reflected, how happy he should be if that were actually the case, and how, in his endeavours to return to babyhood, he would contrive to skip over all the floggings, kicks, and cuffs, that would be sure to encounter him on his retrograde journey.

As the clock struck eight, he was interrupted by the reappearance of Pantagruel, who came in, looking so wondrously sorrowful, that John the waiter immediately burst into tears, and the gent in the fourth box felt a bit of kidney sticking uncomfortably in his throat. But, Pantagruel placing his hand on the shoulder of Panurge, spake thus, in a broken voice:

"Old friend, I ask thy pardon. Generally thou art an abomiuable knave and a liar, and he is a fool who putteth trust in thee; but, in this instance thou art right."

And sitting down, with his elbows on the table, and his face in his hands, Pantagruel wept bitterly. Panurge howled by way of accompaniment. The gent in the fourth box, who had finished his kidney, and who, though he knew nothing of particulars, felt oppressed by a general sense of woe, lit a pipe and sat gloomily by the fire; while John the waiter, folding his arms, and leaning against the door-post, philosophically meditated upon things in general.

Mademoiselle Piccolomini is Mademoiselle Piccolomini still. The highly-popular little lady is not yet married, but, we believe, will change her state about the end of the month. Mademoiselle Piccolomini is at present performing with Mr. Willert Beale's troupe, in Italian opera, in Dublin.

Vocal Association.—The second Subscription Concert took place on Thursday evening, changed from Wednesday, to avoid clashing with the Volunteer Ball at Covent Garden. But this was like avoiding Scylla and falling into Charybdis, since the Anniversary Festival of the Boyal Society of Musicians was held on Thursday. Mr. Benedict is not very lucky in fixing his nights, his first concert of the year being given on an evening when there was a powerful counter-attraction at St. Martin's Hall. The concert of Thursday evening, however, did not seem to be affected in any way by musical currents in other parts of the metropolis. St. James's Hall was filled in every part; and, among the fashionables in the reserve seats were the Earl of Dudley,'President of the Association, and party.

The feature of the selection was again Mendelssohn's Hymn, "Hear my prayer," the impression it made at the first Concert necessitating its repetition. Miss Parepa again sang the solos. In the miscellaneous division of the concert, Miss Parepa sang a new Polka, the air " L'Alouette," from Clapisson's Promise, and the "Shadow Song" from Dinorah, and was encored in all three. Four part-songs were pertormed for the first time by the choir —" John Anderson, my Jo," arranged by Mr. Hargitt; "The Nightingale," by Mendelssohn; "The Last Bose of Summer," arranged by Mr. G. W. Martin; and "The Forest Home," by Mr. Benedict. The last was encored. The prayer from the market-scene, Jfasaniello, was also given for the first time. Eerr Francisco Berger's part-song, " Night, lovely night," was redemanded and repeated. The choir are evidently making progress. Miss Arabella Goddard played two solos—Handel's "Harmonious Blacksmith," and Benedict's " Where the bee sucks." The first being rapturously encored, Miss Goddard substituted Heller's improvisation on Mendelssohn's air,"On song's bright pinions." The last was hailed with such vociferous applause as might with equal reason have been accepted for an encore; but M iss Goddard only returned to the platform and bowed. Mr. Benedict and Mr. C. E. Horsley alternated the conducting.

Amateur Musical Society.—This Society gave its third concert of the season on Monday last, at the Hanover-square Booms. The programme was not in accordance with the usual custom of the amateurs, as it did not contain a symphony, but

on this occasion, a chorus of some fifty voices was added to the instrumental force, and selections from OuiUaume Tell and EuryatUhe, with the choral fantasia of Beethoven, were the features of the concert. A printed apology was distributed, claiming the indulgence of the audience on behalf of Miss Emily Gresham, Mr. Richard Seymour and Mr. Gadsby, all of whom were suffering from colds, and at the last moment Mr. Winn was obliged to supply the place of Mr. Gadsby. The following waa the collection:

Paet L

Overture and Introduction (William Tell) ...
Choral Fantasia

Paet II.

Overture (Cheval de Bronze)

"When the shades of eve" ...


Henry Leslie.


Part-Song. [..^heijbo'
Overture and Finale to Act I. (Euryanthe) ...

Conductor—Mr. Henry Leslie.

Considering that the majority of pieces was in a school entirely different to that in which the amateurs are most at home, the performance was highly creditable. One slight hitch took place in the choral fantasia, but the rebellious instruments were soon brought back to their allegiance, and all was well. Angelina was all that could be desired in the solo pianoforte part of the fantasia, and the applause with which she was greeted on entering the overture was redoubled after her performance. A few words of praise are merited by the principals (by Miss Emily Gresham and Mr. Richard Seymour especially) for their careful singing. The chorus was too weak for the hand, but they were encored in Mr. Leslie's part-song, "Where the shades of eve." The solo parts in the introduction to Guittaume Tell and the Finale from Euryanthe were sustained by Miss Emily Gresham, Miss Leffler, Mr. Richard Seymour, and Mr. Winn; the solo parts in the Choral Fantasia bv Misses Chambers, Fosbroke, Leffler, Messrs R. Seymour Walker, and Winn. The room was very full.

Herr Wilhelm Ganz gave a soiree musicals at his residence in Queen-street, on Thursday evening week. The special pieces were Beethoven's quartet, in E flat, Op. 16, for pianoforte, violin, tenor, and violoncello, executed by Herr Wilhelm Ganz, Herr Deichmann, Herr Adolphe Ganz, and M. Paque ; grand duo for pianoforte and violin, "Les Huguenots" (Thalberg and De Beriot), played by Herr Ganz and Herr Deichmann; and a duo for pianoforte, the composition of Herr Ganz, played by the composer and his cara sposa. These were all good performances and were all well received, the preference perhaps being for the quartet. The voice music was superabundant. The siugers were Madame Louisa Viuning, Miss Lascelles, Madame Jenny Bauer, Madame Ganz, Herr Reichardt, and Mr. Allan Irving. The Spinning-wheel Quartet, from Martha, sung by Madame Jenny Bauer, Miss Lascelles, Herr Reichardt, and Mr.Allan Irving, was encored, as were also Venzano's valse "Ah che assorta," by Madame Jenny Bauer, and the popular song, " Thou art so near, and yet so far," by Herr Reichardt. The last was the vocal pet of the concert, and was sung to perfection by the German tenor. Madame Ganz displayed a pleasing voice and a cultivated style in the air, " Und ob die Wolke," from the FrieschiUt, in which she was admirably accompanied in the violoncello obbligato by M. Paque. The rooms were crowded by a brilliant and fashionable company.

Hendon Choir.—A series of three amateur concerts, under the direction and management of the Rev. F. D. Babbitts, B A., curate, were given last month by the choir of this suburban village, in aid of the funds for building class-rooms. The programmes consisted of a very good selection of vocal and instrumental music, and several of the glees, madrigals, and part-songs were deservedly encored. Mr. Butterworth, organist, presided at the piano. The solo singers and instrumentalists were the Rev. Mr. Babbitts, Messrs. G. B. Tanqueray, Foot, Cooper, and Dearden. The two solos, played by Annie Butterworth, aged eight years, elicited much applause: and the performance gave universal satisfaction. The proceeds amounted to more than £40.

Sacked Harmonic Society.—Judging from the attendance at Exeter Hall on Friday se'nnight, we may safely infer that Judas Maccabxus is now fairly taking as high a place in public favour as that so long awarded to, and still held by, the Messiah, and more recently to its no less admirable compeer, Israel in Egypt. Long before the commencement of the oratorio, every corner of the vast but inconvenient building was crowded, and many were the disappointed ones who were turned away with the money in their hands, casting longing and envious eyes upon those who had made the wise provision of taking their tickets in advance. Judo* Maccabaus was undertaken by Handel at the command of Frederick Prince of Wales, to celebrate the return of his brother the Duke of Cumberland, who, on the 16th of April, 1746, had won the battle of Culloden. It was began and completed in thirty-two days—between the 9th of July and the 11th of August, in the same year as the victory, and achieved a remarkable success (for those days), being performed thirty-eight times, and on the thirtieth occasion the receipts amounting to £400. However, like many other of Handel's great compositions, it was soon comparatively neglected, and, even when occasionally performed, regarded as a work rather heavy in character, though relieved by some pieces which by some chance having become better known are consequently more popular. "Nous avon* ehangi tout cela ;" and with such performances as that of Friday, there is no fear of Judas being denied one atom of that esteem which is so justly its due. Taken in its entirety, we may safely say, that so unexceptionable an execution of the work has not before been heard. The influence of the Handel Festivals continues to make itself felt, and the frequent practices have rendered the chorus-singers so thoroughly proficient in their work, that little if any fault or shortcoming could be detected even by ears most critical. Abounding as this work does with choruses of the loftiest and most majestic character, it is eminently calculated to display the quality and test the training of the executants, and, although all were well given, we must single out, "Hear us, O Lord," which ends the first part, "Fall'n is the foe," commencing, and "We never will bow down," concluding the second part, as especially worthy of praise. The last-named choruses are among the most magnifioent ever penned, aud their effect on this occasion was nothing short of marvellous. Ample testimony was borne to this by the lons-sustained applause which followed from the audience.

We observe, by the way, that the Society have withdrawn from their programmes the stereotyped edict forbidding any manifestation of feeling, and wisely, so we think, as it had long ceased to be regarded by the public. It is folly on the part of any givers of entertainments, sacred or secular, to prescribe what shall or shall not be done by the audience, who, after all, please themselves in the matter, and applaud or remain silent precisely as they are impressed with any particular portion of the performance.

We have spoken highly of the chorus-singing, and it is no less gratifying to award equal commendation to the soloists, who, one and all, exerted themselves with the best possible result. Miss Pare pa made her first appearance at the Sacred Harmonic, and was heard to considerable advantage in all the mnsic allotted to her. Of the three airs, " O Liberty," " From mighty kings," and " Wise men flattering," sung by Miss Parepa, we are inclined to adjudge the highest place to the last, which was given in a highly artistic manner. Miss Banks, too, who is slowly and surely rising ia public favour, confirmed the opinion we have frequently expressed of lnx singing when at St. Martin's Hall; the air " Pious orgies" being given with remarkable chasteness and expression. Miss Laura Baxter, who only appeared in the third part, sang the air, "Father of Heaven," with great taste aad feeling, and joined the before-named ladies in the trio, " See the conquering hero somes," also taking part in the duet, "O lovely peace," with Miss Banks, all of which were highly «itecuv*

Signor Belletti being prevented by indisposition from appearing, a most efficient substitute was found in Mr. Weiss, who, as usual, showed himself a thorough master of Handel, displaying all bis well-known qualities of voice and style to the best

advantage, and more especially in "Arm, arm ye brave," and "Rejoice O Judah." Every person who has heard Judas, must know that it contains two of the most trying tenor airs ever written, "Call forth thy powers," and "Sound an alarm." On Friday night, Mr. Beeves fairly outshone himself in these, and the effect created, especially by "Sound an alarm," was electric. It was curious to watch the faces of the audience; the excitement produced was just such as we could have imagined the composer to have intended, and we need hardly say the enthusiasm that followed this display was unbounded. Had there been a heavy legal penalty against applause, we think that the most apathetic of the audience would have been mulcted in a severe fine, for such a burst of feeling it would be next to impossible to repress. Totally different in style, but equally well given, was the florid air, "How vain is man," and finer singing throughout could not have been heard. As second tenor, Mr. Montem Smith rendered efficient service in the small part allotted him. The band went as it always does under the baton of Mr. Costa, and was in every way worthy of fame.

At the next performance, Haydn's Seasons will be given.

English Opera.—An English Opera, under the direction of Dr. James Pech, will be given at the Princess's Theatre, commencing in May next. The season will extend over a period of fifteen weeks. We hear engagements are pending, and in many instances concluded, with some of our most eminent artistes, amongst whom are Mdlle. Parepa, Miss Susan Pyne, Miss Emma Heywood, Mdlle. Jenny Baur, Messrs. Durand, Weiss, and Haigh, with Mdlle. Bury, an eminent cantatrice of Berlin, who, some years back, created a great sensation at Drury Lane Theatre, and who possesses a charming voice, combined with great powers of acting. The band and chorus will be very complete, numbering some 70 or 80 artistes. The operas to be placed upon the stage are spoken of as Oustavus, Oberon, Acis and Galatea, and Les Mousquetaires de la Heine, which ran for 600 nights when produced at Paris, with some of the earlier works of Balfe and other English composers.

Barnsbury.—On Monday evening, the 27th inst., a lecture was delivered at the Barnsbury Schools, on behalf of the funds, by. Mr. Nathaniel Cork. The subject was, " Music, the Church, and the Fire-side." The lecturer traced the origin of many of the psalm tunes found in the various collections now in use. Quoting from the Puritan writer, Myles Coverdale, the lecturer showed that his work, entitled, "Psalms, or Songs of Sion, turned into the language, and set to the tunes of a strange land," contained many of the abominations, in the way of psalmtunes, even now popular in some sections of the Christian church. Speaking of Fire-side music, Mr. Cork contended that its cultivation would do much to give the English the character of a music-loving nation ; that the concert-giving societies now so common fostered a love of display rather than devotion to the art, and that thus although there are thousands of singing classes and choral bodies in and around the metropolis, scarcely one singer in a hundred can take an independent part in a quartet, or sing a song, without displaying ignorance of the first principles of vocalisation. Speaking of the importance of the children of the poor being instructed in the rudiments of the science, the lecturer observed that—

"The cultivation of music does more than is generally imagined in cresting s bappy and agreeable tone of mind. Long, long after t he words of the song hare fallen from the lips of the loved one, will its melody float over the troubled spirits—involuntarily and almost unpercired, will calm them like oil upon the waters. Teacb the little children of the poor man how to sing, and you do more to make bis home bappy, to soften down his troubles, than by anv other mode you can devise. He may have, without expense, a continual source of enjoyment. Music is God's gift to man, and, properly used, it may diminish much of the moroseness, the dulness, the drunkenness, and the brutality which characterise the labouring classes."

The illustrations, consisting of old chants, chorales, anthems, madrigals, and part-songs, were given in excellent style by Messrs. Be I ton, Giles, Fluit, Farquharson, Bryne, Hursthouse, Volckman, Alexander, and Stevens. Four young gentlemen of the Abbey Choir also assisted.


Liverpool.—The concerts given by the very talented Brousil Family are honoured with a considerable share of the patronage of our townspeople, and deservedly Bo, for assuredly if there be a family in which real musical genius, combined with the ability to appreciate more scientific compositions, is concentrated, it is in that of the Brousils. On the occasion of their former visit to Liverpool we spoke of their entertainment in terms of the warmest commendation, and are now glad to remark that their performance evinces a perceptible improvement; their style is more finished, more artistic, and there is a nicer blending of the instruments than was noticed formerly. The programme of the first concert comprised a good selection, and the pieces generally were rendered with a taste and precision which, taking into account the extreme youth of the performers, were truly remarkable. The entertainment commenced with a concerted piece, Airs Rosses, including a violin solo, beautifully played by Mdlle. Bertha Brousil. Ernst's Elegit, a lovely composition, given by her in charming style, elicited much applause. Beriot's Potpourri Burlesque, in which the whole of the family were engaged, and acquitted themselves admirably, was vociferously encored. In this piece Mdlle. Bertha executed some passages in harmonics, showing an extraordinary command of the violin. A solo for the concertina, by ltegondi, was given by Mons. Adolphe Brousil with an effect but seldom heard from that comparatively insignificant instrument. A great addition has been made to the performance of the Brousil family in the person of Miss Blanche Cole, a charming and talented little creature ten years of age. Her strength of voice, and artistic, easy execution, are far beyond her years, and must be heard to be properly appreciated.

Gloucester—{From a Correspondent).—The third concert of the Gloucester Philharmonic Sooiety took place on Monday, and, like the previous concerts, the Corn Exchange was well attended. Mr. R. G. Morris presided at the pianoforte, in the placa of Mr. T. Goodfellow, who was prevented by illness from fulfilling his accustomed duties. The principal singer was Miss Clara Frazer, hitherto unknown in Gloucester. Although suffering from illness on Monday, her debut was most successful, and should she again visit the fair city, Bhe may anticipate a hearty reception. Her ballad, "The spell is broken," was warmly applauded, but, under the circumstances, Miss Fraser was unable to do justice to the aria, "Ah, fors' e lui." In the second part, however, the audience were delighted with the manner in which the fair vocalist rendered the once famous, still welcome, " Cherry ripe," and t he Scotch ballad, "Com in' through the rye." An encore was in each case unanimously demanded. The other vocal selections were, Mr. Mucfarren's glee, "The arrow and the song," well rendered, and "The cottage by the sea," sung by Mr. Duwes with so much effect that the audience were highly pleased. The overtures to La Oatta Ladra and //« Pre aux Clercs, were well played by the band, and agreeably varied the programme.

Birkenhead{From a Correspondent).—The Birkenhead Amateur Musical Union gave their fourth concert on Wednesday evening, at the Craven Booms, before a crowded audience. Mr. Gunton was the conductor, and Mr. Charles W. Smith pianist. The concert was unusually interesting, being the first at which the Society has given an entire work. They very wisely selected Professor Sterndale Bennett's May Queen, one of the most genuine and beautiful works of the English school. Although Miss Millar, who sustained the part of the May Queen, was suffering from severe hoarseness, the execution of the cantata was, in every respect, most creditable. Several pieces elicited much applause, particularly the trio," Shall a clown," &e. The second part of the concert consisted principally of some of the roost popular airs from Der Frieschutz. Miss Armstrong, in " Softly sighs," was remarkably effective. "Why, good people," elicited a hearty encore. The manner in which Mr. Smith accompanied the singers, particularly in the May Queen, was highly creditable to the talented young professor.

Dublin.—Verdi's opera of Trovatore (cavs the Freeman's Journal of March 6th,) was presented last evening, tor the first time this season, with Madame Rudersdorff as Leonora. We deem it but just to advert to this lady's personation of the leading part in this opera, and to speak of her performance with due commendation. Only a few nights since Madame Rudersdorff took the musical public of Dublin by surprise, exciting their delight by her admirable version of the part of Lucrezia

Borgia, notwithstanding the difficulty she hod to contend with because of the want of adequate support in the male voices. This state of things would hare been fatal to an artist of less capacity than Madame Rudersdorff, but it only served in her case to confer upon her an individuality which will not be soon forgotten by the Dublin public The Leonora last night of Madame Rudersdorff was very little short of the perfection of operatic performance. Her solo singing was truiy splendid, and her musical genius, sustained itself nobly throughout the entire of her arduous part, unsustained, we regret to say, by an efficient tenor. The applause she received was pointedly marked, and bestowed with a cordiality and earnestness indicative of the intensity of public appreciation of the genius and ability of this charming vocalist and able actress. Nothing could be more admirable than the vocalism and acting of Madame Borchardt as Azucena, and the Conte di Luna of Signor Aldighieri showed that this popular actor and vocalist has entirely recovered from his recent indisposition. The choruses were effectively rendered, and in all the opera went off smoothly and pleasantly. II ruritani is announced for repetition this evening.


{From Our Otcn Correspondent.)

Paris, Karch 7th. Never hardly has Lent been so little kept in this gay city as at present. Generally during the weeks that precede Easter, there is a dearth of novelty in the dramatic world, and the various brilliant saloons of Paris close for awhile their hospitable doors against the beau monde. But this season a new impetus seems given. All goes on actively. New operas are id preparation ; new dramas are brought out; and the various " Concerts d'Artistes" have to keep head against the "Concerts d'Amateurs." This latter amusement has extended itself even to the Tuilleries, where the Empress and a privileged few join in this innocent way of passing their time. While waiting the representation at the Grand-Opera of the Pierre de Medicis of Prince Poniatowski, the habitues of this theatre have just had a novelty, in the shape of M. Michot, a tenor, who used to sing at the Thdatre-Lyrique. He debuted at the Grand Opera in the Favorite, in the part of Fernand. He sang remarkably well, especially the airs, "Une ange, une femme ineonnne," and " Ange si pure." He was most ably seconded by Madame Barbot in the r6le of Leonora. At the Opera-Comique, Le Roman d'Elvire— Oalathee, and Don Gregorio, draw full houses; and the TheatreLyrique has no reason to repent of its adhesion to the mythology of the ancients, the receipts being anything but mythological. Boger, alter performing in the Traviata the part of Alfredo (with Mdme. Penco and Graziani as coadjutors) with unbounded success, has concluded his engagement at the Italian Opera; he has now left for Antwerp. Tamberlik will soon be here to fulfil his engagements at the Italian opera. Meanwhile, the rehearsals of II Crociato of Meyerbeer are going on actively under the direction of M. Fontana. M. Merly will have a part in this opera.

At the Tufiatre-Francais no new piece has lately been played, but with such acting as that of Madllc. Plessy and M. Bressant, the attraction of the old ones continues unabated.

A comedy in five acts, and in verse, written by M. Amedee Holland, has just been brought out at the Odeon. M. Rolland belongs to the school of MM. Ponsard, Augier, &c. His verse is remarkable for its facility, and the piece itself is full of telling speeches, and sound sense. There is not very much plot. Thejtitle is Un Parvenu, but the title of " parvenu" can hardly, with justice be given to the sensible old man who, however, fills the part. The tale runs somewhat thus :—Mercier, a man who has made an immense fortune in trade, at length retires on his fortune, and determines to spend his days peaceably. He makes his home comfortable, though not splendid, and surrounded by his wife, his sou (a young man of twenty-five), his orphan niece and ward, Laure, and his two brothers (who are the real parvenus), he thinks to pass his life happily. But this kind of quiet little suits his son, whose mind seems made of feeble material, and under the influence of a Count de Mosca, a ruined nobleman with a few generous impulses still left in him, he is inducted into all kinds of dissipation, and at last owes so large a sum to a money-lender that he dare not tell his father of it. Laure, who really loves her cousin, is, by the artifices of De Mosca, who wishes to marry her himself, induced to break off he* marriage with Albert, whom the father proposes to marry to some young lady of noble family. Laure, bearing of Albert's large debts, withdraws her fortune from her guardian's care, and, without Albert's knowledge, pays his debts. Mosca gets Albert to intercede for him with his cousin. Laure refuses, and, deeply hurt, De Mosca gets up a quarrel with Albert. A duel ensues; neither are killed. Albert, learning how nobly his cousin has behaved, repents his follies. Of course, Laure forgives, and a. happy marriage is the termination. The title 01 the piece thus becomes rather vaguely applicable, were it not tor the sentiments and speeches scattered here and there. As to the moral, the piece has none in particular. Some speeches were very much applauded, especially these two lines—

"Oui: Ton est quelque choee avec une fortune,
Mais on n'est pas quelqu'un."

M. Tisserant played the part of Mercier—M. Delay that of Laure. The other theatres are "waiting" for their pieces, or rather the public are; they will soon be satisfied. The Compare QuitUry, at the Ambigu-Comique, you shall soon have an account of. The concerts go on with unabated ardour; one feels astonished sometimes to think how it is that the rooms generally fill. That given by Madame Sainton-Dolby last Thursday, in the talons de l'Hdtel du Louvre, was very successful. The splendid salon was crowded, and Mad. Sainton most warmly received by both her French and English audience. The family of our ambassador was there. M. Sainton performed gome very charming pieces on the violin—Eitter on the piano gave equal satisfaction. Jules Lefort sang two songs, a cantique and a very pretty French ballad, "Aimons toujours." The songs Mad. Sainton gave were rather of a grave kind, but then it is that suited to her voice, and yet the song that seemed to please most of all was a little Scotch ballad, "Over the sea, over thMes," and I «o»ld hear many of the French portion' of the audience humming the air as they left the concert-room. The young prima donna, at St. Petersburgh, Mademoiselle Lagrua, has been re-engaged for three years, so says Le Nord, at the rate of 100,000 francs for five months. The demolition of part of the The&tre-Francais is at length decided on ; the municipal administration have just made themselves adjudicataires of the bouse No. 216 in the Rue St. Honore, and which

Suite recenly belonged to the Ministere d'Algerie. In April lis house wiil be pulled down, and then the new alterations be made in the theatre. Mr. Chabrol has been charged with the works The Theltre-Francais, which presents at present only two facades, one in a line with the Rue de Richelieu, and the other with the little Rue de Montpensier, will now have ajjthird, looking on the Rue St. Honored Upon the spot occupied by the house that will be pulled down, a new place is to be built, which will bear the name of Place Napoleon. This great central building will leave the Rue St. Honore to join the Rue Richelieu, passing by the corner of the street. The enlargement of the house will take the actual foyer, and the entrance on the Rue Richelieu will only serve for those on foot.

The sisters Marchisio are expected here at the commencement of April, and then the rehearsals of Semiramide, translated into French by Mery,willbegin. Twonewcompositions,onrfiV,arebeing prepared, one at the Th6atre-Lyrique (by Theodore Semet— Gil Bias; they must be quick, however, for1'as Mad. Carvalho goes to London in April, but little time is left); and the other i» at the Opera-Comique, Chateau Trompette, by Gevaert. At the Vaudeville, Mdlle. Jane Elsler has succeeded Mad. Doche in the Penelope. Mdlle. Dejazet is again playing in a little vaudeville in one act, P'tit fi, p'tit mignon. She fills by turns the part of a young Zouave and an old grandmother.

British Museum.—Lord Taunton has been elected a Trustee of the British Museum in the place of Lord Macaulay.

Mrs. Kkeley, reappeared, on Thursday evening, at the Lyceum Theatre, ia the revived drama of the Sergeant't Wife.

St. Petersbtjkoh.—At the Italian opera, La Travidta has been produced, in which a young English lady, the daughter of a distinguished composer, sang with great success ; but we did not hear Mdlle. Balfe ourselves, and shall not be able to give our own opinion of her until after the revival of Rigoletto, which will be restored to the repertory expressly for her the day after to-morrow, Sunday. At present, all we can say is that the public did not cause Mdlle. Balfe to suffer, in La Traviata, from the recollection of that sublime and deeply-regretted lady, poor Madame Bosio, whose glory and most striking triumph were the part of Violetta. It was to be feared that the painful remembrance of one so dear might be fatal to the daring young artist, who thus took possession of a part which is, of itself, difficult to support, and which might prove still more formidable by the emotion the audience might not be able to resist, and dangerous on account of the comparisons which, ever without justice, but swayed by their imperfectly soothed regret, they might institute to the detriment of the debutante. Nothing of the kind took place, however. Mdlle. Balfe was rapturously applauded two successive evenings. She was called before the curtain, flowers were showered on her—in fact, nothing was wanting to her success.—Journal de St. Petersbourg.

Pakis.—Less than a year ago, we gave, in these columns, an account of the grand musicalfites got up by the Orpheonists of Franc* assembled at the PalaiB de l'Industrie, Paris. At present there is in preparation a fresh solemnity, which we joyfully announce, being convinced of the success of the enterprise, and of the importance of such a manifestation for musical art; we allude to the trip of the Orpheonists to England. Three thousand French singers will proceed, about the 15th of next June, to London, and repeat, in the Crystal Palace, the pacific demonstration witnessed in Paris. These gentlemen are servants of Art, and—whether they appreciate all the importance of their mission, or whether they do not—obey the mighty agent of civilisation, which is pushing forward and widening its sphere of action every day. From all points of France they gathered together at Paris; this was the first step. Starting to-day from this centre, they will irradiate, in every direction, through England, Germany, and, perhaps, Russia, carrying with them tho highest civilisation—that civilisation which imposes itself on nations without arms or combats—that civilisation which unites men and bids tbem live! Everything is being* prepared for this splendid enterprise. Last Thursday, the managers of the Orphion paper invited to a family dinner a large number of the representatives of the Parisian Press, and the correspondents of the principal English newspapers. It was, indeed, a family dinner, for all who partook of it felt the same desire for the success of the enterprise, and the same wish to co-operate in effecting it j several toasts were given. We must especially mention the generous words of M. Delaporte, the indefatigable director of the Orpheonic Societies, and the speech of the correspondent of the English paper, the Globe* who succeeded in uniting to real simplicity that pungent and sterling humour which distinguishes good English speakers. M. de la Bedolhere sang some couplets of his own to the air of La Vigne, by P. Dupont. The original words of the song expressed, as our readers will recollect, but faint sympathy with England. They would have been rather badly adapted for the occasion, so M. de la Bldolliere merely retained the air, which he really improved by his words. It is superfluous to add that M. de la Bedolliere was rapturously applauded; the applause was, as it were, but the prelude to the cordial reception which awaits our compatriots on the other side of the water.—Europe Artiste.

The Hague.—It is not in a few hastily written lines that we can convey even a faint idea of the prodigious effect produced yesterday evening, by one of the most celebrated of contemporary violinists, M. Henri Wieniawski. All those who enjoyed the privilege of hearing, on various occasions, and always with fresh interest, this celebrated artist, during his last tour in Holland, and who had the satisfaction of being present at the brilliant solemnity, yesterday evening, will share our opinion that M. Wieniawski has, since his last visit, made a degree of progress that then appeared impossible. Yet nothing is more true. The quality of sound peculiar to M. Wieniawski, a year or two ago, assuredly possessed a delicacy, a caressing sweetness, beyond description; the great artist has improved it, by imparting to it greater breadth, and marvellous suavity, without allowing it to lose aught of its penetrating quality. We again admired in Herr Wieniawski

• The well-known "Father Prout."—Kp. M. W.

that wonderful fingering, tbe dexterity of which is incomparable, enabling him to execute immense difficulties with frightful rapidity and imperturbable correctness. What we are never tired of admiring in this celebrated artist is the fact that, placed in his magic bands, we do not think we are listening to a violin, but to some new and unknown instrument, which emits incomparable sounds, by which be sways the moat exquisite emotions of the soul, by which be causes his bearers to experience those ineffable joys which it is hopeless attempting to describe. This, in fact, is what constitutes the great triumph of M. Wieniawski. There are players who are perfect masters of the mechanical difficulties of their instrument, and whom it is impossible to accuse of the slightest defect, but who, notwithstanding, will never produce tbe shadow of that enthusiasm which Wieniawski excites and augments each successive time. On being brought into contact with his totally exceptional and, in tbe highest degree, sympathetic musical organisation, the assembly are subjugated, fascinated, and carried away by the profound impressions the artist sends thrilling through them.

M. Wieniawski played three times: a concerto by Viotti, with a splendid cadence ; two new pieces of his own composition—a Ligtnde, most ravishingly poetical, and a Rondo giocoso, sparkling with wit and dash—and, lastly, the celebrated Di tanli palpiti, as he had never been heard to play it before, for, in this case, it is not difficult to believe that he is continually advancing towards a degree of perfection, the boundaries of which he appears not yet to have attaii ed.

Is it necessary to add that M. Wieniawidu was honoured with the warmest marks of approbation, and recalled three times after each piece?

The Apoixo And Marsyas At Venice.—On Monday, the 27th ultimo, His Excellency the Governor of Venice, accompanied by Baron Prato, secretary to the Luogotenenza, visited the I. R. Arcade mia di Belli Arti, in order to inspect Raphael's painting of Apollo and Mareyas, on exhibition there side by ssde with the original drawing for it belonging to the Accademia. His Excellency spent a considerable time in admiring this masterpiece, and in comparing the two works. Before leaving his Excellency added his signature to Mr. Moore's collection of autographs of conspicuous persons who have visited the picture. It is said, in order to pay every possible honour to so a great a work of art, and to diminish risk of damage to it, the government at Vienna has forwarded a despatch to Venice, ordaining that Mr. Morris Moore's baggage be exempted from search by the Custom-house officials on his leaving the latter city. The artists and lovers of art express themselves in the most rapturous terms upon the obvious authenticity of this, in various respects, unique work of Sanzio.

{From an Occasional Correspondent),

Paris, Feb. 26<A.

Thb production of Mozart's great work, in spite of many serious drawbacks, has proved eminently successful, the special attraction being Alboni's Zerlina. The report that M. Roger would undertake the part of the hero has turned out a mere canard. The suggestion was made to him, I learn, but I cannot believe that he ever entertained it seriously for one moment. If Mario, with all his captivating graces of person and his thorough instincts as a refined gentleman, failed to realise the character, what chance could M. Roger have, who has but little of the elegant comedian, and would have to sacrifice the music no less than his Italian confrire. For the admirable French tenor's sake, for Mozart's sake, and for the public's sake, it is as well the exhibition did not take place. Signor Badiali, a good artist, notwithstanding, is far from being tbe bean ideal of a Don Juan; but he sings the music correctly and with style, which are the most essential considerations. We have to wait a long time before another Tamburini arrives; but, in the meanwhile, let us be content with a singer like Signor Badiali, who comes forward only as the representative of Mozart.

Having found Madame Penco so charming in Zerlina, I did not expect to see her so excellent in Donna Anna. Her conception of the part was extremely good. Grandeur and dignity do not constitute the principal elements in her acting, as in Glial and

Titiens; bat her passion was not without force, while her pathos was genuine. She sang the music well throughout, and waa altogether an honourable successor to Madame Frezzolini. Madame Cambardi (why not Chambard, her real name t), who has been filling all sorts of parts at the Ttaliens with more or less success, from Leonora in the Trovatore, down to Elisa in La Svnnambula, sustained the part and sang the music of Elvira creditably.

I have said that Alboni's Zerlina was the special attraction of the performance. The readers of the Musical World, who cannot have forgotten this great artist in the part, will readily credit me. More exquisitely beautiful, pure, musicianlike singing I never heard. Alboni, who invariably pays such respect to Rossini's music, of which she is one of the few living real interpreters, is not disposed to meddle with Mozart. The most rabid German could not be more scrupulous. This, after all, is a small merit in a legitimate singer like Alboni, who is not compelled to have recourse to clap-trap to produce effect, and has no one part of her voice better than another. Of the two great airs, '* Batti, batti," and "Vedrai carino," I will not take upon myself to say which was most exquisite, which most perfect. "Batti, batti," made the heart beat; but "Vedrai carino" filled the eyes with tears. I never heard anything in singing more delicious than the opening of the last air by Alboni. But why should I dwell upon Alboni's Zerlina, when you and your readers know all and all about it t I must add, nevertheless, that her acting, full of life and heartiness, completely realized the picture Mozart must have had in his mind of the impressible peasant girl when he composed the duets, "Giovinette, che fate all' amore" and " La ci darem."

Signor Gardoni is a favourite with the audiences of the Salle Ventadour, and Don Ottavio, to my thinking, is one of his best performances. He sings " II mio tesoro" with infinite taste, and goes through the part gracefully and unobtrusively, as becomes the love-sick swam of the old comedy. Signor Zucchini is a long way off from Lablacbe in Leporello, and Signor Angelini not quite equal to Signor Tagliafico in the Coram end atore.

The opera has proved an undoubted attraction, when many of the old favourites of the popular school could not draw. This is a good sign, and speaks well for the growing taste of the French public.


(From the "Autobiography ")

In 1808, there was held at Erfurt the famous Congress, during which Napoleon had as guests his friend, the Emperor Alexander, and the kings and princes of Germany, his allies. All the sight-seers of the neighbourhood flocked to Erfurt to view the pomps displayed there. I, also, set out from Got ha, with some of my pupils, less with the object of seeing the grandees of this earth, than of admiring those ornaments of the Thfiatre-Francais, Talma, and Mdlle. Mars. The Emperor hud sent for his tragic actors from Paris, and, every evening, they gave one of the classic works of Corneille or Racine. I thought that I ami my travelling companions should be able to be present at one of these performances, but I learned that, unfortunately, they were intended only for the different sovereigns and their suites, and that every one else was excluded. I hoped, however, I should still be able to obtain a place in the orchestra, by the aid of the musicians, but I was compelled to give up this idea, for they were strictly prohibited from introducing any person whatever. At length I hit upon the plan of replacing, with my pupils, an equal number of musicians, and of witnessing the performance, by playing the music between the acts. A small present gained the consent of the musicians, who knew very well that their substitutes would replace them properly. But another difficulty sprang up. The violin and alto parts furnished us with only three places, and as we did not know how to play any other orchestral instrument, one of ua would have been compelled to give up the performance. In this crisis, I suddenly conceived the Idea of trying whether I could not, in a day, learn enough of the horn to take the part of

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