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Thomas A, and Lady B, and Church Organs,
Costa, Signor, 499,528
Croft,». Lumley, 60,103,760, 777
Cruvelli, Marie, 26
Cruvelli, Sophie, 9,161,398,451, 834, 835
Deaths, 104,120, 200, 612, 772
Dejean, Madame Julienne, 791
Departures for the Continent, 528
Der FreyschQtz " Redirmis," 35
Do Beasts like Music P 785
Don Giovanni, 342
Dramatic Gossip, 109, 122, 140,173,189,199,
Ella, Mr., Lectures, 347
Erard, Monsieur, 549
Ernst, Herr, 35, 343, 455, 806
Exeter Hall, 693
Eva, the Ballet of, 283, 300, 307, 327, 338
Farren, Mr. W., 455, 468, 746
Perraris, Amalia, 792
Festival of the Three Choirs, 395, 5G5
Fashions a la Rachel, 693
Favante, Mdlle. Rita, 747
Field and Hummell, 600
Pish with Musical Scales, 372
Fobeion—Ail la Chapelle, 139, 570, 633, 663.
i 747,820; Cologne, 13,14,22, 64,86,118,166
Grisi, Carlotta, 835
Grisi and Mario in America, 9, 11, 26, 68, 99
Grisi and Mario's Return to England, 154
Gregorio, Signor, 628
Guedenoff, General, 190
Guernsey, Captain Wellington, 329
Gye, Mr. F., 154, 186
Hale, Mr. W. P., 464
Halle, Mr. C, 150, 345
Harris, Mr. A., 174
Hawes, Miss M. B., 219
Hayes, Miss Catherine, 60, 116, 219
Haydn's " Creation" and Mrs. Stowe, 78
Heinefetter, Madame Stockl, 602
Hereford Musical Festival 301, 542, 562 j
Her Majesty and the Theatres, 122
Her Majesty at the French Exhibition, 552
Hill, Mr. H., 282
Horton.Misa P. "Illustrative Gatherings," 222
How to take Sebastopol, 458
How to get rid of Recalls, 694
Hummel's, J. N., Account of his own Life, 27
Huerta, the Guitarist, 703
Hummel and Field, 600
Improvement in Church Music, 94
Individuality in Music, 7
International Copyright (England and Bel-
Isaacs, Master, 327
Italian Art in France and Theatrical Journalism
Italian Opera at Liverpool, 490
Joachim, Joseph, 34, 755
Joachim, J., and Schumann, Clara, 61
Julie, Mdlle., 792, 806
Jullien, 65, 154, 471, 487, 616
Jnllien in the Provinces, 534, 550, 670, 822
Jullien's Concerts, 10, 25, 42, 68, 76,726, 735,
742, 758, 775, 790, 806, 823
Eeeley, Miss Mary A., 219
Lake, Mr.George, and the Liverpool Organ, 597
Lavigne and Nourrit, 575
and L'Europe Artiste, 298; Jullien's Con-
pool, 773; Society of British Musicians,
Lumley, Mr., 411
Minasi, Mr. Antonio, 778
Mitohel, Mr., and French Plays, 138
785, 802, 814
Musical Festivals, 629
Noun-it and Lavignc, 575
lomew, Mrs. Mounscy, 730. Baynham, T.'
Eichards, Mr. and Mrs. Brinley, 35
Riatori, Madame, 533, 677
Roberts, Mr. Biohard, 465
Eobinson, Mrs. Joseph, 443
Eoger, M., 14
Eonconi, Signor and Madame, 52
Eonconi, Signor, 282, 268
Roqueplan, M., 662
Eossini, 607, 647, 835
Rossini and Bosio, 363
Eossini and Braham, 227
Eossini and Meyerbeer, 251
Eossini's Stabat Mater at St. George's
Eossini and the Cologne Chorus, 651
Eossini and the Opera, 343
Eoyal Gallery of Illustration, 138
Eoyal Opera, Drury Lane, 150, 211
Eoyal Italian Opera, 75, 211
Eoyal Society of Female Musicians, 28
Eoyal Society of Musicians, 154, 172
Rudersdorff, Madame, 233
Russian Songs, 106
Russians in Covent Garden, 478
Salaman's, Mr. Charles, Amateur Choial
SaJaman's, Mr. Charles, Musical Lectures, 26
38, 150, 174, 311, 394, 711
Schumann, Madame Clara-Wieok, 154, 755
Book, 61, 76, 93, 119
St. Matthew's Church, City Road, 629
Surrey Zoological Gardens, 375, 435, 470, 487
Tamberlik, Signor, 774
Adelpld.—Janet Pride, 90. La Bayadere, 108.
Covent Garden, Royal Italian Opera.—II
Drury Lane.—L'Etoile du Nord, 139. Open-
Haymartcet,—Romeo and Juliet, 74,285. Guy
Lyceum.—Too much of a good Thing, 123.
Marylebone.—Leon of the Iron Mask, 90.
Olympic.—Louis XI., 35. Angus Reach's
Princesies.—Louis XI., 44. Henry VIII., 310.
Sadler'i JPeWs.—Lyceum Company, 235. Mr.
St. Jamet's.—Mrs. Seymour's management.—
Strand.—Mr. Leighton Walter's deT>ut, 60.
Soho.—Italian Opera, 742. Lucia, 757.
Surrey.—Mr. Phelps, 295. Lady of Lyons
Theatricals at San Fraucisoo, 735
Theatricals in Australia, 771
The First Singer going—not gone, 602
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
Thillou, Madame Anna, 300
Touch, as applied to the Fingers and the In-
Transatlantic Journalism, 440
Treffz, Madlle. Jetty, 282, 363, 381
Triumph of Rachel, 531
Trust, Mr., 9
Tutton, Mr. J. R., 448
Two Opinions, 87, 211
Two Songs, by Richard Wagner, 290
Ugalde, Madame, 173, 395
Vatel, M., 186
Verdi, 227, 472, 473, 479,628, 835
Viardot, Madame, 549
Vivier, 114, 199, 434, 451, 514, 635
Wagner, Herr, 268, 339, 251, 884, 417, 435,
Woodin's, Mr., Entertainment, 311
Yankeo Church Music, 261
Young Germany and Richard Wagner, (29
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Paris, December 26M, 1854. Once more in annual rotation has Christmas returned to gladden the hearts and humanise the feelings of all good Christians on either side the Channel. Yule logs and sea-coal fires in London—midnight mass and solemn service in Paris; roast beef, plum-pudding, turkeys, and other solid comestibles with you—etrennes, bonbons, and all sorts of prettinesses here. And yet is the heart saddened and the eye dimmed in many a household and by many a hearth of merry England and lighthearted France. How few have not lost some old familial'friend or some dearer relation, in the perils by water and the perils by fire, in the din of battle, or by the pestilence that walketh in darkness. Mourning for the dead, fear for the living, temper the mirth and festivity of this happy and holy season. The thoughts of all, from the monarch to the peasant, are with those
"Brave hearts, to Britain's pride So faithful and so true;" and those
"Cull'd and choice-drawn cavaliers of France,"— who in storm and tempest, in privation and sickness, are fighting the battle of the weak against the strong, the right against the wrong-doer, the oppressed against the oppressor; who, regardless of numbers aud heedless of odds, are defending the cause of civilisation against barbarism, and by their undaunted bearing
driving back the countless Huns of the new Attila of the North.
Surely at such a time, when
"All the youth of England are on fire,
a short digression is pardonable, and some expression of feeling, however weak, is permissible, in honour of those but for whom music and the kindred arts might be numbered with the dead. Let the Musical World and its readers—all unpolitical as they are—join in the chorus of praise and thanksgiving to that baud of brothera, French and English, to whom they owe the peace and comfort of their hearths, the glory of their country, and the preservation of those arts -which distinguish the man from the brute, the English or Frenchman from the Cossack and the Muscovite.
The past week has been marked by more than a usual amount of novelty in the musical world of Paris, and, as the Emperor and Empress honoured with their presence last Saturday the first representation of Verdi's opera of II Trovatore, I will begin 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 sufTocatioD. The music is in Verdi's usual style; the brass instruments roar so as to endanger your tympanum, and in one chorus the orchestra is assisted by a band of blacksmiths, who with large hammers perform an ad libitum accompaniment on enormous anvils. What more could the most strenuous admirer of energetic music require? Signor Verdi, however, has been happy in the artists who introduced his opera to a Parisian audience. Signor Baueardo made his debut on our stage as the Troubadour, and achieved an unquestionable and well-deserved success. His first song behind the wings obtained great applause, and his voice is flexible, vigorous, and sweet. He acts with judgment and discretion, and now that Mario has disappeared, (at least for a season), and tenors are scarce, Signor Baucard6 is a most valuable acquisition to the Italian lyric stage. Let Mr. Gye look to him. Madame Borghi-Mamo, as the Boh6mienne, shewed herself a good artist and an accomplished musician. Her voice is clear and well-toned; her style pure, and her vocalisation excellent. One of her airs was unanimously encored, and the whole of the music received ample justice at her hands. Madame Frezzolini is not so young as she was some few years since; and her voice, mellifluous and clear in the upper register, is wanting in the lower notes. She acted the part of Leonore in a most impassioned spirit, and showed all her well-known ability both as actress and vocalist. In the fourth act she was much applauded, twice recalled, and loaded with bouquets. Sig. Gassier filled a small part with judgment and discretion, and Sig. Graziani astonished all the house, and probably himself as
much as any, by displaying great powers as an actor; in many scenes he exhibited strong indications of possessing no small portion of the genius of Roncoui. Du reste, the opera was mounted in magnificent style and at lavish expense. Nearly the whole of the action takes place at night, and the libretto is more obscure than the time it represents. M. Ragani, however, determined that no material aid should be wanting to success, and accordingly gave unlimited orders for new grottoes, decorations, palaces, gardens, dungeons, cascades, and a new moon which had never done business elsewhere, and played a most important part on this occasion. The orchestra, under Signor Bonetti, was above all praise; the choruses excellent. Finally, Signor Verdi, who had personally superintended the rehearsals, was called for three times, and honoured by reoeiving a bouquet thrown by the fair hand of the Empress herself. I trust this opera may be the means of turning the tide in M. Ragani's favour, for until now he has had a most sorry season, and must have been a heavy loser by his operatic speculation.
Madame Ugalde made her rentrke at the Opera-Comique on Saturday, in Qalathte. She met with a most favourable reception from a very full house, and was unanimously encored in the Bacchic song of the second act. She displayed all those qualities, as actress and vocalist, which have so deservedly made her a favourite with the Parisian public, and all the world is delighted to see her return to her old house at the pleasant little OperaComique. She will enable Caroline Duprez to get an occasional rest from the faiigues of L'EloiU du Nvrd, which shines as brightly as ever.
Our first masked ball at the Op6ra also took place on Saturday, under the direction of M. Strauss. The performance commenced at ten o'olock, with the production by the orchestra of several pieces from the "Album Strauss," and at twelve o'clock dancing began. The house was more full than select, and, indeed, it was difficult to say whether the orchestra or the company were most noisy. Each seemed engaged in a perpetual attempt to drown the other, and the result was the production of sounds more loud than mellifluous.
Madlle. Sophie Cruvelli has been suffering from a severe domestic affliction, and did not sing for ten days until Wednesday last. She then again appeared in Les Huguenots, and with the invariable result of a house crammed to the roof by an audience who hardly know how to testify their rapturous applause. During her absence, La Muette de Portici was played four times, but neither singers nor mime made any advance in public estimation.
In construoting the libretto of Le Muletier de Tolide, the ingenious and accomplished authors, Messrs. Dennery and Clairville, seem to have taken the measure of their composer and to have written to order. There is literally not a new situation or a scintilla of originality in the whole piece, which is a melange of Le Jeu de VAmour et du Hasard, Les Diamans de la Couronne, and Jean de Paris. The authors themselves admit this, and one of the characters informs the audience of their palpable plagiarisms. You shall judge for yourself,—here is the plot. The Queen of Leon has been chosen as the future wife of the Infante de Castille, and hearing that the latter is desirous of seing his intended before completing the match, and has disguised himself as a peasant for that purpose, she, in her turn, assumes the dress of a Spanish peasant girl, and sets out on her travels to discover her disguised lover in posse. One of her maids of honour, attired in like guise, alone accompanies hex; but, arrived at the first posada, they are attacked by a
band of roysterers, who admire their pretty faces, and desire a more intimate acquaintance. They are rescued by a muleteer gaily attired and courteoas in bearing, who drives off the molesters and rescues the ladies. The Queen is convinced that the muleteer can be no other than the disguised Infante, and without discovering her incognito thanks him for his services. At the next venta they have to deal with men of a different class, but of similar tastes. Don Pedro, cousin of the Queen, who has sworn to marry her, or cause her abdication, is drinking with a choice lot of boon companions. At the sight of the two pretty maidens they take them by the waist^ and are about to proceed to further extremities, when the mtfleteer (the deus ex machind) again appears, again rescues them, is again thanked by the Queen, who again preserves her incognito, and (still disguised) places herself under the protection of Don Pedro: whereupon the first act ends. The second act opens in the palace of the Queen, who, in full regal attire, is seated on her throne. The courtiers pass before her, and a door is thrown open, through which the more common herd are allowed to enter and make an obeisance to their sovereign. Among the rest the muleteer comes forth, and the Queen recognizes and is charmed with him. Don Pedro, also, is there, and, having instructed one of his accomplices to carry off her majesty when she leaves the palace, is overheard by the muleteer, who informs the sovereign, and she thereupon directs her camerara-major to take her place in the carriage, while she remains at the palace to watch the conspirators Don Pedro's plan is to bring forward fehe yomng peasant who has placed herself under his protection, and who so closely resembles the queen, to place her on the throne and procure her signature to an abdication, while the true queen is kept in confinement. Meanwhile, the Queen has again assumed her peasant dress, the muleteer is again at her side and makes protestations of love, which she, supposing him to be the Infante, readily accepts. They are surprised by Don Pedro, who is confused between the peasant and the Queeu, and knows not whether the lady before him be one or the other, or both. He knows, however, that the muleteer is not the Infante, and thinks that if the lady be really the Queen she will be as thoroughly lost by marrying a muleteer as by any other process. The Queen accepts the proposal with joy, and the marriage takes place: which ends Act II.
Returned from church, the Queen thinks it time to put an end to the comedy. "Now then," says she to the muleteer, "you have played your part admirably, but it is time for the muleteer to give place to the Infante." "I am not the Infante, replies he," that gentleman is a married man." The Queen bursts into tears; the muleteer is delighted; he is loved for himself alone. ■ No," says he, " I am not the Infante, I am the King!" End of Act III.
Thus much for the libretto, which, though jar-fetched and borrowed, is not wanting in situation. The music of M. Adolph Adam has been sought from sources as various, and frequently as well known, as the words of Messrs. Dennery and Clairville. Though they have not drawn on their imagination for their plot, he most certainly has tasked his memory for his music. Worn out Spanish boleros, stale Frenoh airs, and old-fashioned English melodies, have supplied his inspiration. To him every fountain is Castalian, provided it be not dry, and no matter how often it has lieen drained and dirtied by previous composers. Even his admirers admit that the Muletier de Tolide is inferior to Le Bijou Perdu, and declare that no air will have the success of " Lea Fraises." The overture is weak and trashy, being