HER MAJESTY'S THEATRE. THE first performance of Don Giovanni, on Saturday, was, in more than one respect, a remarkable one. The discovery of even a tolerable Don Giovanni was an unlooked for event, so many had been the failures since the retirement of Tamburini. Signor Everardi, who now impersonates the libertine nobleman at Her Majesty's Theatre, if not a perfect representative of the character, is by many degrees the best we have seen of late years. His voice is rich, mellow, and flexible, and, although not an Italian, sings like a genuine Italian artist. Signor Everardi looks the part, moreover, extremely well, and acts with great intelligence. His deportment is natural and graceful, and his movements and gestures are easy and unconstrained. That Signor Everardi has something yet to acquire before he can be thoroughly pronounced master of the most exacting character in the whole range of the lyric drama, is unquestionable; but that time and experience will perfect what has been so well begun, there is good reason to expect. However, at any rate, viewed even as it stands, the Don Giovanni of Signor Everardi is entitled to very high praise. It is gentlemanly, spirited, and free from all exaggeration as an histrionic portraiture, while as a display of vocal art it is irreproachable. The duet, "La ci darem," (with Madame Borghi-Mamo), and the serenade, "Deh vieni alla finistra," both given with infinite taste and propriety of expression, was unanimously redemanded. Madame BorghiMamo has added materially to her reputation by her performance of Zerlina, which has hardly been surpassed in our recollection. More exquisite singing could not be heard than the incomparably beautiful air, "Batti, batti," and " Vedrai carino," the latter of which was encored with acclamations, and the former only escaping an encore through an injudicious departure from the text, in order to "round off" the cadence (we suppose) in accordance with Mad. Borghi-Mamo's (not Mozart's) idea of finish. Such singing requires no clap-trap to recommend it. In the duet with Don Giovanni (encored, as we have said), Mad. Borghi-Mamo was admirable. Of Madlle. Titiens' Donna Anna we can only reiterate the high encomiums expressed last year. It is, perhaps, his grandest performance. Signor Vialetti sang the music of Leporello with remarkable vigour and correctness. Madlle. Vaneri gave that of Elvira carefully, but exhibited little acquaintance with the business of the stage, Signor Castelli surprised everyone in the Commendatore, which must have satisfied the manager that his talents have heretofore been underrated. Signor Giuglini sang "Della sua pace" to perfection, and would have been as successful in "Il mio tesoro" but for certain alterations (by no means improvements) of the text of Mozart. The house was crowded to suffocation. On Tuesday, Norma was given for the first time, and attracted an overflowing audience. Madlle. Titiens, as the High Priestess, and Signor Mongini, as Pollio, achieved their accustomed success. The other characters call for no especial notice. Don Giovanni was repeated on Thursday, and to-night Rigoletto will introduce Madlle. Brunetti as Gilda, and Signor Sebastiani Ronconi as the jester. MRS. MATHEWS' FRIENDS FOR THE FIRESIDE.-Any book from the widow of the celebrated Charles Mathews would be favourably received by the public. This work will take its stand upon higher ground than personal respect-it will be esteemed one of the most valuable additions to literature that has for a long time appeared. It is rich in anecdote-it is replete with witits fund of recollections of men and things is unsurpassed-its notings and selections evince a refined mind and good taste-its gravities will be appreciated by all thinking people. In fact, the book will prove a mine of wealth to every class-to the wit to old and young of both sexes-above all, to the literary man. to the men of the world-to the clergy-to the politician -Globe. ORGANIST APPOINTMENT.-Mr. J. M.Roberts, organist and choirmaster of Chapeltown and Moorallerton Churches, and formerly articled pupil of Mr. Spark, has been appointed organist and choir-master of the Parish Church, Thirsk. The selection was made by competition, the candidates having their abilities tested in various ways by Dr. Monk, organist of York Minister. ROYAL ITALIAN OPERA. ONE of the best representations of the Trovatore ever witnessed at this theatre took place on Thursday night week, when the zeal and energy exhibited on all hands were the more remarkable, inasmuch as the audience, though numerous and fashionable, was, in a great measure, one of the most frigid and apathetic of the season. The third of Madame Grisi's "farewell appearances," it seemed the fixed resolve of the unequalled lyric tragedian to persuade the house of the difficulty of ultimately replacing her. From the opening air, "Tacea la notte"-the slow movement of which was rendered with genuine pathos, and the "allegro" with wonderful brilliancy to the final scene, where the self-poisoned Leonora succumbs in the presence of her lover, just at the moment of convincing him that she is innocent, her performance was admirable alike from a dramatic and a musical point of view. Signor Mario, toowho has now recovered from the temporary indisposition that, year after year, memorializes his passage across the Channelwas quite himself, and, as a natural consequence, his Manrico was as nearly faultless as could be imagined. The song of the Troubadour (behind the scenes); the graceful apostrophe to Leonora ("Ah, si bien mio") and its fiery sequel, "Di quella pira," where Manrico hastens to the rescue of Azucena; the plaintive appeal from the prison ("Ah! che la morte") in the scene of the "Miserere ;" and last, not least, the concluding duet, in which the indignant malediction, "Va, ti abbomino, ti maledico," yields to a burst of tenderness when the fatal effects of the poison begin to show Manrico how cruel and unjust had been his suspicions, were, without reservation, displays of the highest excellence. Only once during the evening was there even a hint at failure; and this happened in the "cadenza" at the close of "Ah, si ben mio" (not a very striking ornamental passage, by the way), which somewhat weakened the impression that otherwise would have been produced by a thoroughly perfect example of cantabile singing. When Grisi and Mario, thus well disposed, are encouraged by an unrestricted command of physical resources into a resolute determination to gratify their hearers, it is not easy to over-estimate the value of their combined exertions. Anything more splendid, anything more touching and appealing, than the duet between Leonora and Manrico, has rarely been witnessed on the Italian stage. Madame Csillag, by the manner in which she sang the melodious phrase," Ai nostri monti ritorneremo," materially enhanced the artistic effect, her skilfully subdued tones in the dream of the sleeping gipsy contrasting exquisitely with the accents of the hero and heroine, whose passionate and absorbing grief makes them altogether oblivious of the presence of a third person. This lady's Azucena has not been equalled as a picturesque and vigorous conception since Madame Viardot first impersonated the character in London. The scene in which, while narrating to her pretended son the story of her former life, the gipsy gives utterance to the despair that accompanies her remembrance of its most terrible and fatal incident, was a masterpiece of vocal declamation, made doubly impressive by its dramatic truthfulHere and there a vestige of Teutonic exaggeration may have possibly been detected, but the whole was too intensely real, too vividly and poetically portrayed, not to extort the other points-in their way no less entitled to praise we may liveliest and most unanimous sympathy. Without touching on add, that by her performance of Azucena, Madame Csillag has entirely justified the favourable opinion selicited by what was, of course, a far higher intellectual effort-her Fidelio. The first appearance of Signor Graziani-whose Conte de Luna chiefly resolves itself into the most musical, and in all respects satisfactory delivery on record of the popular air "Il balen del suo absolutely barytone nor absolutely tenor, but an agreeable fusion sorriso," was another event which contributed to the general attraction of the performance. This gentleman's voice-neither of the two-is as fresh and as beautiful as ever. His method of singing reveals no sign of modification; but that it was as acceptable as on previous occasions was evidenced in the warm reception accorded to "Il balen," which gained one of the two encores of the evening-the other being awarded to Madame Grisi and Signor Mario in the "Miserere." After bestowing ness. such unqualified commendation, it would be superfluous to speak of "recalls" and such-like manifestations of courtesy on the part of the public, which the habit of the age having made conventional, are too often indiscriminately awarded. On Saturday, instead of Fra Diavolo, which had been announced, Dinorah was substituted, by desire of Her Majesty, who with the Prince Consort visited the theatre for the first time this season. On Tuesday the first representation of Il Barbiere for two years attracted the most brilliant audience of the season. The fact of Mario having resumed his old part of Count Almavivahis most finished and admirable impersonation in the opinion of many-gave additional interest to the performance; while the first appearance of Madame Miolan-Carvalho, in Rosina, was anticipated with general curiosity. On no former occasion have we heard the great Italian tenor sing the music so exquisitely. So thoroughly does it suit him, that it is unaccountable how, under any circumstances, Mario should have resigned the part of Almaviva to another. As well might Tamburini in his best days have resigned the part of Don Giovanni to a barytone of less renown. The secession of Mario robbed the Barbiere of the chief among its very many attractions, and this, no doubt, was the reason of its being abandoned last season, for the first time since the institution of the Royal Italian Opera. The subscribers and public may be thankful for any cause which brought him back to his post, for he positively never sang better than on Tuesday, and never produced a greater effect. From " Ecco ridente," to the trio, "Ah, qual colpo," his voice not only displayed its unrivalled quality, but his vocalisation that ease, grace, and flexibility which have made him perhaps the most accomplished singer of Rossini's music the stage has seen. Another powerful attraction was Ronconi's Figaro, a masterpiece of a different kind, but no less incomparable than Mario's Almaviva. The singing and acting of the two in the famous duet, "All idea di quel metallo," could not have been surpassed; and without entering into further details about the performance of the prince of Figaros, we may say that Ronconi was in the true vein, and sustained the character of the mercurial barber with wonderful animation and esprit from "Largo al factotum," to the end. Madame Miolan-Carvalho was a charming Rosina, acting with infinite naïveté, and singing with wonderful brilliancy; but her voice being a high soprano, she was scarcely so much at home with the music as with that of Dinorah. The transposition of " Una voce" from E to G is by no means without precedent, but the ornaments in many instances were far more elaborate and redundant than Rossinean. Mad. Carvalho's success in Rosina, nevertheless, was decided. Signor Tagliafico gave a bold and vigorous sketch of Don Basilio, and M. Zelger did his utmost to render Bartolo amusing. The overture was encored with acclamations, and the same compliment paid to the terzetto, "Zitti, zitti," in the last scene. MUSICAL SOCIETY OF LONDON. Ar the fourth concert of the second season, which took place on Wednesday night in St. James's Hall, this new and flourishing society-which counts among its members nearly all the chief professors and amateurs of music, foreign and native, residing in the metropolis-furnished a programme in strict consonance with that element of its constitution which principally distinguishes it from other associations of the kind. It will be seen, by the following, that a new work of importance, from the pen of an eminent living composer, was one of the prominent features in the selection : A finer execution of Mozart's incomparable symphony in G minor (the minuet and trio of which was encored), or more faultless indications of the times of each movement than those expressed by Mr. Alfred Mellon, we do not remember. The introduction of a symphony by Mozart was a happy idea, and never was perfect music more thoroughly appreciated. Another rich treat was the masterly performance of Beethoven's superb and romantic pianoforte concerto by M. Charles Hallé, who played his part without book, with a readiness for which he is proverbial, and achieved a brilliant success. The orchestral accompaniments, so original, so elaborate, and so overflowing with rare fancy, were given by the band to perfection. The least admirable feature of the evening was the overture to Guillaume Tell, in which the noise of the wind instruments completely drowned the stringed instruments. To the execution of Mr. Macfarren's new cantata, and of the work itself, we have alluded in another page. The aria of Handel (though admirably given by Madame Sainton), and the song from the Domino Noir, did not create any particular impression. Madame Lemmens was by no means so perfect in Auber's florid as in Mr. Macfarren's legato music, and we doubt very much if bravura is her forte, notwithstanding the flexibility and compass of her voice. Aria (Siège de Corinthie), Mdlle. Parepa... Hérold. Conductor-Professor Sterndale Bennett, Mus.D. If any proof were wanting that the Philharmonic Concerts to the influence of a certain series of acknowledged great works, owe their fame, and must be indebted for continued longevity, the success of last night's entertainment would suffice. Haydn, Mozart, and Beethoven, Cherubini, Weber, Spohr, and Mendelssohn-with proportionate examples from the vocal music of the Italian masters, and occasionally, where incontestable merit warrants the innovation, an instrumental or vocal piece by one of our best English writers-would suffice to sustain the Philharmonic Society for another half century. The Musical Society of London and the New Philharmonic Concerts may find it in their interest to produce novelties, while the Monday Popular Concerts-the most remarkable institution of the kind ever established in this country-can afford to be universal, and to ransack the libraries of chamber-music, both ancient and modern; but the Philharmonic Society has an exclusive mission -that of periodically affording its subscribers the opportunity of hearing, well executed, the most unblemished masterpieces of the art. And, after all, it is hardly too much to listen to the symphonies of Mozart and Beethoven (not to go further into particulars) once a year, or once in four-and-twenty months. Haydn's No. 7 (of the Saloman set)-the finale of which is one of its composer's most genial, characteristic, and spontaneous effusions-was played somewhat roughly, somewhatas the French significantly express it-"en robe de chambre." On the other hand, Beethoven's magnificent musical poem was given to perfection, the second movement especially (the Rivulet), with a scrupulous exactness of detail which, amid their many striking qualities, is not often observed in our English orchestras. The times of every movement-thanks to the refined musical taste of the conductor-were irreproachable. Another grand performance was that of Weber's overture to Euryanthe-an inspiration which appears on all occasions to exercise as potent a sway over the executants themselves as over the audience. The orchestral prelude to Le Pré aux Clercs is one of the feeblest specimens of its school that could possibly have been selected-not to travel back to Méhul, or even to Boieldieu, Auber has composed at least a dozen overtures to which this pale essay of Hérold's is in no way comparable. The new pianist, Herr Lubeck, was well received. Nevertheless his execution of Mendelssohn's familiar concerto was not altogether satisfactory. The first movement was loud (louder playing, indeed, we do not recollect), but had little of the vigour, less of the poetry, which other pianists, imbued with the spirit of the composer, have known how to impart. Strange to say, too (the prevailing fashion of "hurrying borne in mind), it was taken too slow. The same reproach applies to the finale, which, however, was in other respects more to the purpose, and while devoid of that indefinable something which goes by the appellation of "charm," did not fail to impress by its force and brilliancy. The slow movement was the least attractive feature of Herr Lubeck's performance. In his own music the new pianist shone to much greater advantage. His Berceuse and Tarantella are both fair specimens of the peculiar modern school now most in vogue, and were both admirably played. In short, if not (to judge him by this one performance) a strictly "classical" pianist, Herr Lubeck is at any rate a "virtuoso" of the first rank. The singing was excellent-that of Mr. Santley in the splendid air of Figaro (too frequently omitted from the operatic representations) more particularly. Mademoiselle Parepa was wonderfully successful, not only in "Ocean, thou mighty monster," but in the florid bravura from Rossini's Siège de Corinthe, which hardly comes within her means so readily as its companion. CONCERTS. MONDAY POPULAR CONCERTS.-The entire programme of last Monday was devoted to Mendelssohn, and as the musical public but a few days previous had been presented with a performance of the immortal master's Elijah, on by far the most important scale that has yet been attempted, so the selection of this evening formed, as it were, an appropriate pendant, by affording an opportunity of listening to some of the choicest selections from the chamber music of the ever-to-be-lamented musician. The instrumental portion comprised, among other things, two quartets, E flat major (Op. 44) and F minor, No. 6 (posthumous) -the latter for the first time at the Monday Popular Concerts; together with the trio in D minor, for pianoforte, violin, and violoncello, also for the first time. Sainton, Goffrie, Doyle, Piatti, and Charles Hallé (pianoforte), as executants, were a guarantee for a performance of the highest excellence, and the hearty applause of the audience bore testimony to the thorough appreciation of their efforts. In addition to this, Mr. Charles Hallé gave two solos in his most masterly and finished mannerthe fantasia in F sharp minor, dedicated to Moscheles, and a selection from the Lieder ohne Wörte, played so exquisitely that the second and last were unanimously redemanded. Mr. Sims Reeves was also encored in "The Garland," and "The Hunter's Song," both, we need hardly say, sung to perfection. A like compliment was also paid to Miss J. Wells and Mr. Cumming in the duet, "Zuleika and Hassan." The London Glee and Madrigal Union, under the direction of Mr. Land, contributed "The Lark's Song" and "The Nightingale," and, the former being encored, most unaccountably substituted a glee by the late Mr. Horsley. Mr. Benedict, as usual, showed himself a first-rate accompanyist. On Monday, May 21st, the selection will be from various composers, when Herr Ernst Lubeck, the new pianist, is to make his first appearance at these concerts. SACRED HARMONIC SOCIETY.-Haydn's Creation was given last night for the first time this season. The principal solo singers were Miss Parepa, Mr. Sims Reeves, and Signor Belletti. THE VOCAL ASSOCIATION.-At the performance of the Vocal Association on Wednesday evening next, May 16th, St. James's Hall, the principal artists from Her Majesty's Theatre will ap pear, by the kind permission of E. T. Smith, Esq. WOODFORD (ESSEX). A concert was given in the Lecture Room on Thursday week. The following artists assistedMiss Clari Fraser, Miss Leffler, Mr. John Morgan and Mr. Allan Irving, vocalists; Mr. Langton Williams, pianist, the last named gentleman also officiated as conductor. Miss Clari Fraser created a marked impression in her two solos, Mr. Balfe's song, "There is a name we never breathe," and the old Scotch ballad, "Huntingtower," both of which were encored, and both repeated. Encores were also awarded to Miss Leffler in the jacobite song, "Bonnie Dundee," and to Mr. Allan Irving in "The White Squall." Mr. Glover's duet, "The Cousins," sung by Miss Clari Fraser and Miss Leffler, was also bissed and repeated. Mr. Langton Williams played Madame Oury's sparkling fantasia on airs from Rigoletto with good effect. 66 MYDDELTON HALL, ISLINGTON.-A concert was given at the above hall on Wednesday evening week, at which there was by no means a large attendance. The programme was of the tedious miscellaneous kind, and all vocal except one pianoforte performance. The artists were Miss Clari Fraser, Miss Chipperfield, Miss Grace Delafield, Madame Laura Baxter, Mr. Gadsby, Mr. Suchet Champion, Mr. Barrett, and Mr. Weiss. Among the pieces worthy of mention were Beethoven's song, "Know'st thou the land," and the Irish comic song, Barney O'Hea," by Miss Clari Fraser-the former charmingly sung, the latter given with great point and rapturously applauded; the canzonetta from Dinorah, "Ye maidens in spring-time," and the popular ballad from Lurline," Gentle troubadour" (encored), by Madame Laura Baxter-both sung to perfection; and Mr. Weiss's song, "The slave's dream," rendered by himself with great power and redemanded. Mr. George Lake presided at the pianoforte, and with musician-like ability. DUBLIN (From a Correspondent).-Most of the amateurs of music who come to Ireland pay an early visit to the two cathedral establishments which Dublin contains: to such folks it may be matter of interest to know that one of these buildings, the cathedral and collegiate church of St. Patrick, is about to be restored, at the cost of £18,000 or £20,000, all of which is in the gift of one individual, the present Alderman Guinness, an inhabitant of the city. The building (a fair specimen of the early English style) has been under repair for some time; it is computed that at least four years additional will be required to carry out the proposed restorations, which are to be in accordance with the plans of Mr. Carpenter, a distinguished English architect. However, what more nearly concerns the Musical World and its readers, are the repairs and additions to the organ of the Cathedral, an old specimen of Renatus Harris, and an organ which ill deserved the high repute it long enjoyed; these additions, which were entrusted to Mr. Bevington, of Greek-street, Soho, comprise some three or four new stops to replace the damaged or out-of-date portions of Harris's instrument. The removal of the old swell (itself an extension of an "echo") and the erection of a new one to double C, containing the following stops-1. Double open diapason and Bourdon bass; 2. Open diapason; 3. Stopt ditto; 4. Principal; 5. Clear mixture (2 ranks); 6. Sharp mixture (3 ranks); 7. Oboe ; 8. Cornopean; 9. Clarion. The great organ has been reinforced by a new claribel (8 feet pitch in place of a huge mounted cornet); a wald-flute (to replace a tierce) and a bellcramba (in place of a twelfth of colossal scale, which was indeed of larger dimensions than similar pipes in the open diapason). The great organ, thus amended, now contains:-1. Open diapason; 2. Small ditto; 3. Stopt diapason (metal); 4. Claribel (wood) to middle C; 5. Bell-gamba (throughout); 6. Wald flute; 7. Principal; 8. Fifteenth; 9. Sesquialtera (3 ranks); 10. Tourniture (2 ranks); 11. Trumpet. The choir organ, after the manner of Harris, borrows 3 stops from the great organ, namely, 2 diapasons and principal; and contains, in addition, a small-scaled stopt diapason, a dulciana, a flute and a fifteenth. The pedal organ (added some 30 years ago, by Fleetwood, of Liverpool) consists of 2 open diapasons of 8 and 16 feet pitch, respectively: Couplers-1. Swell to G; 2. Ditto sub-octave; 3. Ditto to pedal; 4. Great to pedal. A tremulant to the swell completes what is now a very effective instrument. Messrs. Bevington are considered to have added to their reputation on this side of St. George's Channel, by the above works, an account of which will perhaps be acceptable to your organ amateurs. MUSIC AND THEATRES IN PARIS. (From Our Own Correspondent.) these terrible pieces seem at present almost an epidemic. The Porte St.-Martin has given another that out-Herods Herod, not so much in horrors as in improbabilities. And to go through the five acts of the Roi des Iles, and the wonderful events MM. E. Rollin and E. Woestyn (for they are the joint authors) have heaped pèle-mèle one a-top of the other, would require something more wonderful than the thread of Ariadne to extricate from the labyrinth they are in. The ever-wonderful Mdlle. Déjazet, who decidedly does not intend to get old, has been playing in a little piece she played so well in long ago, The Marquis de Lauzun. The concerts are still going on, though with less brilliancy, and there are fewer of them. A pianist that, as almost a child, the Conservatoire crowned at the same time as Jules Cohen, as first prizes of the Marmontel class, Wieniawski, has returned here after an absence of ten years. Like his brother, Joseph Wieniawski the violoncellist, he has acquired a good reputation in Germany. He now returns to Paris, and will give a concert in the Salle Herz, Thursday 26th. Mad. C. Remaury gave a very good concert in the Salle Herz, with the assistance of M. Kruzer, M. and Mad. Lefébure-Wely, and Jules Lefort, who sang his song, "Chanson d'amour," very well. Death has again been busy in the dramatic world: Amant, the comic actor of the Théâtre du Palais Royal, has expired suddenly from inflammation of the lungs. A few days before he had been forming projects of retiring from the stage. Amant had been for thirty years on the stage, and was as much liked for his private character as for his talent. The widow of Talma, the Countess de Chalot, has also just expired. Paris, April 18th. THE lyrical season here, like a dying Phoenix, is slowly passing away, while from its ashes the much more brilliant season of London is emerging. The rival opera houses there are, doubtless, as much a subject of conversation as they are here; and columns of the various theatrical papers are filled with the correspondence from London, relative to the various doings and chit-chat of the drama and opera; while Paris, like a giant refreshed, after a short respite of the last days of Lent, is plunging into a fresh series of balls, dinners, private theatricals. A propos of the latter, a rather sudden check has been given to the fashion of having the artists of the Théâtre-Français, to play in private drawing-rooms those charming little "proverbes" of Octave Feuillet, Alfred de Musset, &c. As it was found to exercise an injurious influence on the interests of the theatre, and also on the acting of the artists, so, by "decree," they are forbidden, for the future, to exercise their talents in a way that, though lucrative for them, would have ended by materially affecting the interests of the Théâtre-Français. The engagements entered into before this "decree" was passed will be allowed to be fulfilled, but no others incurred. A plan is talked of by some enterprising company, to remedy, next winter, the deficit this would cause in the winter amusements. They propose engaging, from various theatres, good artists, and keeping them as a troupe to be exclusively devoted to the acting in private drawing-rooms. The theatres, meanwhile, are rather languishing. The performances at the Grand-Opéra, of Pierre de Médecis, have been interrupted for a short time, by an indis-Eustache, last Thursday. It was the inauguration of the pictures position of Mad. Gueymard-Lauters. Guillaume Tell was given last week. Meanwhile, the sisters Marchisio have arrived in Paris, and the rehearsals of Séméramis have commenced. There is some talk of Mdlle. Marie Sax, of the Théâtre-Lyrique, being engaged here. The Chateau Trompette, of M. Gavaert, that had been put back at the Opéra-Comique in its rehearsals by the serious illness of M. Couderc, is now rehearsing, with Mocker in Couderc's part. The Roman d'Elvire is being played. The Belle Chocolatiere, in one act, by M. Paul Dupuch, is also in rehearsal, and there is also some talk of the Petit Chaperon Rouge, of Boieldieu, being given ere Madame Faure-Lefèvre leaves. Malle. Marmion, of the Théâtre-Lyrique, has been engaged at this opera. The privilege of the Théâtre-Lyrique, which was to have expired in a year, had recently been renewed by M. Carvalho till February, 1867. M. Réty will thus have nearly seven years of managerial career before him; and more, in 1861, he will inaugurate the new Théâtre-Lyrique, as the foundations of this building are already begun, and it is to be terminated by the 12th of next December. Madame Viardot's benefit will soon take place, and Tamberlik will probably sing at it. Madame Viardot is going to sing one act of Armide, and the sleep-walking scene in the Macbeth of Verdi, with Graziani. After Beethoven's Fidelio, the Reine Balkir, of Charles Gounod, will be given. The Gymnase has no cause to complain of the new piece I gave you the sketch of last week, Jeanne qui rit, et Jeanne qui pleure. At the Vaudeville a little one-act piece of M. Ponsard, and another by M. Charles Hugo, have been accepted; meanwhile, La Tentation, of M. O. Feuillet, goes on successfully. The Odéon has given a five-act drama by M. Charles de Courcy, entitled, Daniel Lambert, rather heavy and very French in style. The Gaïté (why this name to a theatre where such lugubrious pieces are performed ?), not to be outdone, has given a kind of Anne Radcliffe melo-drama, turning on the rivalry of two brothers-the one, of course persecuted innocence, that triumphs in the end; the elder brother, the prosecutor, and the one who has the power, of course succumbing, dying in the end. Season the whole of the five acts with a liberal amount of battles, assassinations, poisons, antidotes, and some masked statues, that only appear when one of the family of the Farnese (to which the two brothers belong) are to die, and a few other horrors, with a grand dénouement in the end of the triumph of persecuted innocence, and you have the Aventuriers (M. Victor Séjour's five-act drama) before you. But A very interesting ceremony took place in the church of St. done in this church; the Archbishop of Paris, the Prefect of the Seine, and the members of the municipal body of the town were present. The performance on the organ was remarkable, and Tamberlik sang in his best style a motet, "Domine Deus," of M. Bonetti. Meanwhile, the public works and improvements are going on as actively as ever, the click of hammer and the noise of the mason's saw resounds through; and these horrid March winds, that are not yet over, throw clouds of brick and mortar dust into one's eyes. The ball at the Duchess d'Albe's, to be given on the 17th (yesterday), is put off till the 24th, on political motives. Two cousins of the Empress were taken with Ortega, in the last émeute in Spain, and of course, till their fate was known, no ball could have much charm for a relation. However, they have been, or are to be, pardoned. The gorgeous costume talked of, and that has been exciting so much talk, is going to be changed. And the Diana that was to have been will be invested in a domino. One of the quadrilles is to be composed of the elements: M. de Morny and the Princess Metternich will represent air-then there will be earth, air, fire and water. April 26. The great question as to the building a new opera-house for the French operas is at length quite decided. The building will be erected at the beginning of the Rue de Rouen and a street that is to run between the Boulevards des Capucins and the Chaussée d'Antin. The direction of the works is confided to M. Ronault de Fleury. The general plan was deposited the 15th of this month, at the Mairie of the Ninth Arrondissement, in the Rue Drouot, and where for twenty days all observations of the public relative to the plan of the building will be received. As it is an undertaking that will probably cost twenty millions of francs, the pros and cons of the site chosen cannot be too attentively studied. Meanwhile, in what will be some months hence the old Grand-Opéra house, all goes on actively. Mad. Gueymard, who has recovered from her late indisposition, is gaining fresh laurels in Pierre de Médecis. The Sisters Marchisio are already studying their parts in Séméramis; the part of Assur is definitively given to Obin: indeed it is probable that the singers will be ready long ere the scenery is. The latter is on a scale of unwonted magnificence, and Ancient Babylon is to be resuscitated in all her splendour in this modern Babylon. We can thus judge, which is the most preferable-I should say the latter. Decidedly; operas written by princes are windfalls to a theatre. The illustrious composer of Pierre de Médecis has no romance left in France; but the little anecdote I now give presented M. Dietrich, the leader of the orchestra, with a mag-you would contradict the saying: A very charming young nificent platina chain; to M. Vaudrot, leader of the singing, widow, and a lady of high family, was walking some short a diamond ring; and to M. Victor Massé, director of the time since towards home, when she heard a voice call two or choruses, ¡diamond sleeve buttons. Such brilliant tokens of three times, "Madame! Madame !" She turned round, thinking gratitude are not to be disdained, though often a few words of she had perhaps dropped something, when she found her heartfelt acknowledgment possess greater weight and more real accoster was a handsome and elegantly dressed young man, value. Amongst such, we must cite the letter of Mad. Girard, She was turning away, when he said, "For pity's sake, listen the widow of the late chef-d'orchestre, at this house, to the to me: I am dying of hunger." The lady gazed in astonishment artists of the Conservatoire, thanking them for the concert they at him. "It is not possible," she said, "dressed as you are." gave for her benefit, and in memory of the old chief. In a short "It is all I have left," said he; "everything else I have sold." time the Italian Opera will be deserted, and the foreign night- The lady reflected a moment, and then said, "There is my ingales, that have so often charmed us there, will have taken father's address; I am going home now, you can call in an wing. Last week, Tamberlik appeared in the part of Saliuto, in hour." She went home, related the tale to her father, who at Donizetti's opera of the same name; Mesdames Penco and first thought she had been imposed on, but the entrance of the Merly filling the other characters. It was a grand "succès" for young man himself changed his ideas. He related his history. Tamberlik, who, with Mad. Penco, was recalled several times. His father had been a minister under Louis Philippe, and left Last Friday, Mad. Viardot's benefit took place at the Théâtre-him a good fortune, which he had run through, and he was now Lyrique. Mad. Viardot sang the duo and sleep-walking scene in the state of extreme poverty he had described. The old of Verdi's Macbeth with Graziani, the third act of Gluck's gentleman asked him to dinner, went the next day and ascerArmide, and an air of Sonnambula. It were needless to add how tained the truth of the history, asked him to his house two or brilliant was the success of her benefit, the many recalls, or the three days running, got him a good appointment, and also got frantic applause-due, not only to her great talents, but also to so attached to him, that he would no longer do without him. the courage with which she has fought against the invasion of The lady's little boy, and the lady herself, shared the sentiment. common-place and second-rate music on the stage. Who, after The gentleman, it were needless to add, became deeply attached her fine creation of Orpheus, or her acting and singing in by gratitude and admiration, and, being of a good family, the Armide, could tolerate the evanescent trash with which we are dénouement is easily told-they have just been married. overwhelmed. The concerts are still going on. Last week Duprez gave a concert, in which an opera entitled Jeanne d'Arc, the music by himself, the words by M. Edouard Duprez, was given. It was in three acts, with choruses, orchestra, decorations, &c. Malles. Marie Bennet, Battu, and Monrose, and M. Lefranc, sang the chief parts; the whole evening went off very successfully. The Association of the Musical Artists of France are preparing a solemnity of a new kind, to begin at the end of this month. It consists-not of a concert, but of a series of concerts, to be perpetuated from year to year. M. Beaulieu, of Nivet, is to be at the head of this. By his wish the concerts are to consist of the vocal music of the great masters, not usually performed in public, because it is not thought attractive enough. The music will be drawn from all schools, styles, and kinds, and the execution will be as fine as is humanly possible. The weather here has been atrocious-snow, hail, wind, and rain. But so it is, apparently, all over the world. In Algeria snow has been falling, followed next day by siroccos. In Marseilles the same thing. But bad weather here never hinders gaiety; and as the time to leave Paris approaches, the fever grows fast and furious. Suppers, quite in the English style, are the fashion now. The other night a ball was given at the Marquis d'Aligré's, and dancing was prolonged all night: two suppers took place, and the guests departed at eight o'clock in the morning. That beats England. The grand ball, that has been as much talked of as a state affair, has come off, and nothing now remains but the brilliant recollection. The Empress did not wear her much-talked-of costume of Diana, but was in a domino. The great affair of the evening was the quadrille of the "Elements," composed of sixteen of the greatest ladies of the court and court society, with a beautiful Polish lady as the goddess of the Earth. But what fairy pen can describe the scarlet, and gold, and diamonds of fire; the ethereal blue of air (in which element Madame de Morny appeared) the pale translucent green and silver of waterthe fruits and flowers of earth, whose fair representatives, more wonderful than Atlas, bore the globe on their heads. They performed a fancy quadrille, with, of course, the grace and charm only great ladies can. It is to be hoped such balls are not, in the interests of the Opera, to be given often, as the beau monde would quite desert that temple to gaze on the drawing-room performances of their fairer brethren. Imagine, however, all that is fairy-like, all that taste could devise or money procure, in the decorations of the room, the wondrous costumes of all nations and ages, animated butterflies, Spanish flies, &c., and you will have a faint view of the fancy ball. They say there is THE illness of M. Jullien having, with fatal rapidity, terminated in death, it ha been resolved that the donations to the JULLIEN FUND shall be applied in th manner which would have been most in consonance with the wishes of the deceased family, who, by his loss, are left totally unprovided for. had it been permitted him to express them, viz., to the relief of his widow and Committee for the distribution of the Jullien Fund. Davison; Mr. Robert K. Bowley; a ni Mr. Jules Benedict. Mr. John Mitchell; Mr. W. R. Sams; Mr. Thomas Chappell; Mr. W. Duncan Honorary Treasurers. Mr. John Mitchell, 33, Old Bond-street; Mr. Thomas Chappell, 50, New Bond street; and Mr. W. R. Sams, 1, St. James's-street. Bankers, Messrs. Coutts and Co., Strand; Heywood, Kennards, and Co., Lombard-street; |