"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST VOL. 38.-No. 9. V. SATURDAY, MARCH 3, 1860. R. UNDER THE MOST DISTINGUISHED PATRONAGE OF THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OF THE The Most Worshipful the Grand Master of Ireland, And Several other Distinguished Freemasons; The LORD BISHOP OF MANCHESTER, The Right Worshipful the MAYOR OF MANCHESTER, His Worship the Mayor of Salford, W. HARVEY, Esq. SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the University of Oxford. PRICE 4d. T. JAMES'S HALL.-On Thursday evening next, ST March 8, to commence at 8 and terminate 10-15. The VOCAL ASSOCIATION. -President, The Right Honourable the Earl of Dudley. Conductors, M. Benedict and Mr. C. E. Horsley. Miss Arabella Goddard, Madlle. Euphrosyne Parepa, and Choir of 200 voices. Organ, Mr. Brownsmith. Miss Arabella Goddard will perform "The harmonious blacksmith," and "Where the bee sucks." Madle. Parepa will sing the solos in Mendelssohn's Psalm, "Hear my prayer, O God," &c., &c. The Choir will also perform the following Part-Songs, &c., Night, lovely night," F. Berger: "Rise, sleep no more," Benedict; "John Anderson my Jo," arranged by Hargitt; "Lullaby," H. Smart; "Forest home," Benedict: The Echo," G. W. Martin; "Hear, holy Power," Auber; "The Nightingale," Mendelssohn; "The last rose of summer," arranged by G. W. Martin. Tickets 1s, 3s, and 58. each, at St. James's Hall. PROGRAMME OF MR. AGUILAR'S FIRST PER FORMANCE OF CLASSICAL PIANOFORTE MUSIC-Saturday Evening, And many of the Nobility, Gentry, Clergy, and distinguished Families of the Empire. eight. Subscription to the three, 10s. 6d., Single tickets, 58. DR. MARK'S GREAT NATIONAL ENTERPRISE Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC BRIDGE STREET, MANCHESTER, established by him expressly as a Great National Institution to facilitate the Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, also as a NORMAL SCHOOL for the training of masters to conduct CONSERVATOIRES OF MUSIC to be established throughout the United Kingdom, for LITTLE TO VOLUNTEER RIFLE CORPS.-Boosey and Sons military band instruments, reed and brass, as well as bugles, drums and fifes, have been used and approved of by almost every regiment in the service, at home and abroad. Those regiments that contemplate the formation of a band, are invited to apply to the firm, who will be happy to recommend them competent bandmasters, and render any further assistance that may be required.-Boosey and Sons, Holles-street, London. EDUCATION by hole comprising an entirely new scheme of NATIONAL ROYAL VOLUNTEER BALL.-Under the immediate with instruction, so that of music shall become a branch of education in the humblest of schools of this Principal of the Royal College of Music; Director, Composer, and Mr. POWELL Assistant Teachers.. PRACTICAL ASSISTANT TEACHERS. Mr. BAKER. Dr. MARK has also made provision for the Orphans of the Musical Profession possessing musical talent, who will find the above institution a happy home, and receive a most effective general and musical education,, board, and clothing, free of all expense. Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books. Twelve appointments ready for Masters. Patronage of Her Most Gracious Majesty the Queen. Her Royal Highness The Duchess of Cambridge. Her Royal Highness The Princess Mary of Cambridge. For Prospectuses, apply direct to the Royal College of Music, Bridge-street, M Manchester. Dr. MARK is also open to Engagements with his Little Men. Dr. MARK begs to invite the Parents and Friends, and all those interested in bis Enterprise and in the Education of the Youths of this country to visit his establishment. Visiting hours:-From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted. 9 NEWSPAPER MR [R. ELLIOT GALER has REMOVED to St. John's Villa, Junction-road, N. [COPY OF APOLOGY.] "ROGERS v. HAWTHORN." for a slander uttered by me at the Doncaster Railway Station, on the 7th day of "An action having been commenced against me by Mr. Jeremiah Rogers, June, 1859, I hereby retract the slander complained of and withdraw all imputa tion on Mr. Roger's character and conduct, and I apologise for having used the words attributed to mo "In consideration of all proceedings in this action being stayed, I agree to pay the costs incurred by Mr. Rogers therein, such costs to be taxed in case of difference. Mr. Rogers is to be at liberty to use this document as he may think proper. Dated this twenty-fifth day of February, 1860. "Witness to the signing thereof, CHAS. EDW. PALMER." "B. HAWTHORN. [DLLE. MARIE WIECK, Pianist.-Letters respecting JUST PUBLISHED.-Eight Ballads by Adolfo Ferrari, price : engagements for concerts and lessons to be addressed, 14, Leinster-square, No. 1. SWEET DAYS OF YOUTH." Hydo-park, W. MR R. T. SCOTSON CLARK is in town for the season.-Letters respecting lessons or engagements for the pianoforte or harmonium to be addressed to him, care of Messrs. Chappell and Co., 50, New Bond-street. ISS AUGUSTA THOMSON begs to announce her MI arrival in London for the season. Letters to be addressed to her at 24, Holles-street, W. 2. "LONG YEARS OF CARE." 3. "WHEN MID THE FESTIVE SCENES WE MEET." 4. "BREAK NOT BY HEEDLESS WORD THE SPELL," for contralto or barytone. 5. "SWEET HOPE." 6. "REMEMBRANCE." 7. "GRATITUDE." 8. "I LOVE THE OAK," for contralto or barytone. Two Chamber Trios for soprano, mezzo-soprano, and contralto: "Come, sisters, To O CHORAL SOCIETIES.--Great success of the per-romance, 2s. 6d.; "Ah, se piacer mi vuoi," romance, 2s. formances at the Town Hall, Leeds, Feb. 25, by the Madrigal Society of "the Widow of Nain," Oratorio by Lindpaintner. The vocal score, orchestral and chorus parts are published by Wessel and Co., 18, Hanover-square. Each number to be had separately, voice and piano. "These ballads are beautiful compositions, thoroughly English in their style and character. The words, always selected with literary taste, are set to music with the utmost attention, not only to sentiment and expression, but to all the niceties of accent and of prose dy." "The two trios, which are for female voices, and calculated for the accomplished lady-singers who are now found in every social circle, are among the most attractive CHOIR-MASTER AND ORGANIST.-A Bass Singer drawing-room music that we have heard for a long time. Spectato St. Paul's Cathedral) is desirous of an engagement on a Sunday (full choral service preferred). Address, Z. A., Brooks' Office, 24, Old Cavendish-street, W. MISS EMILY GRESHAM, Soprano. - Letters repecting engagements for oratorios and concerts, to be addressed, 20, Alfredterrace, Queen's-road, Bayswater. W. MEYERBEER'S DINORAH AND STERNDALE BENNETT'S MAY QUEEN, are sung nightly at the CANTERBURY HALL CONCERTS. Comic vocalists-Messrs. George Hodson (the Irish comedian and mimic), W. J. Critchfleid and E. W. Mackney. Several interesting pictures are added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis. "THE ARION" (Eight-Part-Choir).—The members of this Society will meet until further notice every Thursday evening, at 8 o'clock, at 13, Berners-street, Oxford-street. Conductor, Mr. ALFRED GILBERT. F. F. REILLY, Hon. Sec. Persons desirous of joining the choir are requested to address the Secretary. "Signor Ferrari's "Eight Ballads" are, without exception, charming. They are purely vocal, and they have this precious quality-that the melody, in every instance, enables the singer to give the clearest and most expressive utterance to every word and syllable of the poetry. Where all are so good we find it difficult to pick out any of them for special notice; we may say, however, that the greatest impression on us has been made by Sweet days of youth," with its rich accompaniment; by "Swe t hope," with its graceful and expressive simplicity; and by "Long years of care," with its great tenderness. "The two chamber trios are both on fairy subjects, and are charmingly light and delicate. They are for female voices; and gracefully warbled by three sweetvoiced damsels, are truly fairy music. Of the Italian Songs it is sufficient to say, that "Vieni, Vieni,' a serenade, with elegant verses, by the accomplished Signor Maggioni, possesses all the features which we have attempted to describe as characterising Ferrari's music."-Illustrated News. ANTED, A GOOD TUNER.-For particulars, address, street. WA M. N., care of Messrs. Boosey and Son. W WANTED, immediately, a Pupil in a Musical Establish- TO is O INVESTORS.-CONSOLS CAPITAL STOCK is connection with Government Securities. Tue Stock is issued by the Consols Full particulars may be obtained on application at the Chief Offices, 429, Strand, TW Shortly will be Published, WO EVENING SERVICES IN A MAJOR: Cantate R. R. ROSS'S Useful Morning and Evening Full Service in F, for four voices, with organ accompaniment. Separately Te Deum and Jubilate, 3s.; Magnificat and Nunc Dimittis, 3s. Loudon : J. A. Novello. LANG SYNE," with Variations for the pianoforte, is just published, price 5s., by Duncan pianoforte, may be obtained, price 1s. ALBERT DAWES "AULD WALLACE FANTAISIE BRILLANTE on Verdi's Davison and Co., 244, Regent-street, where the popular "South Down" Polka, for Price 3s. Boosey and Sons, Holles-street. REVIEWS., “Lurline'—Opera in three acts, written by Edward Fitzball, composed by William Vincent Wallace" (London, Cramer, Beale and Chappell; Leipsic, Schuberth and Co.) Here we have the English text and pianoforte score of Mr. Wallace's new opera, which- -as the first that has been heard from his pen since the production of Matilda of Hungary (with Mr. Bunn's memorable libretto), at Drury Lane Theatre, in 1846-presents more than ordinary interest. Lurline is said to have been in great part written as far back as twelve years ago; but it requires no such apology, bearing evidence as it does--evidence that springs from a comparison between this opera and Mr. Wallace's previous dramatic works-of having been carefully reconsidered and retouched by the composer from end to end. And so, amidst a heap of elaborate vocal divisions, Lurline, "best treasure of the Rhine," expresses her sense of happiness, and the curtain drops. If Lurline-which, we understand, was written many years since, may be regarded as Mr. Fitzball's last great work-his Requiem (it certainly cannot be accepted as his Transfiguration)-why, then, there might be an end of the matter, and no critic, however soured by operatic libretti, would have the heart to be severe; but if, on the contrary, further perpetrations of the same description are contemplated, it is as well to warn our composers that the time has passed for the toleration of such performances. Such a jumble of spirits and mortals, with the special elements of either made apparently common to both-all the dramatis personce being, more or less, amphibiouscould only have sprung from the brain of a Fitzball, and justifies the epigrammatic epilogue of a wag, that the mixture of earth and water in Lurline accounted for the muddiness of its libretto. The questionable feature of Lurline is its libretto, which belongs to a class of melodramatic writing happily now effete. Mr. Fitzball has treated the romantic and famous legend of the Lurlei-berg after a manner peculiar to himself. In the legend, the heroine, deceived by a false lover, invokes the spirits of the Rhine, and consents to become the bride of the river on condition of being endowed with gifts of beauty and fascination that shall render her irresistible to man, whom hereafter it is her intention to lure into destruction by every means at her command. The compact is made, and Loreley, or Lurlei (Lurline) becomes the spirit of the whirlpool, with what mission it is unnecessary to remind our readers. Mr. Fitzball finds the lady a spirit, and restores her to earth. She sees Count Rudolph in a bark on the river, falls in love with him, and tempts him to her abode beneath the waves, not to destroy, but, like Melusina, to But let us pass to a more agreeable subject-the music of cherish. Her vexed father (she has a father), the River- Mr. Wallace. Lurline is certainly this gentleman's dramaKing, burning (or rather we should say freezing) to annihi- tic masterpiece, and as far superior to Maritana and Matilda late the rash mortal who has thus intruded on his domain, of Hungary as the book of Maritana (not that of Matilda) is frustrated in his desire by the amorous water-spirit, and at is superior to the book of Lurline. Mr. Wallace has in length persuaded to let Rudolph depart, loading him with every respect made progress--such progress as is rarely treasures in the bargain, in order that he may be consoled noted, indeed, between any two successive works of a for the loss of his beloved. Aware that the Count's affairs dramatic composer. We find the old vein of melody as rich are by no means in good order, and that the emptiness of as formerly, with an increased knowledge of resources that his purse has led to the rejection of his hand by Ghiva, gives it a tenfold value. The overture, in the broad and daughter of a Rhenish Baron, the River-King judges-from open key of D major, far surpasses, in clearness of design, a view of mortality, perhaps, common to water-spirits-that and vigour of treatment, the orchestral preludes of Mr. no sooner gone than, "out of sight out of mind," Rudolph will Wallace's other operas. The instrumentation, too, is forget Lurline, and cast himself and his newly-acquired extremely effective, the combination of "wind" in the openriches at the feet of the disdainful Ghiva. Lurline, however, ing adagio, and the introduction, by the whole body of with more faith, has promised to give her earthly admirer an "strings," high and low, the double basses alone excepted, interview at the Lurlei-berg, in the course of three days. On of the beautiful melody which, in the third act, stands as the Rudolph's return to terra firma (how he managed to theme of Lurline's prayer, being equally points to admire. live under water we are left to surmise), the knowledge The quick movement-like that in the overture to Weber's of his being possessed of untold wealth, acts in the way Oberon, although the first subject is no more strictly akin to the River-King had suspected-at least upon one mortal, Weber than to the allegro in Wagner's_Tännhauser→ the mercenary Ghiva, though not upon Rudolph himself. is rather chivalrous than fairy-like. It is vigorous He, poor wight, does nothing but sigh after his lost and brilliant from end to end, and among many new touches water-nymph, and actually snubs Ghiva, who, in despair, of fancy may be noted the passage of rhythmical recitative possesses herself of a ring which Lurline has given him as a given to the stringed instruments, ushering in the propledge, and, in a fit of jealous rage, throws it into the Rhine.gression which leads back to the principal theme. True to her appointment, Lurline makes her appearance at the end of the stipulated period, and learning from a gnome (?) that Rudolph has parted with the ring (which, as the spirit of the Rhine, one might have thought she would be the first to know), gives way to unutterable anguish. In her subsequent interview with Rudolph, however, when matters are explained to her satisfaction, she once more, and for the last time, makes use of her supernatural power, invoking The second theme (afterwards an episode in the romance of the "Night winds"-Act I) is essentially melodious, contrasts strikingly with the leading theme, and works in well with the rest. In short, Mr. Wallace in this overture has evidently written his best, and, earnestly bent upon success, has attained it. Although we have only the pianoforte adaptation before us, it may be as well to observe, once for all, that the manner in which the orchestra is handled throughout the opera of Lurline, imparting colour to and principal characters join, though spirited and appropriate, offers no particular point for notice. In the second scene, where we have to do with simple mortals, the music assumes an essentially different character -as in duty bound. It sets out with a very admirably written duet ("Oh! Rudolph, haughty Rudolph "—D major) for the Baron Truenfels (carefully represented by Mr. Honey, as a decrepid old man, with bent knees and crooked legs) and Ghiva (Miss Pilling) his daughter. This duet, of which, as in many of those of Auber and other French composers, the orchestra claims the lion's share, the voices being often little more than accompaniments, contains a very charming episode, in which a passage occurs on the words, "Oh, soft affection, to thy rest," equally to be admired for its melody and its harmony. The arrival of Rodolph (Mr. Harrison) brings some clever concerted music, conducting to a trio (A major) : "I see by the gray of the sky That morning is now very nigh,"where the composer, by showing how it is not absolutely necessary that the music and poetry in a dramatic composition should breathe the same spirit, has upset the pet theory of Herr Wagner, who, in his Kunstwerk der Zukunft, would fuse all the arts into one, and make them inseparable and dependent on each other. Although French in colour and in the turn of its leading phrases (the last especially"Good night, sir, good night")-as, indeed, is frequently the case with the lighter music of Mr. Wallace-this trio may be unreservedly eulogised for spirit and scenic propriety. The third scene (Rudolph's castle) opens with a drinking chorus, "Drain the cup of pleasure" (D major), in bolero measure, cheerful and animated, if not strikingly original, which owes no little of the favour it enjoys (it is always redemanded) to the admirable singing of the chorus (men's voices, of course). Some effective concerted music leads to a romance, with chorus for Rudolph (" Our bark, in moonlight beaming"-D minor), which embodies the legend of Lurline, the Rhine-spirit. Here the ordinary method of treating such matters at the French Opera has not been discarded, notwithstanding which the romance has both character and merit of its own. Though decidedly simple, it is imbued with a feeling of dreamy mysteriousness, entirely in.keeping with the sentiment conveyed in the text. The finale (beginning in A flat, and ending in F minor), sets out with a harp arpeggio, while snatches from the ballad, "Flow on, flow on, oh! silver Rhine," indicate the approach of Lurline, who shortly emerges from the river and mingles with the noisy guests of her lover. Placing the ring on his finger, which is to be a pledge of mutual faith, no less than a potent charm, and a safeguard in case of subtidal difficulties, she at length, in spite of opposition from Rudolph's associates, lures him into a skiff, which immediately disappears. Rhineberg, with “a host of spirits," is seen among the rocks, vowing vengeance against Rudolph: a storm arises; the skiff is supposed to sink beneath the waters, and the curtain falls. All this is combined with vigorous, striking and picturesque music, and the result is a finale which brings the act to a climax in a thoroughly effective manner. The opening of the first scene (after the symphony to which allusion has been made) is somewhat ineffective. No one cares greatly for Rhineberg (an odd name for a king who resides underneath the water), and no one cares a straw for Zelieck, the gnome (we thought gnomes were earth spirits), whom he wildly invokes in the bold and vigorous air, "Idle spirit, wildly dreaming" (in F minor). So that, however excellent per se, and however well given by Mr. Santley, the air and the recitatives that precede and follow it-the last being dialogue, in which Mr. Corri (the gnome) takes part-fall somewhat flat. The "other nymphs" (vide book) whom Mr. Fitzball summons "from their shells of opal" (no nymphs having yet appeared), in a pretty choral strain ("Hark, hark, hark,"--A flat) from behind, begin to awaken attention, and the graceful quasi-Weberish chorus ("King of the Rhine"-same key) with which, when before the footlights, they greet their dripping monarch, at once imparts life and interest to the scene. The apparition of Lurline, at the foot of a rock, singing to "an antique harp," the confession of her love for Rudolph, is illustrated by a brief concerted piece, in which the other personages, including Liba, a water-nymph (a part, we may here add, very prettily played and very prettily sung by Miss Fanny Cruise, a young and promising beginner), are concerned. The first romance of Lurline ("Flow on, flow on, oh silver Rhine"-E major), in which she begs the river, the flowers, and the spirits to explain her sentiments to Rudolph, is based on a melody sure from its piquant, simple, and unpretending character to become popular, and, moreover, graced with florid cadences and a florid coda, or tailpiece, precisely fitted to the peculiar talent of Miss Louisa Pyne, who warbles it exquisitely. The chorus divides the two couplets, and in the second verse the accompaniment is judiciously varied. A scene between Lurline and Rhineberg, in accompanied recitative-a form, by the way, into which Mr. Wallace (a task as difficult as it The second act ("Crystal dwelling of Lurline; doors of is thoroughly well accomplished) has thrown all those parts bronze") begins with a chorus of gnomes ("Behold, behold, of the opera which would otherwise be spoken dialogue-wedges of gold," E minor), gloomy, savage, and monotonous, leads to the delicious romance, "The Night Winds," already as befits the singers, and leading to an unpretendingly described, a revelation on the part of the water-nymph of the graceful ballad for Lurline ("Under a spreading coral wave' history of her love for Rudolph. The chorus that brings the G major), which Miss Pyne sings charmingly. In the first scene to an end ("Sail, sail, sail"-D flat), in which the absence of Rhineberg, the water-nymphs disport themselves in dance and song to a very lively chorus (B flat major), at the end of which a compliment to the River-King's sagacity is conveyed in the following language: "Though lock'd in your breast, he the secret can find, 'Neath one beam of his eye your poor heart must unclose, And out floats the truth like the bee from the rose." This chorus interrupts and mixes with the ballad of Lurline. The sparkling music of Mr. Wallace, however, here once more controverts the dogma of Herr Wagner. Rudolph's début as a vocalist under water is in a cavatina ("Sweet form that on my dreamy gaze"-B flat major), which, though it can boast an elegant melody, is even more strictly noticeable for the ingenuity of the accompaniments. Lurline's brindisi (with chorus), "Take this cup of sparkling wine" (E flat major)-which obtains an encore every evening, thanks to Miss Louisa Pyne's brilliant singing-is, in its chief feature, a sort of reminiscence of the old English nursery tune-" Girls and boys come out to play." The concerted piece (E flat minor and G flat major), where Liba and her companions avert the watchfulness of Zelieck, intrusted with the guardianship of his master's treasures, is animated and clever. The introduction here of snatches of the foregoing air is felicitous; and the drinking song at the end (there are too many drinking songs and choruses), "As in this cup the bead flies up" (G minor and major), while in some passages too florid for Mr. Corri's method of vocalisation, is eminently characteristic of the situation. Ghiva's ballad in the next scene ("Troubadour enchanting"-F major), almost primitive in its simplicity, is, nevertheless, extremely pretty and attractive. Miss Pilling (the new "contralto") sings it well, and, being invariably called for twice, it helps to lengthen the performance. A chorus of huntsmen ("Away to the chase"E flat major) is one of the most vigorous pieces in the opera. The introductory symphony, with the unanticipated notes for various brass instruments, modifying the harmony of each section, is of itself remarkable, and the rest fully bears out the promise it entails. Rhineberg's ballad (B major), "The nectar cup may yield delight," (for which Mr. Santley's admirably expressive singing elicits an inevitable "encore"), is one of those model drawing-room ditties certain to gain the favour both of sentimental young gentlemen and sentimental young ladies, the especial delight of music publishers, and of which Mr. Balfe has invented the most admirable and popular specimens. The next piece-an "Ave Maria" (E major) supposed to be sung by Rudolph's friends in a boat on the Rhine, for the soul of their comrade, whom they imagine dead, while Rudolph, from his subaqueous and supernatural abode, actually overhears them, and responds to their appeal, is of a very different stamp. Nothing could be more beautiful of its kind, more ingeniously constructed and impressive. The finale to the second act (chiefly in E major) is superior to that of the first. The incident is the return of the Rhine King, who, at Lurline's intercession, spares the life of Rudolph, and sends him back to his mortal home, loaded with treasures, amid the mutual despair of the lovers, who, resigned to fate, are still loth to part. The music here is thoroughly dramatic, and most skilfully composed, the grand passage of combination (or "ensemble") consisting of a large and energetic melody, upon which (as in some of the operas of Donizetti and Verdi) is brought to bear the united power of chorus and orchestra, while the voice of the chief soprano (Lurline) predominates over the rest, in high, prolonged, and resonant tones, until the culminating point is attained (as by the same originals) in a broad phrase of unison, allotted to all the voices, choral and solo, and all the instruments except those of the lower register. The third act (prefaced by a capital orchestral interlude-in which an episode belonging to the overture, in F sharp minor, is developed with much interest and skill)—although quite equal in interest to the others, must be more briefly dismissed. Rudolph's song, "My home, my heart's first home!" (A major) is another approved drawing-room ballad, inferior, however, to the one in which the Rhine King gives gushing expression to the sentiment of paternal love, and at the same time still more nearly shaped on some of the specimens to which Mr. Balfe owes so many laurels. "Gold and wine heal every care" (E flat major) is another extremely effective chorus for male voices, comprising, moreover, one or two novel points- as, for instance, the pauses at the end. As in the drinking-chorus (Act I.), and the hunting-chorus (Act II.), the execution of this piece confers the highest credit on the singers. The duet which follows, for Rudolph and Ghiva (B flat major), is, in a great measure-like the duet between the baron and the same lady (Act I.)-a display for the orchestra, in which the fiddles shine to their heart's (strings?) content, while the voices are too frequently subordinate. It is clever, nevertheless, and would have more pretensions to be styled "original," but for the provokingly Auberish phrase occurring at the end of the second movement ("Telling of fond eyes that weep.") The short chorus of "stormspirits" (same key), that ensues upon Ghiva's casting into the Rhine the magic ring she has snatched from Rudolph's finger, may pass as a mere allusion. Lurline's grand scena (beginning and ending in F major), "Sad is my soul," which includes two beautiful slow movements-the second one (a prayer in A flat major-"Oh, Thou, to whom this heart") to the melody allotted the stringed instruments in the opening of the overture-and terminating with an extremely spirited allegro ("As a bounding barque"), is a very striking compo sition, in which the voice-part and orchestral accompaniments are alike interesting, while the dramatic feeling is sustained with unabated vigour to the end. This is one of the capital pieces of the opera, and in it Miss Louisa Pyne exhibits her finest singing, whether expression or fluent execution be taken into consideration. Scarcely less effective, while equally well written, is the duet (commencing and terminating in A major) where Lurline first reproaches Rudolph for losing her ring, and then restores it to him. Abounding in passionate phrases, although somewhat too lengthy, for the situation in which it occurs, this duet never once flags in interest. Both the foregoing would gain by being placed somewhat earlier in the opera. There still remain to be mentioned a lively chorus with ballet ("Now with joy each bosom beating "D major), at the opening of the last scene, which might have fallen from Auber's pen without raising a doubt about its genuineness; and last (in some respects best of all), the unaccompanied quartet, for Lurline, Liba, Rhineberg, and Zelieck ("Though the world with transport bless me "-E flat major), which in every respect fully warrants the enthusiastic reception it meets with from the audience. genuine English glee, with florid passages and cadenza for the principal voice (Lurline), this quartet is attractive enough to have saved a weak opera, and may be accepted as all the more remarkable, considering the effect it produces arter so much that is excellent has gone before. In a word, it is a faultless example of vocal part writing, and everywhere as pleasing as it is ingenious. The finale to the third act is, according to precedent, the least ambitious of the A |