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Mozart's pianoforte Concerto in A major, as specially entitled to praise. Among the vocalists, Miss Henderson may be singled out for her capital singing of "Qui la voce;" and Miss Taylor, in M. Costa's quartet "Ecco quel fiero istante," showed the possession of a charming mezzo soprano voice.

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With the following poworful cast:-Donna Anna, Madame Grisi (her last appear-
ance but six); Donna Elvira, Mdlle. Rosa Csillag; Zerlina, Madame Penco; Don
Ottavio, Signor Gardoni; Leporello, Signor Ronconi; Il Commendatore, Signor
Minuet by Mdlle. Zina and M. Desplaces.

EXTRA NIGHT.-Not included in the Subscription.
season, Verdi's Opera'
On Thursday next, May 24, will be performed, for the second time this
IL TROVATORE.

Principal characters by Madame Grisi (her last appearance but five), Mdlle.
Rosa Csillag, Madame Tagliafico, Signor Graziani, Signor Tagliafico, Signor
Lucchesi, Signor Rossi, and Signor Mario.
After which will be produced a New Divertissement, arranged by M. Desplaces,
entitled
LES AMOURS DE DIANA,
Supported by Mdile. Zina, Mdlles. Esper, Maraquita, Mulot, and Laure, Mr. W.
H. Payne, and M. Desplaces.

VOCAL ASSOCIATION.-The feature of the fifth concert, on Wednesday, was the engagement of Mdlles. Brunetti and Vaneri, Tagliafico; Masetto, Signor Polonini; and Don Giovanni, Siguor Mario. The Signors Mongini, Everardi, and Ronconi, from Her Majesty's Theatre. Miss Stabbach and Madame Goldberg Strossi were the other singers. The choir gave Neithardt's Motet, "Misericordia, Domini," and several part songs and glees, among which Bishop's Sleep, gentle lady" was encored. Mdlle. Brunetti, who made her debut on Saturday, introduced the scena from Der Freischütz, in which she displayed a powerful voice and considerable vocal skill; the French translation of the words, however, is no improvement on the original. Mdlle. Brunetti sang a cavatina by Roverino, with far greater ease. Signor Mongini created a furor in "Fra Poco." Being encored, he substituted "La donna è mobile," which delighted the audience even more. Signor Mongini also joined Signor Everardi in a duet from Mose, which was sang with great energy and power, and obtained a recall for both artists. Signor Everardi sang the serenade from Don Giovanni, "Alla finestra," in an expressive manner, and Signor Sebastiano Ronconi contributed an eccentric version of "La Calunnia." Madame Goldberg Strossi gave a German song and Venzano's "Ah, che assorta," and was recalled after the former. Mdlle. Vaneri was encored in an air from L'Etoile du Nord; and Miss Stabbach, beside the soprano solos in Bishop's Tramp Chorus, sang Mr. Salaman's pretty ballad "Good bye! a long good bye! Mr. J. F. Barnett played three solos on the pianoforte-Bach's Fugue, in C sharp major, Stephen Heller's "Auf Flugeln des Gesanges," and Chopin's Polonaise in A flat, with admirable spirit. Mr. Benedict accompanied.

LETTER TO THE EDITOR. BEETHOVEN'S "AH PERFIDO." SIR,-Can you inform me where Beethoven found the words of his scena, "Ah! perfido Spirgiuro." A SUBSCRIBER,

THEATRE.-First

HER MAJESTY'S THEATRE First Appearance

May 19), will be performed LUCREZIA BORGIA. Gennaro, Signor Mongini (his third appearance in that character); Gubetta, Signor Castelli; Duca Alfonso, Signor Vialetti; Maffio Orsini, Madame Alboni (her first appearance this season); and Lucrezia Borgia, Mdlle. Titicus. Conductor, Signor Arditi. To conclude with the new ballet, composed by Signor Borri, and produced under his personal superintendence, entitled SCINTILLA, in which Mdlle. Pocchini and M. Durand will appear. The opera commences at 8 o'clock. Pit tickets, Ss. 6d.; gallery stalls, 5s.; gallery, 3s.

HER MAJESTY'S THEATRE. This evening

(Saturday), May 19. First appearance of Madame Alboni. LUCREZIA BORGIA, and the new ballet SCINTILLA. Grand extra night on Monday next, May 21, IL TROVATORE and the new ballet SCINTILLA. On Tuesday, May 22, will be performed Rossini's opcra, SEMIRAMIDE. Semiramide, Mdlle. Titiens; Arsace, Madame Alboni (her first appearance this season): Idreno, Signor Belart; Oroo, Signor Vialetti; and Assur, Signor Everardi. Conductor-Signor Arditi. Early application to insure places is carnestly recommended, as being the only means to prevent disappointment. Grand Extra Night-Titiens, Alboni, Giuglini, and Vialetti. Monday next, May 21,-IL TROVATORE Manrico, Signor Giuglini; Il Conte di Luna, Signor Aldighieri; Ferrando, Signor Vialetti; Azucena, Madamé Alboni; and Leonora, Mdlle. Titiens. Conductor, Signor Arditi. To conclude with the new ballet, SCINTILLA (in which Mdile. Pocchini and M. Durand will appear). Pit tickets, 8s. 6d. ; gallery stalls, 58.; gallery, 3s. To be obtained at the box-office of the theatre, open daily from 10 till 6.

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FLORAL HALL-A GRAND MORNING CONCERT will take place on Wednesday, May 30th, to commence at two o'clock, supported by the following eminent artists:-Mesdames Grisi, Rosa Csillag, Didiée, Corbari, Penco, Miolan-Carvalho; Signori Mario, Graziani, Faure, Neri-Baraldi, Polonini, Zelger, Tagliafico, Gardoni, Ronconi, also the Band and Chorus of the Royal Italian Opera. Conductor-Mr. COSTA. Tickets, 5s. cach; or with reserved seat, 10s. 6d. May be obtained at the box-office of the Royal Italian Opera, under the portico of the Theatre; and at the principal musicsellers and Librarians.

First Appearance of Mdlie. DIDEE.
On Saturday next, May 26, will be performed, for the first time this season,
Rossini's Opera
LA GAZZA LADRA.

Principal characters by Madame Penco, Madame Tagliafico, Mdlle. Didiéo (her first appearance this season), Signor Ronconi, M. Faure, Signor Tagliafico Signor Lucchesi, Signor Polonini, Signor Rossi, and Signor Gardoni.

At the conclusion of the Opera the New Floral Hall will be Illuminated. The Band of the Coldstream Guards will perform until twelve o'clock, by permission of Colonel Newton, Every visitor to the boxes, pit stalls, or pit, will have the privilege of entrée free of extra charge. Carriages can take up at the Bowstreet entrance of the Floral Hall,

Conductor-Mr. COSTA.

Doors open at eight o'clock, the Opera comemnces at half-past. Pit tickets, 7s.; amphitheatre stalls, 7s. and 5s. ; amphitheatre, 2s. 6d.

T

JULLIEN

FUND.

HE illness of M. Jullien having, with fatal rapidity, terminated in death, it has been resolved that the donations to the JULLIEN FUND shall be applied in the manner which would have been most in consonance with the wishes of the deceased had it been permitted him to express them, viz., to the relief of his widow and family, who, by his loss, are left totally unprovided for.

Committee for the distribution of the Jullien Fund.
Mr. John Mitchell; Mr. W. R. Sams; Mr. Thomas Chappell; Mr. W. Duncan
Davison; Mr. Robert K. Bowley; and Mr. Jules Benedict.

Honorary Treasurers.

Mr. John Mitchell, 33, Old Bond-street; Mr. Thomas Chappell, 50, New Bondstreet; and Mr. W. R. Sams, 1, St. James's-street. Bankers,

Mossrs. Coutts and Co., Strand; Heywood, Kennards, and Co., Lombard-street; London and County Bank, Hanover-square; who, as well as the Honorary Treasurers, have kindly consented to receive subscriptions.

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Sunday Times Offices

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Messrs. Keith & Co.

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Messrs. Bailey, Brothers

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Mr. Mitchell

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Deposit Bank, Leicester-sq.

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Messrs, Keith & Co., per J. N. 1 3

Chappell & Co.

H.R.H. the Duke of Cam

bridge

0 Major George (4th L. Drag.)

0 12 0 J. Gr en, Esq.

1

2 6 R. M. Bland, Esq.

1 0 Lady B. Johnstone

70 J. D. Dent, Esq.

7 6 H. Y. Z.

30 Small subscriptions per
0 0

A Washington Friend

J. Williams, Esq., Debden
Hall, Essex

Thomas Fairbairn, Esq.

C. R. N.

Lea Richardson, Esq.

Shilling subscripton, per T.
Burbidge, Esq.

Ditto, A. Hyam, Esq. ..
Ditto, Bankers' Clerks, per
Deposit Bank

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0 Henry Farmer, Esq., Notts. Messrs. Boosey and Sons 2 12 0 through Mr. C. Smith

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-will be voted bores A few passages from a notice of B. d. Fidelio-in the columns of a journal, the name of which we 1 10 shall not mention, and from the pen of a critic whose name is Delatouche, will illustrate our argument.

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ONE SHILLING SUBSCRIPTION.

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Books to receive names are now placed at Mr. Hammond's (late Jullien's), 214, Regent-street; Messrs. Cramer's, 201, Regent-street; Messrs. Baily Brothers, Cornhill; Messrs Parkins and Gotto's, 24, Oxford-street; Mr. Pask's, Lowtherarcade; Messrs. Keith, Prowse, & Co's., 48, Cheapside; Mr. Bignell's, Argyll Rooms; Deposit Bank, Leicester-square; Sunday Times Office; Messrs. Boosey & Sons, Holles-street; Mr. Austin, St. James's Hall; Duncan Davison and Co., 244,

Regent-street; and at the principal music shops throughout the country.

FRENCH PLAYS.

ROYAL ST. JAMES'S THEATRE, King-street, St. THEATRE, King-street, St. James's. Lessee, Mr. F. B. Chatterton. FIRST SEASON OF THE

FRENCH PERFORMANCES, under the direction of Mons. ADRIEN TALEXY. Mons. TALEXY has the honour to inform the Nobility and Gentry, that he has concluded arrangements to insure a permanent first-class French Dramatic Entertainment at the Royal St. James's Theatre. He respectfully submits the programme for the First Season, which is about to commence, and hopes that the selection of the following distinguished Artistes will be considered sufficient evidence of the care and attention devoted to the undertaking.

The following eminent Artistes from the principal theatres of Paris, will make their appearance during the season :-Mdlle. Delphine Fix, Mdlle. Adele Page, Mdlle. Duverger, Mdlle. Marie Basta, Madame Doche, M. Got, M. Brindeau, M. Leclere, M. Paul Devaux, M. A. Michel, M. Cadaux, Chef-d'orchestre, M. Lambert Ednnery. The permanent troupe will be on the most complete scale, and will comprise many of the most efficient Artistes of the Parisian Theatres.

Prices of Admission :-Stalles d'Orchestre, 7s. 6d. ; stalles de balcon, 5s. ; parterre, 2s.; galeries, 1s.

Private Boxes from Two Guineas upwards,

The Season will consist of Sixty Nights, commencing on Monday, May the 28th, 1860 Private Boxes and terms of Subscription may be obtained at the Box-office of the Theatre, at the Libraries and Booksellers.

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In a city, where no less a man than Hector Berlioz lives and writes, some curious matter in the shape of musical criticism frequently peeps out from the columns of the public press. Beethoven's one opera has recently been produced at the Théatre-Lyrique-being the last of M. Carvalho's sacrifices at the shrine of legitimate art. Unluckily, however, Unluckily, however, with M. Carvalho has departed the prestige of the establishment, which bids fair to sink once more into the position of mediocrity from which that gentleman, with indomitable spirit and eminent ability, delivered it. Had Fidelio been brought out at the Théâtre-Lyrique while he was manager, success-nay triumph-would have been a matter of certainty; but he having seceded, that sudden rage for the classical repertory which seized the Parisians some time since, and with which they themselves were even more astonished than their neighbours, has abated. Now everything not French is intolerable, and even Mozart, Beethoven, and Weber-even Gluck (not to add M. Gounod)

"Six years ago the Fidelio of Beethoven was performed, without much success, at the Théâtre-Italien. Notwithstanding the talent displayed by Malle. Cruvelli in the principal part, the work of the German master had no success. I fear it is likely to be the same with Fidelio at the Théatre-Lyrique."

For "six years ago," read nine years ago. It was in 1851-when Mr. Lumley was impresario, and Ferdinand Hiller musical director, at the Théâtre-Italien-that Fidelio was performed, with Cruvelli as Leonora. The success it achieved, it is true, amounted to no more than what our turbulent neighbours call a succès d'estime; but it must be remembered that a succès d'estime is a success after all, and (which is better), a success that lasts, and (which is worse) a success very rarely obtained in Paris-the way of the Parisians being either fevered enthusiasm or freezing apathy. The critic of the But to retoucher Delatouche.

likes not the story of Fidelio. Hear him describe it:

"Let us speak first of the poem-it is absurd, anti-historical, and tiresome (ennuyeux). We are near the end of the fifteenth century. Ludovic Sforza has caused his nephew, Jean Galeas, to be imprisoned in a fortress, and commissions the gaoler to poison his charge. The gaoler consents, and brings with him, into the poor Duke's dungeon, a very young man-Fidelio-enamoured of his daughter. This young man is Isabelle de Naples, wife of Galeas. She makes herself known to her husband at the moment when Ludovic approaches to kill his nephew. To prevent this murder she seizes a bar of iron, with which she threatens Ludovic. The latter retreats terrified, and escapes. But the daughter of the gaoler comes to release from their prison, Fideliot and Jean, who go and throw themselves at the feet of the King of France, Charles VIII., just arrived at Milan."

The foregoing-be it understood-is not Fidelio as the Teutons know it, but "d'après" MM. Michel Carré and Barbier-a barbierous and Gallic Fidelio. No wonder Delatouche should be dissatisfied. Ecoutons ce gaillard :—

"Do you not see the improbability at once? How could Galeas have thrown himself at the feet of Charles VIII., when history tells us that he died, poisoned, before the arrival of the King?"

are

Good; but the authors of operatic books (ask M. Scribe) not invariably the most historical of poets. They worship Clio somewhat gingerly. We have no wish, however, to defend them in this instance, but leave them, willingly, to the trenchant stylum of Delatouche. Ecoutons encore ce gaillard :

"I have also a little observation to make. Since Madame Viardot " (why not Fidelio?) "held Ludovic" (why not M. Guardi ?) "why did she not stun him incontinent? This would have deprived us of the last finale; but where would have been the harm ?"

There would have been no harm anywhere to the audience of the Théâtre-Lyrique (with M. Réty as manager, be it clearly understood; the Théâtre-Lyrique with M. Carvalho was quite another thing), who can afford to do with as small a dose of Beethoven as might well be administered, and by whom the loss of a finale-even that incomparable finale -would be looked upon in the light of a bonus. touche, nevertheless, is too modest in calling his observation "a little observation;" on the contrary, it is a big "observation," and mightily to the purpose. But now that we have examined Delatouche in re Barbier-Carré, their book, let us examine Delatouche in re Beethoven, his music :

*The "poor Duke's" daughter?

Just now, the nephew was to be poisoned by the gaoler. Who imprisoned Fidelio?

Dela

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"The music embroidered by the immortal Beethoven on this pale canvass is as pale as the canvass itself (!) The melody of the master is a soft melody, not noisy, which expands itself en nappe (sheetwise?) all tranquilly and without fracas; the nappe becomes a blue and limpid lake in which one mirrors oneself at one's ease, and as there is no worse water than stagnant water,† so there is no music more detestable at the theatre than music which sleeps-and induces sleep."

There reader! you have an original criticism of Fidelio at last. Delatouche should be endowed with a beard of gold and vermillion whiskers, also with thigh-rings and a high-heeled boot (like Mario's). If there was an E less in his patronyme, he might be anagramatised as Hor CAUDLE; but happily there are two. N'importe.

"Sonate, que me veux-tu ?" asked a certain philosopher (also a Frenchman) of a certain sonata that, nothing if not audible, intended him no harm in making itself heard (according to its entelechy), under the fingers of a "hammervirtuose" -as Wagner would say. Delatouche, too, has his notions of a sonata, and thus unburdens himself :

"One likes to hear a sonata of Beethoven's betweeen an air of Rossini's or of Verdi's, and a chanson of Nadaud's. This broad and tender music relaxes, so to speak, the soul, and reposes it after the comic and brilliant. It is like an opium-pill, discreetly administered to a sick person after a day of agitation. Give to the sick person ten pills of extrait thebaique (vernacular-opium), and you run the risk of killing your unhappy patient. Thus does the Fidelio of Beethoven. In short-except the chorus of sick persons (chœurs des malades), the introduction to the third act-a sort of march in the style of that of WEBER in the Enlèvement au Sérail" (Mozart's Seraglio!) toge ther with the two prayers sung by Madame Viardot and Guardiand the rest is not worth the honour of being cited, nor even of being heard."

Then follows a critique of the performers. "Madame Viardot," it appears, "completely failed in the final sextuor -which, to say truth, is wanting both in colour and charm." We take the first half of the sentence to be as exact as the last-but no more so. The "tag" of the article we shall present to our readers in unadulterated Delatouche :

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Enter EPISTEMON.

Carpimon. An anagram of Dalatouche? Here's oneÔ CUL DÉTACHÉ.

Editor. Nonsense-you have a circumflex and a pair of acute accents; while in Delatouche there is not an accent of any description,

Enter PANTAGRUEL and Panurge.

Pantagruel. I've found it-AC HEU! DOLET. Editor. That's good; all the ten letters of the name, and a deep meaning in the sentence.

Panurge. I've another. AUT DELE HOC. Editor. That's better-the best that could be made, in short. AUT DELE HỌC. Let the Editor of apply this injunction to the next article on Fidelio from the pen of

Delatouche.

"I see no reason," said Epistemon to Pantagruel, as they sat at the Edinburgh Castle, "why thou shouldst not recreate the palates and edify the minds of thy friends, by giving a symbolical feast, after the fashion of that savoury zodiac, wherewith the wealthy Trimalchio entertained his guests."

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"As it is long since I have turned over the pages of foolery," replied Pantagruel. Petronius, I have forgotten the details of that elaborate

"Why, look ye," proceeded Epistemon, "twelve figures representing the signs of the zodiac were arranged in the befitting form of a circle, and everyone was supplied with something harmonious to its character. Thus, upon Aries, the Ram, was placed a mess of the cicer arietinum,' a dainty, whereof I know nothing, but the English for which seemeth to be 'chick-pease-a word that to me conveyeth no signification whatever; Taurus, the Bull, was surmounted by a bit of beef; a couple of kidneys, &c., were supported by Gemini, the Twins; upon Cancer, the Crab, was set a wreath, an arrangement, by the way, which has so puzzled some of the commentators, that they reject the reading Corona. Nevertheless, I am inclined to think it correct, and to agree with Burmann that it signifieth the wreath usually worn by festive guests; for, shortly afterwards, Trimalchio explaineth that he himself was born under Cancer, and that he has put nothing on the image denoting that sign, lest he should press upon his natal star. A mere wreath placed, where you would expect a comestible, is the nearest approach to nothing that you can conceive. On Leo, the Lion, lay an African fig, in allusion to the animal's birth-place; the entrails of a young sow, that had never farrowed, delicately graced the sign Virgo; cakes of two

Epistemon. "An anagram of Delatouche ?" In what lan- kinds were balanced in the scales of Libra; Scorpio carried guage?

Editor. In French.

a sea-fish of the same name; to Sagittarius was assigned a viand, about which there is some controversy, but we will accept Burmann's reading 'otopetam,' which clearly denoteth There are only ten letters something with long ears. This we can the more readily

Epistemon (reflecting). LOUCHE CADET?
Editor. A "c" too many.

in Delatouche.
Epistemon (after a pause).
Editor. An "e" too few.

touche.

DE HAUT COL?

There are ten letters in Dela

Epistemon (becoming impatient). DUEL A ECHO-then. Editor. Where's the "t"? Besides, there's no accent on the "a" in Delatouche. (Epistemon gives it up.)

*If it is soft?

Enter CARPIMON.

"Il n'est pire eau que l'eau qui dort." In what part of Fidelio is this to be found?

assume to be a hare, as there is an ancient effigy of Sagittarius carrying a hare in his arms. On this interpretation I do not strongly insist, but I decidedly object to the reading 'sclopetam,' which would denote a pop-gun, and thus humbly symbolize the functions of the Archer. For though the guests of Trimalcbio might have been tolerant of a wreath in one of the dishes, methinks that a pop-gun served in another would have stirred their wrath. Capricorn carried a sea-locust, which I am told hath horns, and I shall believe the fact till I receive information to the contrary from G. H. Lewes. That Aquarius should bear a goose, and Pisces a brace of mullets, is so natural an arrangement, that

it needeth no comment. Now, I was thinking that if thou gavest a similar repast, substituting modern for antique dainties-as, for instance, putting an allowance of thick turtle-soup in one scale of Libra, and as much of the clear sort in the other; representing Sagittarius by venison" Talking of food," said Pantagruel, with a manifest desire to change the subject, "thou shall hear how prettily I have rendered some of the toughest bits in that satire of Horace (II. 4); where Catius instructeth the poet as to the art of feeding.'

"Instead of a goose," observed Epistemon, "thou mightest give to Aquarius a paté de foie gras."

"I begin at the 12th line," said Pantagruel, with nervous precipitancy :

"In oblong eggs a fine male yolk is found,

They're whiter and taste better than the round;
Your broccoli you'll take from driest fields,
Insipid stuff the water'd garden yields.
When unexpected guests come late to dine
Duck your live chickens in Falernian wine
Temper'd with water; be they ne'er so tough,
You thus will make them delicate enough.
The choicest mushrooms are in meadows grown,
Those found elsewhere you'd better leave alone."

"Hush!" said Panurge, entering the room with a face so white, that it put John's napkin completely out of countenance; but Pantagruel was so pleased with the jingle of his own rhyme, that he went on with another fragment of his translation, just as if Panurge had been an hundred miles off. "The Umbrian boar, on hardy acorns rear'd, By men of taste will ever be preferred. Insipid is the reed-fed Laurentine, Kids should not always nibble at the vine;

The shoulder of a fruitful hare-how fine."

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Precisely, and very sublime doctrine, too," said Panurge. "In the eyes of the poet, the carte must be a carte blanche in the most literal sense of the word—a plain bit of card-board with nothing written thereon."

"Happy Petronius, who wrote in prose!" ejaculated Epistemon, and then he fell asleep.

"Dost thou think the critic is the Barmecide mentioned in the Arabian Nights ?" asked Pantagruel.

"Not a bit of it. He is the very reverse of the Barmecide," shouted Panurge. "That Barmecide gave nothing to eat, but he named a long list of dainties-and don't you see, it's not eating, but discourse about eating that constituteth the transgression."

"I wonder who it could be that originated such sour wisdom?" said Pantagruel.

"A boar with a lemon in his mouth," murmured the sleeping Epistemon, as he recapitulated in his dreams the objectionable points of Christmas.

"Dost thou think the critic of the Athenæum will ever see my translation of the "Unde, et quo Catius ?" asked Pantagruel, trembling like a leaf.

"I can't say," replied Panurge; "he hath a far-reaching sight. But mark how thou shalt propitiate him. I have written the words of a finale, illustrating a Christmas dinner, on the principle he hath so lucidly propounded, and thou shalt dedicate it to him as a sincere convert."

"Let me hear thine effusion," said Pantagruel, whereupon Panurge read as follows:

GRAND CHORUS. "Christmas comes but once a year,
Greet him with etherial cheer;
Hailing Christmas, let us clatter
Empty dish on empty platter;
Pass the vacant glasses round,
Mirth shall in our halls abound.

"Hush! hush!" cried Panurge, whiter than before. Then dropping on his knees, he cried: "Desist, desist! noble SOLO. master mine; thou knowest not the wrath thou art bringing upon thy head."

"Wretched grumbler, I see what thou meanest by thy maniac gestures; thou thinkest I have slurred over the line, "Curvat aper lances carnem vitantis inertem."

CHORUS.

SOLO.

"No, no!" shrieked Panurge. "I mean that thou art committing grievous wrong in rhyming about eatables at all, and that the wrath of the Athenæum hangeth over thy CHORUS. devoted head."

"What madman's rant is this?" roared Pantagruel.

"No rant, master, but the sad sober truth," replied Panurge, while big tears coursed down his ugly cheeks. "Look ye, that favourite child of the Muses, G. A. Macfarren, hath composed a cantata called Christmas, wherewith all the wise in music are delighted, saying nothing so fine hath been heard since the days of Orpheus; but unhappily, John Oxenford, who hath written the words for this sublime creation, hath so far forgotten himself as to mention eatables while describing the Christmas dinner. Now his sin in this respect is forcibly pointed out in the last number of the Athenæum. As thou, great master, did'st just now rhyme about Umbrian and Laurentine boars, eggs, mushrooms, and Apicius knows what, so did this same erring Oxenford mention puddings, boar's-heads with lemons in their mouths, and such like sensualities."

"Gross, very gross," said John the Waiter; "had he sang of the table-napkin he might have escaped censure."

"Then," said Epistemon, "the critic hath propounded the doctrine, that when thou describest a dinner in verse, thou may'st not allude to the bill of fare."

SOLO FEMALE.

A leg of nothing with no turnips grac'd,

Is just the meat that suits the dainty taste.

He who eats nought may laugh the world to scorn,

He'll never grumble at the price of corn.
The dog, of whom old Æsop sung,

Preferr'd the shadow to the meat;

The latter in the stream he flung,

And sought the less substantial treat.

Resolv'd that nought his soul should clog,
A dog refin'd was Esop's dog.
Hail to that sage canine, I say,

Worthier of song than the poor dog Tray.
How blest is the chameleon,

He only lives on air,
His colours were less vivid

If grosser were his fare.

He breakfasts on the north wind,

He lunches on the south,

The east-wind and the west wind
Are welcome to his mouth."

There is no saying how long this might have lasted, had not a disturbance arisen in a box at the end of the room. John the Waiter, inspired by the tone of the discourse, to which he had been an attentive listener, had placed before a stout old gentleman a large tray, on which were tastefully placed an empty plate and an empty glass, and had demanded a shilling for the enjoyment of the same.

cation.

Hence the alter

LEOPOLD DE MEYER, the most accomplished pianoforte virtuoso now in Europe, has arrived in London for the season. The services of this wonderful player have already been secured for several concerts of the highest class, and among others for one of those of Mr. Howard Glover, which is to be

320

held this year, on a grand scale, at St. James's Hall, and that of Mr. Benedict, in the Concert Room of Her Majesty's Theatre, which, as usual, will comprise all the available attractions of the period. Since his last visit to London, M. Léopold de Meyer has composed several new picces, all of which, it is hoped, may be heard in the course of his sojourn among us. commenced preaching Wagner, and composing "ideal" sym"Virtuosity" proper-since Liszt phonies for the orchestra; since Thalberg grew fat and sleek, contemplating his lands and beeves with glabritous placidity; since Henri Herz rendered up his last "double tenth" (not tooth), Dreyschock dilapidated his "gauche" (left), perforce of rapidly enunciated octaves, and Rubinstein took to playing so fast as to incomprehensible-has been fairly at a discount. be tant soit peu advent of such a master of his art as Léopold de Meyer will The consequently be hailed by the wonder-seeking public with enthusiasm. The mere announcement of his arrival must inevitably bring back "fantasias" to a premium; will be the anxious peep-from eyes fairer than those of the and many stern and rigid, dry and masculine Gradus ad Parnassum tribe-at the front columns of the Times (and at the second page of the Musical World), to see at which entertainment the "lion-pianist," par excellence, will first shake wide his mane. This much anticipated piece of information we shall be enabled to supply in our next number. Meanwhilepatience, sweet ladies; Herr Block, Signor Cipollani, M. Durillon d'Engelure, and Mynheer Keebul, will speedily instruct you of the incomparable Austrian's first fiasco-that is, presuming he makes one.

MR. MACFARREN'S CHRISTMAS.
(To the Editor of the Musical World.)

11, Alpha-road, N.W., May 15th, 1860.
SIR,-Allow me to correct a mis-statement in your notice
of the production of my cantata of Christmas at the concert
of the Musical Society of London on Wednesday.
say there had been but one rehearsal for the perform-
You
ance, whereas there were three rehearsals of the chorus and
two rehearsals of the band. I owe this explanation to the
Council of the Musical Society, in acknowledgment of their
having done everything that was possible to render the first
performance of Christmas effective,-not only in respect of
the extra rehearsals, which were given at a great expense to
the Society, not only in having delayed the production of
the cantata-which had been proposed for an earlier concert
-until the two ladies whom I wished to sing the solo parts
were in London, but in many acts of careful consideration,
eminently flattering to me, and, I believe, advantageous to
the effect of the composition.
assertion was made under an erroneous impression, I trust
As I am confident that
your
you will kindly find space for this reply.

I am, Sir, obediently yours,
G. A. MACFARREN.

ST. JAMES'S HALL,-The annual performance of the Messiah, for the benefit of the Royal Society of Musicians, was given last night, under the direction of Professor Sterndale Bennett, and attracted a very numerous audience. The principal vocalists were Miss Parepa, Madame Weiss, Madame Rieder, Miss Augusta Thomson, Miss Eleonora Wilkinson, Miss Clara Smythson, Miss Lascelles, Madame Sainton-Dolby, Messrs. Wilbye Cooper, Montem Smith, Mr. Santley, and Mr. Weiss.

[MAY 19, 1860.

HER MAJESTY'S THEATRE.
Sebastiano Ronconi, as Gilda and the jester, on their first
appearance in this country. The lady is young and a novice
Rigoletto, on Saturday, introduced Mdlle. Brunetti and Signor
having made her début last year at the Grand-Opéra of Paris
She is a pupil of M. Duprez, and does credit to her teacher.
fairly from the chest. As a first display, her performance was
Malle. Brunetti's voice is a high soprano, clear in quality, and
entitled to encouragement, an occasional tendency to sharpness
not betraying any peculiarity of the French school, but produced
being ascribable to natural timidity. Her success was decided,
and we are mistaken if, before long, she does not become an
especial favourite. We may add, that Malle. Brunetti is pre-
possessing in appearance, and ladylike in deportment.
Georgio. His voice, the least estimable of his recommendations,
Signor Sebastiano Ronconi is a brother of the renowned
tremulous. These deficiencies, however, are compensated by
is a barytone of no remarkable quality, wanting in power, and
much tact and by a dramatic force which belongs to true
instinct. Signor Ronconi's conception of Rigoletto is intelligent
England, we are not justified in criticising his performances at
if not forcible. As he has been indisposed since his arrival in
and touched the sympathies of his audience.
present. In two or three instances he was highly impressive,

wonted vigour. The three airs were admirably given, especially
Signor Mongini's voice and style are well adapted to the
music of the Duke, and his singing on Saturday exhibited its
Gilda, however, was vehement, Signor Mongini wooing, as it
"La donna è mobile," which was encored.
were, in thunder. His deportment, indeed, was rather that of
The duet with
the lion than the dove.

dance from Fleur-des-Champs, and the lady was encored in one
In the ball scene, Mdlle. Pocchini and M. Durand gave the
of her "pas."

could

Il Barbiere on Tuesday would have been better for a rehearsal, Signor Everardi appearing as Figaro for the first time, and Signor Castelli ditto, as Doctor Bartolo. Everardi's Figaro is constrained, but allowance must be made Signor for a first attempt in a part almost as difficult as Don Giovanni, Everardo, however, sings the music admirably. Madame Borghiin which we have seen both Tamburini and Ronconi. Signor Mamo is a charming Rosina, executing the music to perfection of her voice was heard to greater advantage than ever in the and acting with spirit and naiveté. Her "Una voce genial music of Rossini. The changes she made in the text, hardly be surpassed in many respects, while the lovely quality however, were, in no instance, improvements, and there is less excuse than there would be for a genuine soprano. Madame lous adherence to the text. In Rosina she scarcely alters a note Alboni is the best example of what may be effected by a scruputhe utmost enthusiasm. Few artists could sing it so brilliantly, of the original, and yet no one sings it with so much effect. In the Neapolitan air (lesson scene), Madame Borghi-Mamo created scale, near the end, was one of the most perfect things of the kind we have heard. none with more delicacy and finish. Her descending chromatic

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Signor Vialetti, with less exaggeration, would have been excellent as Don Basilio. Rossini did not intend "La Calunnia to be burlesqued.

A new ballet of action was produced for Mdlle. Pocchini on Tuesday with undoubted success. worthy of her extraordinary abilities; nor that it is a ballet of We will not say that it is the first or even second class; but it is a step in the right direction, and affords the great danseuse a chance of doing somePocchini is equally gifted as a mimic and a dancer, attracts no less by her gestures, movements, and attitudes than by her thing more than exhibiting mere agility and grace. Mdlle. pirouettes and tours-de-force. Hence in the new ballet, entitled Scintilla, she shines with two-fold lustre. Scintilla is in love with a painter, and by her fascinations wins him from a preMdlle. Pocchini's performance, but we must content ourselves vious attachment. It would be easy to write an essay about with stating that anything more exquisitely graceful has never

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