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Thomas A, and Lady B, and Church Organs, 631; Grau, 135 ; Halle, 317; Hamburgh, Grisi, Carlotta, 835
827; Kremsmunster, 474; Laibach, 494 ; Hallé, Mr. C., 150, 345
Leipsic, 13, 21, 37, 71, 102, 119, 150, 182, Harris, Mr. A., 174
214, 231, 252, 349, 359, 377, 451, 503, Hawes, Miss M. B., 219
531, 570, 647, 682, 728, 747, 755, 762, 785, Hayes, Miss Catherine, 60, 116, 219
23, 103, 231, 442; Lubeck, 87, 695; Heinefetter, Madame Stockl, 502
Lubiana, 521 ; Lucca, 491; Madrid, 135, 694, Hereford Musical Festival, 301, 542, 562 1
Magdeburg, 23, 402, 793; Malaga, 694;728; Her Majesty and the Theatres, 122
Mannheim, 54, 166, 531,556, 695, 752, 771, Her Majesty at the French Exhibition, 552
832; Mantua, 293, 317; Mayence, 214, 252, Hill, Mr. H., 282
317, 437, 440, 499, 531, 643, 663, 695, 715, Horton, Miss P.“ Illustrative Gatherings," 222
820; Merseburg, 695; Metz, 448; Milan, 21, How to take Sebastopol, 458
292, 317, 349,377, 643, 695, 827; Mublbeim, How to get rid of Recalls, 694
359, 377, 410, 411, 479, 523, 601, 664, 695; Huerta, the Guitarist, 703
411, 643, 795; Neisse, 135; New York, 54,
595, 664, 683, 696, 713, 807, 825 ; Norrköp. Improvement in Church Music, 94,
ing, 570; Ostend, 611, 635; Padua, 807; Individuality in Music, 7
Paris, 1, 20, 36, 51, 65, 84, 100, 117, 134, International Copyright (England and Bel.
147, 163, 180, 196, 212, 229, 246, 262, 290, gium), 93
317, 331, 358, 385, 389, 410, 471, 488, 521, | Isaacs, Master, 327
530, 563, 594, 645, 663, 680, 727, 746, 793, Italian Art in France and Theatrical Journalism
695; Philadelphia, 713; Posen, 263, 556, Italian Opera at Liverpool, 490
663, 683, 811, 827; Potsdam, 13; Prague,
103, 318, 555; Presburg, 318, 728; Revel, Joachim, Joseph, 34, 755
755; Rign, 728, 755; Rio de Janeiro, 166, | Joachim, J., and Schumann, Clara, 61
333, 442, 667, 747 ; Rostock, 377; Rotter- | Julie, Malle., 792, 806
dam, 54, 214, 358; Saltzburg, 164 ; San Jullien, 65, 154, 471, 487, 616
Francisco, 735; Schaffhausen, 631; Schwe. Jullien in the Provinces, 534, 550, 570, 822
rin, 818; St. Petersburgh, 22, 183, 358, 728, | Jullien’s Concerts, 10, 25, 42, 58, 75, 726, 735,
LEADING ARTICLES :-
Ander, Herr, 725; Anderson, Mr., 360 ; An
Organist and Organ Building, 233; A Letter
of Square Toes, 312; Beethoven's Ninth
Symphony and the Examiner, 232; Bennett,
Mr. W. s., and the Conductorship of tho
Philharmonic, 788; Benefit Concerts, 121 ;
Benevolent Fund of the Sacred Harmonio
Society, 184; Best, Mr. W. T., and the
Panopticon, 397; Bishop, Sir Henry, 152,
English Composers, 296; Berlioz and Wag.
532, 596 ; Cherubini, 104; Crystal Palace
of Music at Cologne, 740, 756; Costa, M.,
and Bennett, Mr. W. S., 154 ; Costa, M.,
sohn, 501; Ella, Mr. and his Eloquence, 453;
Grisi and Mario's Return to England, 170;
Harmonic Union, 8, 72, 820; Hereford
Musical Festival, 485; Her Majesty's Private
Band, 201, 216, 218, 232, 248, 345; Italian
Opera (The) in Paris, 532; Il Conte Ory
455; Viardot, Mad., and Sig. Verdi's Trova Norwich Musical Festival, 575, 742
Nourrit and Lavigne, 575
Obituary, 104, 120, 200, 612, 772
Odoardo e Cristina, 705
Of the Abuses of Music, 736
Opera at Drury lane, 641
Opera Bank of England, 490
Opera and Drama, by Richard Wagner, 307,
322, 339, 355, 372, 391, 407, 437, 445, 461,
481, 496, 510, 526, 545, 566, 575, 599, 608,
631, 638, 654, 674, 697, 706, 722, 736, 751,
770, 784, 801, 819
Opera and Drama in Germany, 602
Opera and Orchestra, 156
Organ, 35, 82, 84, 130, 236, 584, 594, 659,
677, 715, 744
Organ, opening a new one at Clayton, 731
Organ of St. George's Chapel, Windsor, 798
Original Letter of Jenny Lind, 252
Osborne, Mr. G. A., 261
Pacini, Signor, 202
Palmyra and Paola, Malles., 395
Panopticon, 28, 199, 667, 693, 825
Paradies, Madame Theresa, 253, 263
Parisian Musical Mems., 211
Peculiarities of Musicians, 474
Pergolese, J. B., 624
Perfumed Letter-Box (The), 687
Philharmonic Society and Mr. G.F. Flowers, 34
Piccolomini, Malle., 817,835
Pierini, Signor, 310
Piracy in the Colonies, 38
Polytechnic Institution and Her Majesty's
Amersham, 807 ; Armagh, 499; Atherstone,
Worthing, 579; York, 124, 321.
523, 531, 533, 628, 639, 664, 711, 825.
113, 129, 146, 162, 179, 195
R., 477. Andrews, Mrs. J. H., 787. Ascher,
Take that Girl away, 155. Crown Diamonds,
Marylebone.Leon of the Iron Mask, 90.
for Scandal, 440. Mr. Robson's Benefit,
448. Five Pounds Reward, 791, Pantomime,
Princesses.-Louis XI., 44. Henry VIII., 310.
Sadler's Wells.-Lyceum Company, 235. Mr.
Webster and Madame Celeste, 295. The
Hunchback, 602. Hamilton of Bothwell-
St. James's.-Mrs. Seymour's management.-
Levassor, 377. Malle. Rachel, 499, 516.
Strand.-Mr. Leighton Walter's début, 60.
The Cricket on the Hearth, 189. King
Queer, 235. Mr. Stirling's Benefit, 747.
Bleaden, 295. Sally Smart, 342. Miss
Rebecca Isaacs's Benefit, 451. The Heir-at-
Law, 667. Burlesque on Nitocris, 693.
Soho.-Italian Opera, 742. Lucia, 757.
Surrey.--Mr. Phelps, 295. Lady of Lyons
The Wife, 629.
Theatricals at San Francisco, 735
Theatricals in Australia, 771
| The Grand Opera in 1713 at Paris, 603
The Messiah and the Creation, 126
The Overture, 775
The real Bull caught by the Horns, 109
The Riots at Jullien's, 735
The smallest Receipt on record, 774
The Voice, 666
Thillon, Madame Anna, 300
Mr. Webster's return, 791. Pantomime, 835
Touch, as applied to the Fingers and the In.
Conte Ory, 233, 249, 264. Fidelio, 249,
Transatlantic Journalism, 440
264, 283. Ernani, 265, 283. L'Elisir
Treffz, Madlle. Jetty, 282, 363, 381
d'Amore, 283, 293. Il Trovatore, 293, 309,
Triumph of Rachel, 531
329, 383, 415, 435. Le Prophète, 502, 518.
I Puritani, 309, 329. La Favorita, 329,
Trust, Mr., 9
435. Norma, 346, 364. Don Giovanni,
Tutton, Mr. J. R., 448
346, 364. Huguenots, 364, 502. Il
Two Opinions, 87, 211
Barbiere, 383. L/Etoile du Nord, 469,
Two Songs, by Richard Wagner, 290
487, 502, 518. Eva, 264, 283, 329. Don
Pasquale, 415. La Vivandière, 415. Otello,
ho; Ugalde, Madame, 173, 395
518. Resumé of the Season, 518. The
Pantomime, 774, 835
Drury Lane.-L'Etoile du Nord, 139. Open- | Vatel, M., 186
ing of the Royal Opere. 232. La Sonnam- | Verdi, 227, 472, 473, 479, 628, 835
bula, 250, 310. "Il Barbiere, 265, 283.
0. Il Barbiere. 265. 283. | Viardot, Madame, 549
Les Cosaques, 267. An Impudent Puppy,
727. Mr. Aguilar's Benefit, 283. Don Vivier, 114, 199, 434, 451, 614, 635
Pasquale, 293. Amateur Performance be-
fore the Queen, 301. Norma, 342. Lucia,
365. Lucrezia Borgia, 365. Malle. Pala | Wagner, Herr, 268, 339, 251, 384, 417, 435,
myra, 365. Terpsichore, 377. Miranda,
490, 517, 629,627
440. Donna del Lago, 440. Madame Gassier's
Wallace, Mr. W. V., 138
Wallachian Music, 93
667. Mr. O. Mathews, 667; Pantomime, 835
Walter, Mr. Leighton, 60, 363
Weber's Euryanthe and Dernière Pensée, 601
Mannering, 108. The Spanish Dancers,
Weber, Franz, Silberne Hochzeit, 13
140. Fra Diavolo, 266. Bohemian Girl,
Wieck, Madame Clara Schumann, 35
285. Actress of Padua, 295. Lucia, 310.
Willey, Mr. 737
Lady of Lyons, 363. Berta, or the Gnome of
Windsor Castle; Performance of Sacred Music
Hartzberg, 365. Sims Reeves's Benefit, 411,
Busy-body, 440. Wife or no Wife, 482,
Winter, P., 125
Miss Blanche Fane in “Court Favour,“ 556.
Woodin's, Mr., Entertainment, 311
Olympus in a Muddle, 556. Mr. and Mrs.
Wo und Wann, 487
Sims Reeves, 219. The Sultan, 629. The
Write me down a Record, 602
Little Treasure, 667. The Beginning and
791 ; Pantomime, 835
Young Germany and Richard Wagner, 629
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The past week has been marked by more than a usual amount subscribers whose payments are in arrear.
of novelty in the musical world of Paris, and, as the Emperor The stamped edition (for the country) will be still forwarded
and Empress honoured with their presence last Saturday the from the publishing office, but only to those subscribers first representation of Verdi's opera of Il Trovatore, I will begin who pay a quarter in advance.
with the Italian Opera. The production of this work for the first time here excited a considerable amount of curiosity, and
the house was full to suffocation. The music is in Verdi's usual PARIS.
style; the brass instruments roar so as to endanger your (From our own Correspondent.)
tympanum, and in one chorus the orchestra is assisted Paris, December 26th, 1854. by & band
by a band of blacksmiths, who with large hammers ONCE more in annual rotation has Christmas returned to
te perform an ad libitum accompaniment on enormous anvils.
What more could the most strenuous admirer of energetic gladden the hearts and humanise the feelings of all good Christians on either side the Channel. Yule logs and sea-coal
music require ? Signor Verdi, however, has been happy
in the artists who introduced his opera to a Parisian fires in London-midnight mass and solemn service in Paris; roast beef, plum-pudding, turkeys, and other solid comestibles
audience. Signor Baucardé made his debut on our stage as the
Troubadour, and achieved an unquestionable and well-deserved with you-étrennes, bonbons, and all sorts of prettinesses here. And yet is the heart saddened and the eye dimmed in many a
success. His first song behind the wings obtained great aphousehold and by many a hearth of merry England and light
plause, and his voice is flexible, vigorous, and sweet. He acts with hearted France. How few have not lost some old familiar friendly
judgment and discretion, and now that Mario has disappeared, or some dearer relation, in the perils by water and the perils by
(at least for a season), and tenors are scarce, Signor Baucardé is fire, in the din of battle, or by the pestilence that walketh in
a most valuable acquisition to the Italian lyric stage. Let Mr. darkness. Mourning for the dead, fear for the living, temper
Gye look to him. Madame Borghi-Mamo, as the Bohémienne, the mirth and festivity of this happy and holy season. The
shewed herself a good artist and an accomplished musician. thoughts of all, from the monarch to the peasant, are with
Her voice is clear and well-toned; her style pure, and her vocalithose
sation excellent. One of her airs was unanimously encored, and . “Brave hearts, to Britain's pride
the whole of the music received ample justice at her hands. So faithful and so true;"
Madame Frezzolini is not so young as she was some few years and those
since; and her voice, mellifluous and clear in the upper register, “Cull’d and choice-drawn cavaliers of France,"
is wanting in the lower notes. She acted the part of Leonore who in storm and tempest, in privation and sickness, are fighting in a most impassioned spirit, and showed all her well-known the battle of the weak against the strong, the right against the ability both as actress and vocalist. In the fourth act she was ' wrong-doer, the oppressed against the oppressor; who, regard- much applauded, twice recalled, and loaded with bouquets legs of numbers and heedless of odds, are defending the cause of Sig. Gassier filled a small part with judgment and discretion, and civilisation against barbarism, and by their undaunted bearing Sig. Graziani astonished all the house, and probably himself as
throne. The courtiers pass before her, and a door is thrown Madame Ugalde made her rentrée at the Opéra-Comique on open, through which the more common herd are allowed to enter Saturday, in Galathée. She met with a most favourable reception and make an obeisance to their sovereign. Among the rest the from a very full house, and was unanimously encored in the muleteer comes forth, and the Queen recognizes and is charmed Bacchic song of the second act. She displayed all those qualities, with him. Don Pedro, also, is there, and, having instructed one as actress and vocalist, which have so deservedly made her a of his accomplices to carry off her majesty when she leaves the favourite with the Parisiau public, and all the world is delighted palace, is overheard by the muleteer, who informs the sovereign, to see her return to her old house at the pleasant little Opéra | and she thereupon directs her camerara-major to take her place Comique. She will enable Caroline Duprez to get an occasional in the carriage, while she remains at the palace to watch the rest from the fatigues of L'Etoile du Nord, which shines as conspirators. Don Pedro's plan is to bring forward the young brightly as ever.
peasant who has placed herself under his protection, and who Our first masked ball at the Opéra also took place on Saturday, so closely resembles the queen, to place her on the throne and under the direction of M. Strauss. The performance commenced procure her signature to an abdication, while the true queen is at ten o'clock, with the production by the orchestra of several kept in confinement. Meanwhile, the Queen has again assumed pieces from the “ Album Strauss,” and at twelve o'clock dancing her peasant dress, the muleteer is again at her side and began. The house was more full than select, and, indeed, it was makes protestations of love, which she, supposing him difficult to say whether the orchestra or the company were most to be the Infante, readily accepts. They are surprised noisy. Each seemed engaged in a perpetual attempt to drown by Don Pedro, who is confused between the peasant the other, and the result was the production of sounds more and the Queen, and knows not whether the lady before loud than mellifluous.
him be one or the other, or both. He knows, however, that the Madlle. Sophie Cruvelli has been suffering from a severe muleteer is not the Infante, and thinks that if the lady be domestic affliction, and did not sing for ten days until Wednesday really the Queen she will be as thoroughly lost by marrying a last. She then again appeared in Les Huguenots, and with the muleteer as by any other process. The Queen accepts the proinvariable result of a house crammed to the roof by an audience posal with joy, and the marriage takes place: which ends Act II. who hardly know how to testify their rapturous applause.. Returned from church, the Queen thinks it time to put an During her absence, La Muette de Portici was played four times, end to the comedy. "Now then,” says she to the muleteer, but neither singers nor mime made any advance in public “ you have played your part admirably, but it is time for the estimation.
muleteer to give place to the Infante.” “I am not the Infante, In constructing the libretto of Le Muletier de Tolède, the replies he," that gentleman is a married man.” The Queen bursts ingenious and accomplished authors, Messrs. Dennery and into tears; the muleteer is delighted; he is loved for himself Clairville, seem to have taken the measure of their composer alone. "No," says he, “I am not the Infante, I am the King !" and to have written to order. There is literally not a new End of Act III. situation or a scintilla of originality in the whole piece, which is Thus much for the libretto, which, though far-fetched and a mélange of Le Jeu de l'Amour et du Hasard, Les Diamans de la borrowed, is not wanting in situation. The music of M. Adolph Couronne, and Jean de Paris. The authors themselves admit | Adam has been sought from sources as various, and frequently this, and one of the characters informs the audience of their as well known, as the words of Messrs. Dennery and Clairville. palpable plagiarisms. You shall judge for yourself,—here is Though they have not drawn on their imagination for their the plot. The Queen of Leon has been chosen as the future plot, he most certainly has tasked his memory for his music, wife of the Infante de Castille, and hearing that the latter is Worn out Spanish boleros, stale French airs, and old-fashioned desirous of seing his intended before completing the match, and | English melodies, have supplied his inspiration. To him every has disguised himself as a peasant for that purpose. she, in fountain is Castalian, provided it be not dry, and no matter how her turn, assumes the dress of a Spanish peasant girl, and sets often it has been drained and dirtied by previous composers out on her travels to discover her disguised lover in posse. One Even his admirers admit that the Muletier de Tolède is inferior of her maids of honour, attired in like guise, alone accompanies to Le Bijou Perdu, and declare that no air will have the success her; but, arrived at the first posada, they are attacked by a of “ Les Fraises.” The overture is weak' and trashy, being