become married to the composer in the Wagner sense-and their vote and interest would be the same. is one of the most gifted and accomplished cantatrice of the day. Her talents and style are, perhaps, even better adapted to a concert-room than a theatre. In the provinces, lately, she created a furore wherever she sang, and was praised, in lavish terms, by the whole press, without one dissentient voice. But our readers need not be informed of the excellences and talents of the celebrated prima donna, for have they not heard her at Drury Lane, as Rosina in Il Barbiere; are not the magic notes of her voice in Venzano's Valsewhich is Strauss's-introduced in the singing lesson, still ringing in their ears? M. Jullien has announced a list of new compositions to be produced during the forthcoming series of concerts. Among these we may particularize the new quadrille, "The Fall of Sebastopol," which is likely to attract more than a common degree of notice. The subject is all-absorbing, and, no doubt, M. Jullien will devote his most graphic and varied powers to its illustration. The orchestra, we are informed, will be on the same scale of completeness as before, and all the old hands will be present. The theatre has been newly decorated and warmed; the refreshment and newspaper rooms remain as before, and everything continues, as on former occasions, to indicate how much has been studied and effected for the convenience and gratification of the public. Among the winter amusements of the metropolis, M. Jullien's Concerts stand pre-eminent. They constitute indeed the true carnival of the season, and are always anticipated with eagerness and hailed with delight. That the present series will exhibit no falling off on the part of the director himself, as to the entertainments furnished, nor on the part of the public in supporting them, we feel assured, no less from the tempting bill of fare held out, than from the amicable feeling which has always subsisted between M. Jullien and his visitors. We hold then that the directors, in appointing themselves, appointed wrong men. They furthermore showed their indifference to the wishes of the company, by making several important arrangements without proposing to submit them to the shareholders. The profits of the company were to be divided in an objectionable manner. There was to be 20 per cent. set apart for a sinking fund, quite unnecessary, in 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. Attributions, 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 clearly to what quarter the prevailing taste inclines, and as such, acting as a useful monitor, if not an actual teacher, is worth the quoting. From the main substance of the letter, we fancy that few of our readers will be found to dissent :~ have been returned to them besides. We think, altogether, that the National Opera Company did not merit success. As long as it was a thing probable, we supported it, but now that our assistance can no longer be of service, we think it our duty to point out its fallacies, which may be avoided by others treading in the same steps as the ex-directors. M. JULLIEN has announced his annual series of concerts, which commences on Monday at the Royal Italian Opera. Monday night, then, will be the veritable introduction to the winter season, although Mr. Hullah proclaimed its advent with a loud voice on Wednesday evening week at St. Martin's Hall. The concerts of M. Jullien come exactly in the nick of time when people return from the seaside and begin to light their fires; when days grow short and the winter evenings have not yet fixed themselves; when a long cessation of entertaiments has given the mind a new elasticity for enjoyment, and when, in fact, M. Jullien has been absent, and brings back his welcome face. The main feature of the announcement is the engagement of Madame Gassier, the eminent songstress, upon which, and with good reason, M. Jullien lays especial stress. Madame Gassier, in her particular line, THE RATCATCHER'S DAUGHTER. To the Editor of the Musical World. SIR,-Everywhere I go in London, to whatever end-east, west, north, or south-I cannot escape the infliction of having my ears stunned with some hideous words relating to the daughter of a ratcatcher and a seller of sand, set to a most vile tune. Had I only heard it everywhere, it would have merely annoyed me while hearing it; but when I behold it advertised in calm type, and anti-advertised by opposing publishers in grave journals, I cannot but imagine that the favour it has met with; and consequently I have taken it into my consong is a real popularity, and that there must be some grounds for the sideration, and write to you to help me to solve a very serious question namely, why should English ears and English tastes be so necessarily polluted as to give the preference to that which is essentially vulgar and common-place? I should perhaps, although induced to address you on the subject, have forborne to do so for the present, had not the following advertise ment met my eye in the columns of the New York Musical World:THE RATCATCHER'S DAUGHTER, THE GREATEST COMIC SONG OF 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,' Price, 25 cents. Published by J. SAGE & SONS, 209, Main st. Buffalo. Now, what are the pretensions of this comic (?) ballad, the value of which the public accepts, and to which publishers lend their solemn countenances? The words are worse than villanous, and have not an atom of point. Moreover, there is an oversight in the last stanza, which none but the veriest bungler in rhyme that ever took pen in hand could have overlooked. It is thus : And that was the end of the lily-white sand, And the pretty little ratcatcher's daughter!" whereby the poet (!!!) makes out that the ratcatcher is "pretty" and "little," which he does not intend, in place of the daughter. The air is, perhaps, better. It is tuneable and catching. It is closely copied from a serenade by Augustus Wade, well known to me-the name, however, has escaped my memory-but is as completely vulgarised as was Rossini's "I matutini albori," (La Donna del Lago) in the English version, Oysters, sir, says she," which folks, at the time of its publication, purchased largely, and called "comic." I have been told that the author of "Oysters, sir, says she," made more money by his shameless "transmogrification," than Rossini did by his whole opera. And most certainly, many of our "native composers”—he was a real "native" who wrote the "oysters"-have taken the hint, and thrive, not by their own wits, but those of others; levying large contributions on ideas which never could have occurred to themselves, and disfiguring them with the least possible ingenuity. The most remarkable instance I know of this barefaced plagiarism occurs in Mr. Henry Russell's "Life on the Ocean wave," the first part of which is literally note for note an air in Balfe's Falstaff. But Mr. Henry Russell took a popular theme, and the public never bothered itself who was the composer. Almost every one of Mr. Russell's tunes may be traced in the same way, as may also Mr. Barker's-vide "the Irish Emigrant's Farewell"-and the ballads of Mr. George Linley, whom I should not be astonished some day to find calling himself the composer of the Marriage of Figaro. Nevertheless, these gentlemen, 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, and that that which tickled the ear formerly is more likely to tickle the ear now, when the public ear must be tickled. The case of the "Ratcatcher's Daughter" is not a rare occurrence. Once in two or three 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 taste or education. I should like, sir, to hear your own speculations on the subject. For my part, I think it but of little use endeavouring to establish a National Opera, while the present vitiated taste lasts, and while such songs as Billy Barlow" and the "Ratcatcher's Daughter" hold their sway in the public mind. Is it true, all this while, that England is a musical nation? I have my doubts, and doubt it ever will be, while it possesses among its teachers Messrs. Henry Russell, George Barker, George Linley, etc., etc. Apologising for taking up so much of your time, I remain, etc., CHANTER. We ourselves have lately felt frequently annoyed with the dinging in our ears of the "Ratcatcher's Daughter," in all hours of the day, in all sorts of places, from brass bands, barrel organs, hurdy-gurdys, eleemosynary harps, cracked clarinets, coach cornets, whistling gents, and squalling street ballad-singers; but never knew the name of the air until a few days since, when we heard by chance the relation of its history. Some songs, like men, have greatness thrust upon them. We lament as much as "Chanter" the vitiated taste of the public, which can be caught by such frivolities, and pleased with such dullness and folly. The American advertisement is not to be wondered at. Yankeeland is the true home of hyperbole. It is just as true, that the "Ratcatcher's Daughter" is "the greatest comic song of the age," as that "it is sung throughout England and Scotland (—why omit Ireland-) by everybody, from Queen to peasant," or as that it was "composed and sung by Sam Correll, the great English Cockney ballad singer." Who Sam Correll is we have not the least notion. Whoever he may be, he is the luckiest of his family to have his fortune and reputation bubbled up by such a piece of vapid and unmeaning stuff as "The Ratcatcher's Daughter," words and music combined. Our correspondent "Chanter" seems hardly to be aware that the popularity of this song has caused it to be dramatised, and that a grand three-act serious play is now being performed at the Surrey Theatre "with unprecedented success," under the euphonious and attractive title of The Ratcatcher's Daughter, founded on the ballad. Had he known this we suspect his wrath would have waxen high in proportion. But he must learn to endure such inflictions, steer clear of the thoroughfares, or put cotton in his ears when he ventures upon London. We are sorry that our acicular correspondent should have come down so hard upon the unbonneted heads of Messrs. Henry Russell, Lindley, and Barker, who, although neither musicians nor composers, are sturdy and pertinacious labourers in the vineyard, and are indeed worthy of their wages which is paid them certainly in a strange ratio to their merit compared with that of their better fellows. Well-perhaps, after all, they earn it by the sweat of their brow, not content with carrying out their daily work, but, when their morning tasks are done, playing at "digging in the cellar" by night, toiling and moiling, while genius sleeps hard by, snoring away the fumes of inspiration, carrying the sluggard hour into the next day noon, and making no effort to be active and to be doing. The tortoise will beat the hare in the race, if the hare, trusting too much to its fleetness, fall asleep by the way. It is a difficult matter to find out the taste of a nation, especially in matters of art, the doctrines of which require to be frequently inculcated, or their power is lost. In music the people will be always led by the ear, and the public ear must be pleased. That is the duty of the composer who writes for the public. If the public taste be vitiated, the composer must ignore it, and write with some other aim, or wait until the prevailing taste takes another turn. We be lieve the best music can be rendered as acceptable to the uneducated ear as the most common-place music. Mozart made it so, as did also Rossini and Auber; but these were musicians in whom art and genius co-operated without an effort, and who were truly inspired, and as such may be termed instruments, not doers. The modern composer who would aim at success must either strike out a path for himself, follow some accepted model, or consult the modern taste. The first requires the creative powers of a genius ; the second is neither easy nor safe; and the third-perhaps the surest road to worldly fame if not to eminence is surrounded with most difficulty. If a man have genius, he will clear out his own path. If he be endowed merely with talent, education and the bent of his own mind will lead him to follow some peculiar school. The man, however, who would write in accordance with the public taste, must first ascertain in what that taste consists. This is no easy matter. For instance-should a new composer start up at the present moment, bent upon pleasing, to the best of his abilities, the public taste, how should he learn it, and what way decide? If he proceed to the Italian Opera he will find Verdi's Trovatore immensely attractive, and Rossini's Conte Ory comparatively neglected. Of course he would make up his mind, after leaving the opera, to please the multitude by copying Verdi and overlooking Rossini. he go to a concert-room, he will hear Beethoven's " In questa tomba" received in solemn silence, and Duggan's "Over the Sea" applauded to the echo. He will, therefore, naturally set before him Duggan in preference to Beethoven. If he go to M. Jullien's concerts-saving and except on the "Beethoven" and "Mendelssohn” nights, when the world is “awed If by a name❞—he will find "Minnie," one of the silliest ballads ever penned, throwing the house into extasies, while the slow movement of the "Jupiter," or G minor symphony of Mozart, is listended to with utter indifference. What can the new composer learn from that, or how divine the direction of the public taste? At last, let him go to one of the theatres-if one be open-and hear an opera-if one be performed. He will be more puzzled than ever. In turn, he will fancy that the public inclines to Auber, or Balfe, or Wallace, or Henry Smart; until he discovers that all the applause is bestowed on the singer, or is manufactured by the publisher; the music has produced in reality no effect. What will the new composer do then? We have no idea, unless he break his heart with vexation, or turn him to a good, honest, pounding trade. REUNION DES ARTS.-The first soirée musicale of the winter season took place in Harley-street, last Wednesday, and attracted a numerous audience. The programme was well arranged, and -Vocalists: the following artists appeared on that occasion:Miss Grace Alleyne, Madlle. Wagner, and Sig. Begaldi. Instrumentalists: Messrs. Schloesser, Bezeth, Paque, and Goffrie. The programme included a new trio for pianoforte and violonlello, by Marschner, and was very effectively played by Messrs. Schloesser, Goffrie, and Paque; and a new solo for violoncello, on airs of Il Trovatore, composed and splendidly executed by M. Paque. Cooper and Miss Milner, delivered his interesting and GREENWICH.-Mr. Charles Salaman, assisted by Mr. H. C. popular lecture on "The History of the Pianoforte and its precursors," at the Lecture Hall on Thursday evening the 25th ult. The lecturer illustrated his observations by performances on the virginals, harpsichord and pianoforte. Some characteristic violin and vocal music was introduced by Mr. Cooper and Miss Milner. The lecture and musical entertainment appeared to give the most complete satisfaction to a select and well pleased audience. The truth is to leave speculation alone-modern taste and modern criticism are opposed to everything fresh, simple, and healthy. The merely beautiful is no longer esteemed. What is good is transcended by what is novel. Strangeness stalks in the vaward; the natural lags behind. When we find it stated in the last number of the Quarterly Review-in an 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; when we read in the pages of an accredited critic— Gillfillan, in his "Portraits of Celebrated Authors"-that Alexander Smith is the equal of Shelley as a poet, we shall be the less astonished to find Eli placed by the side of Elijah. Time, nevertheless, is the test of all excellence; present Fame, however highly or largely awarded, does not necessarily imply Immortality; and sacred Truth, despite of clouds, and tempests, and obscurations, will shine triumphant at length by virtue of its own godlike radiance. MR. AND MRS. LEIGH MURRAY have just concluded an engagement at Glasgow with very great success. It is some time since the manager, Mr. Edmund Glover, had two such attractive "stars" at his theatre. Mr. Leigh Murray delighted all the habitués with his Captains Maguire and Damer, in the Serious Family and Camp at Chobham, respectively; while Mrs. Murray produced a most favourable impression as Victorine, in the drama of the same name.-On Monday last, Mr. and Mrs. Leigh Murray opened in Edinburgh. We copy the following notice of them from the Caledonian Mercury, a notice which shows in what good repute their memory is held in "Auld Reekie " : "THEATRE-ROYAL.-It is with feelings of very unusual satisfaction that we have become apprised of the intended appearance of Mrs. and 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 this lady and gentleman were great favourites in the regular company at Edinburgh several years ago. If we recollect aright it is ten years since Mr. Murray appeared among us, and nine since we had the gratification of listening to the fine elocution of his lady on the same stage. Since then, we have, of course, witnessed their impersonations at the London theatres, and noted their advance to the first rank in their own sphere of genteel comedy, with a feeling of pride that they reflected honourably and well a foregone greatness in our histrionic annals. How justly esteemed they were, both at the Haymarket and Adelphi, in the southern capital, we require not to say. In both of these, if we recollect aright, and certainly at the Olympic, during the last theee years of the management of the veteran Farren, Mr. Murray fulfilled the arduous duties of Stage Manager with complete success. It may be proper that we should also advert to the fact of their having had the honour of performing regularly before her Majesty at the Christmas theatricals at Windsor. They appear to-morrow evening in The Serious Family,' and 'The First Champagne.' TESTIMONIAL TO MR. G. TOWNSHEND SMITH.-On Friday last, the Ven. Archdeacon Lane Freer, the chairman of the Festival Committee, on behalf of himself and the other subscriof the ability, zeal, and untiring exertion bestowed by that some silver salver, as a testimony of the high sense entertained gentleman in the getting up and conducting of the festival performances. The salver, which is very beautiful and of chaste design, bears the following inscription:-"Presented to George Townshend Smith, organist of Hereford Cathedral, in testimony of his talent and exertions, by the stewards and committee of the Hereford Musical Festival, 1855."-Hereford Journal. Sir H. J. J. Brydges, Bart., T. W. Booker Blakemore, Esq., M.P., and J. H. Arkwright, Esq., have each kindly added the sum of £13 3s. 10d. to their former handsome contributions to the Festival Charity Fund, making together the additional sum of £39 11s. 6d. The collection now amounts to the sum of £914 Os. 1d., being the largest sum collected at one Festival for many years past, as the following, taken from the books of the Committee, will prove : HEREFORD MUSICAL FESTIVAL.-We are happy to learn that 901 13 ... ... ... 843 + Commencement of four morning per MUSICAL GOSSIP. MADAME GRISI and her youthful family are staying at Regency House, where they purpose remaining during the winter.-Signor Mario is gone to Paris to fulfil an engagement, which we understand commences next Saturday.- -We understand that Madame Gassier has accepted an engagement from M. Jullien, for three years.-M. Jullien has just presented, through Mr. Grattan Cooke, to the band of the 2nd Life Guards, two splendid cornets-a-piston, of the value of forty guineas, as a mark of his high appreciation of the musical talent displayed by the band when it accompanied him on his recent tour through the United Kingdom. Meyerbeer is expected at Vienna on the 10th of this month; he is to direct in person the rehearsals of the Etoile du Nord, which will be performed for the first time at Vienna on the fête-day of her Majesty the Empress. -At the Opera-Comique in Paris, M. Adolphe Adam has produced his Housard de Berquini. Rossini was present. It is said that he is a great admirer of Adam, the more so as Adam has little faith in L'Etoile du Nord, Meyerbeer having given a PROVINCIAL. success with the audience, and the well-known 'All is lost' was encored with enthusiasm." With respect to Mr. Sims Reeves' Fra Diavolo, which by all accounts is even finer than his Elvino, I must send you an extract from the Freeman's Journal, as I did not attend the performance myself. You will see that Fra Diavolo was the first opera given, and was played on Wednesday, October 24:"The opera of Fra Diavolo, as given with English words, is a fair instance of the clever application of English poetry and recitative to the music of a grand piece of dramatic melody. The opera is one of those musical pieces which have been associated with the fame of Mr. Sims Reeves, not alone as a vocalist, but also as an actor. Its production on last evening was witnessed by what might well be called a fine audience. The only section of the theatre interior which was not densely thronged was the dress box circle. There we remarked some gaps in the usually brilliant array which one would imagine (considering the double attraction of a fine opera, with Sims Reeves and Jenny Bauer, Madame and Mr. Weiss, Farquharson, Manvers, etc., and a comic drama to follow), ought to be filled up with groups of the fair and fashionable of both sexes. Yet this comparative thinness of the dress circle was only remarkable by reason of the absolute crowding of every other part of the house. The second box circle was thronged to its fullest apparent capacity by gentry of Dublin and their families. The pit was an overflowing bumper, and the galleries teemed with an audience that seemed, when viewed from beneath, to be packed in dense masses. To all the lovers of operatic music, the presentation of this opera on last evening must have been a treat indeed. It is now some time since Sims Reeves was heard last on the Dublin stage. Mr. Sims Reeves will, we believe, proceed almost directly from this to America, accompanied by a select and well-chosen corps of the 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 arrangements during the tour. None can doubt, and all amongst us surely must desire, the triumphant success of Mr. Sims Reeves in his transatlantic trip. Rarely, if ever, has such a glorious tenor voice been heard at the other side of the 'great water.' observed that if Mr. Sims Reeves's voice has been changed in any degree since we last heard him, it seems to have mellowed down into sweetness and flexibility not often attained by tenors of home origin and growth. He adopts the falsetto oftner than was his wont previously, and not with a success commensurate with the beauty of his natural voice; but as an instance of his unimpaired powers and decidedly im proved taste, we need not go farther than his rendering last evening of the spirit-stirring solo in Fra Diavolo, 'Proudly and gaily my banner waving,' which he sang in a style that drew down peals of applause and a rapturous encore. The Zerlina of Mdlle. Jenny Bauer was admirable. The singing of Madame Weiss, as Lady Allcash, was tastefully correct and effective. The other leading parts, supported by Mr. Farquharson, Mr. Weiss, and Mr. Manvers, were characterised by correct vocalism and clever acting. The choruses, which form so important a section of the beauties of this piece, were ably and admirably given. The orchestra, under the direction of Mr. Levy, was sufficiently perfect and effective to gratify the most fastidious ear, and, in all, the opera went off with marked éclat." We have DUBLIN. (From a Correspondent.)-The Operatic Company, with Mr. Sims Reeves, at the Theatre Royal, has proved highly successful, a fact no doubt mainly due to the great English tenor. Madlle. Jenny Bauer possesses a charming voice and a pleasing style; but she has hardly power and means enough for a prima donna. Mr. Weiss is a good, sound bass, or, more properly, baritone, with a splendid voice but somewhat faulty method. Of course, Mr. Sims Reeves is the great gun of the troupe, and is the principal, if not the sole, lode-star. I went to see Sonnambula on Saturday, but was not thoroughly satisfied. Madle. Jenny Bauer is not equal to Amina, and though she sang with fluency and taste, there was a great lack of intensity and passion. Mr. Sims Reeves, however, made ample amends for all deficiencies on the part of the prima donna, by his magnificent singing and powerful acting in Elvino. He created an immense sensation throughout, and was applauded with the utmost enthusiasm. I was not astonished next day (Sunday) and on Monday to find all the papers, weekly and daily, loud and unanimous in their praises. I enclose you 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. |