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nor do we think that this work will increase the correctness of notion as to the personal appearance of the great musician.
The patience of those who waited for the torchlight procession was sorely tried, as it was long after dusk before any symptoms were shown. When it did conic, however, those who waited were more than amply gratified by the really fine effect produced by the moving lights which glimmered in the distance through the trees and shrubs like stars which had come on earth and lost their way. As they neored tho spectator and stood round the large basins of the upper plateau, the fountains playing at the same time, loud shouts of applause burst forth, and all agreed that the sight was as beautiful as it was uncommon. When the bearers gathered round the statue, the torches were thrown into a heap, and by the lurid light the" figure of him, in whose honour the crowds had assembled that day, stood ont in strong relief, the whole forming a wonderfully impressive spectacle and appropriate conclusion of a day that will be long remembered by those who had the good fortune to assist at the brilliant inauguration of the Crystal Palace Season of 1860.
MADAME CLARA NOVELLO.
The circumstances by which the infancy of Madame Clara Novello was surroun ded, were singularly propitious for the development, if not for the germination, of the true artistic spirit for elevation of the mind to the comprehension of lofty subjects, and thus for her qualification to the special position she holds as a singer of sacred music. We have dwelt at some length upon the associations of her childhood, because, however indirectly, these must have influenced her entire career, and thus constitute an essential, though perhaps an undesigned, portion of her intellectual education. It would have been of comparatively small value that she was gifted with a voice of such loveliness and power,— that her mind was prepared for the perception of the subtlest beauties in the art to which she was devoted,—had not her natural organ been brought, by training, so completely under control as to enable her fully to realise her own conceptions. In this respect her advantages were as great as in the other two; for her scholastic education was fully as fortunate as the general circumstances from which her mind received its first bias.
In 1824 her family was residing at Paris, where she received musical instruction from M. Fctis, at present director of the Brussels Conservatoire, author of the Siographie Universelle de Musiciens, together with many didactic works, and composer for the church and the theatre. M. Fetis was at that time professor in the Conservatoire of Paris. By his advice his young pupil became a candidate for admission into that institution, where instruction being entirely gratuitous, there is a limit to the number of students; and as vacancies arise they are filled up by the most promising candidates who may compete for the advantage. It was somewhat adventurous to bring forward a child of six years old to contend with girls of double or threefold her ag^e, at an election in which physical and mental powers, voice and intellect, were the qualifications for success. Choran was the head of the department to which the friends of little Clara desired her to be admitted; and to this eminent master she was accordingly taken for examination. The piece chosen for the display of her ability was a bravura from Arne's Artaxerxes, "The Soldier tired." Time was, but is now no more, when this song was regarded as the infallible test of vocal proficiency in England; the pretensions of any singer were acknowledged who could pass the ordeal of the volleys of triplets she had to fire through in "The Soldier tired;" and whosoever ventured not to essay the voluble divisions of this proof of skill was classed derogatorily as a ballad singer, and esteemed accordingly. Twenty years having elapsed since Arlaxerxes,— the only English opera which till then had held permanent ground through successive generations of singers and listeners,—has been witnessed on the stage, they whose memories extend not farther back have no chance of recollecting "The Soldier tired," except through the trumpet of Mr. Harper, whose remarkable execution, while it proves what he can do as a trumpeter, shows also how much (or how little) was expected of a prima donna in London, previous to the year 1840. Now "The Soldier tired" appears to have been admired in England alone; its merits, such as they are, and its elements of vocal display, such
as we were wont to esteem them, escaped the appreciation of the Paris professor. This effort of the young aspirant failed to convince the commentator on Albrechtsberger of her precocious talent, and he required another specimen of her ability in a style with which he was more familiar. Clara, who was not to be discomfited by Choran's anti- Anglican predilections, now sang the "Agnus" from Mozart's Mass in F, in ner performance of which she displayed Buch genuine musical feeling, and such singular promise, that she was unhesitatingly preferred over nineteen competitors. You may, if you will, suppose her success in this beautiful air to have been, in some degree, due to her life-long familiarity with ecclesiastical music, the practice of which constituted her father's chief professional avocation, since its style must have become, from constant association, as a second nature to her. You may, if you will (and, though not fatalists, our will must coincide with yours, if you be thus willing), regard this infantine triumph as an augury of the distinction as an interpreter of the greatest works of the-first masters of sacred music, which the little girl, who had not then cut her wisdom teeth, was destined to attain.
Clara Novello's studies in the Conservatoire were principally directed to sacred music, in which her rapid progress won the admiration of all who witnessed it. Here we trace a cause, as we have just supposed a prognostic, of her excellence in that department of her art in which she will be especially missed when she retires from public life. Such was her early proficiency that she was soon capable of sustaining a part in the performances of the students; but as it was out of all propriety that so small a person should be ranked with her unproportionable associates, accordingly, as the only means to fit her to take her stand beside them, she took it on a stool, and thus was raised to an elevation of stature approximating to her elevation of talent. For six years she continued the course of instruction afforded by the Conservatoire, whence she derived that solid foundation in the principles of the vocal art which may well be supposed to have secured her first success and enabled her not only to maintain, but consolidate it. In 1830, however, occurred the famous July revolution, which, while it changed the dynasty, greatly disturbed the arrangements of all institutions dependent on the monarchy, and, among others, the Conservatoire de Musique. This fact, combined with other circumstances, induced the removal of Clara Novello to London, and here, in her native city, began a new epoch in her education.
(7*o he continued).
MENDELSSOHN AND BEETHOVEN'S SYMPHONY IN C MINOR.
A leaf from my Musical Diary.
The Rhenish musical festival, celebrated at Aix-la-Chapelle, in 184G, will be remembered with delight by those who were present, not only with regard to the selection of the masterpieces performed on the occasion, but also from the presence of two leading stars in the musical world of the 19th century—Mendelssohn as conductor, and Jenny Lind as prima donna.
One of the principal instrumental compositions performed at the festival was Beethoven's Symphony in C minor. In the third movement (the scherzo) of this symphony, Mendelssohn, to the surprise of the admirers of this chef-d ceuvre of Beethoven, cancelled two bars*, but nobody doubted, by the well-known veneration of Mendelssohn for Beethoven and his immortal genius, that a reason, not to be disputed, would be at the bottom, for cancelling these two bars alluded to.
At that time, engaged as reporter for the well-known Cologne Qazette, I was present at the festival for the purpose of rendering the critical musical report, and felt it my duty, on behalf of a great number of Beethoven's admirers present, and the musical public at large, to address myself to Mendelssohn, to learn the reason why those two bars had been cancelled. Not long afterwards, through Mendelssohn's interference, and in consequenoe
* The 2nd and 3rd liar, page 108, in the score published by Messrs. Brcitkopf and Hartel, Leipzig; and in the French edition, page 98, tho last, and page 99, the first bar. Paris, B. Girod.
of the above-mentioned interrogation, the publishers of the score of this symphony, Messrs. Breitkopf and Hartel, inserted in the Leipzig Musical Gazette, July 1846, Nr. 27, the following communication :—
"In comparing the original manuscript of Beethoven's Symphony C minor with the one published by us, a scruple with regard to the 2nd and 3rd bar, page 108, has arisen. We have, therefore, been induced to look over the correspondence with Beethoven, and the following letter, dated August 21, 1810, will give the explanation on the subject. The subjoined part of Beethoven's letter in fac-simile relates to it."
Beethoven writes :—
"The following errors I find in the Symphony C minor, viz.: 3rd movement $ time, where after the major fyjj the minor commences again, standing as follows:
T take only the bass part; the two bars which are crossed are too much, and must be blotted out, and let it be well understood, also, in those parts which have rests."
The subject wants no further explanation. The mistake arose partly through the engraver, partly from the manuscript of Beethoven's score, from the reason that he intended, in this symphony, as in some of his others, to have repeated the minor parts three times, and the major parts only twice.
In the original score are those two bars which are crossed, figured with I, and the two following ones with II. This, and also the term "Si replica con trio allora II," which has been written with a red pencil on the top of the page, have been overlooked by the engraver.
The discovery and regulation of this error is the merit of Mendelssohn, to whom we are indebted; and but for him most likely we should have remained in the dark even to this day.
There is another error in the same symphony, in the first movement, and also in the symphony B flat,
„ F major, Nr. 8,
which Schumann, Czerny, and other musical authorities have detected and revised, and of which I shall speak at a future time.
Dr. Febdinand Kahi.es. 90 St. John's Wood Terrace, Regent's Park, May 1860.
MOZART AND JELIOTTE THE SINGER.•
The Duke de Kohan-Chabot possesses, in his magnificent chateau at Keuil, a dozen leagues from Paris, a small picture, forming part of a rich collection of family portraits.
It represents Mozart, as a child, seated at a harpsichord, in a saloon of the chateau de la Roche-Guyon, in Normandy, and formerly the property of the Duke de Rohan-Chabot. Mozart is playing or singing, and Jeliotte, the actor of the Opera, is accompanying him on the guitar; the Prince de Beauveau, in a scarlet surtout, and decorated with the blue cordon, is seated behind the young musician, reading, with a careless eye, a paper he holds in his left hand; the Chevalier de Laurency, a gentleman in the suite of the Prince de Conti, dressed in a black velvet coat, is standing behind the arm-chair in which Mozart is seated; the Prince de Conti is chatting with M. de Trudaine, the son of him for whom David painted his celebrated picture of the "Death of Socrates ;" while Mdlle. Bargoty, in front of a group formed of the Marechale de Mirepoix, Mme. de Viervelle, Mdlle. de Boufflers, afterwards Duchess de Lauzun, and the Prince de Henin, is making tea, though listening attentively at the same time to. Mozart's beautiful playing. In another group we perceive M. Dupont de Velse, brother of M. d'Argental, the Countess of
* From the Brussels Guide Musical.
Egmont, senior, the Countess of Egmont junior, formerly Mdlle. de Richelieu, and the President Hcnaut, seated on one side of the fireplace. The last group shows us the Countess de Boufflers standing before a table luxuriously laid out, and by her side the Count de Chabot, afterwards Duke de Rohan, talking to the Count de Jarnac, while the Marshal de Beauveau is pouring out a glass of wine for the Bailli de Chabrillant, who is opposite M. de Meyrond, the famous geometrician.
It is astonishing how these noble and intelligent faces appear to acknowledge the ascendancy of the young genius, who charms and captivates them! All eyes are fixed upon him; every one is listening to him with surprise and ecstacy. Even the family portraits let into the panels of the apartment seem to share the sensations of this brilliant audience.
The picture contains many illustrious heads, and many women celebrated for their birth as for their beauty. Yet that which rivets us, that which attracts and interests us more than aught besides, is the sublime child, not yet eight years old, and nevertheless the equal of the greatest masters.
Mozart is represented in an apple-gre«n coat and knee-breeches. He is so small that his feet, which dangle in the air, scarcely reach below the fingerboard of his harpsichord. He has a round face, rosy lips, a broad projecting forehead, and a meditative eye, while his little powdered wig gives him quite an amusing magisterial air.
Up to the present time we know nothing more about Mozart's first visit to Paris than what is reported in the chronicles of the period. He performed three times; at Versailles before the king, the queen, and the court; and at two public concerts. This is all we knew; but respecting his relations with the society and artists of the period, nothing worth mentioning had reached us.
The picture which I have just sketched, as faithfully as I could, proves that Mozart went out visiting; that he played in private houses in Paris and the country; and that, when he was only seven years old, he had excited sufficient interest in Jeliotte, the celebrated singer of the Opera, to cause the latter to accept the modest post of his accompanyist.
As Jeliotte's name comes naturally under my pen, let me relate a few facts concerning him.
Jeliotte was born in the neighbourhood of Toulouse in 1711. Gentle, good-natured, and wearing on his countenance the serenity of happiness, he inspired others with it, while he enjoyed it himself. He was a man completely happy. In the first place a chorister, and then counter-tenor at Toulouse Cathedral, an excellent musician, and an adept on several instruments, he possessed a voice of incomparable beauty. His provincial fame reached the ears of the Prince de Carignan, Inspector-General of the Opera. Jeliotte was summoned to Paris, made his first appearance at once at the Opera, and passed through the ordeal with enthusiastic applause. From that moment he enjoyed the favour of the public, whose idol he was for twenty years. The audience trembled with delight when he appeared on the stage; they listened to him with intoxicating pleasure, and their applause was always ready when he concluded. His voice was full, admirable, sonorous, of a pleasing quality, and reaching, without the slightest effort, the highest notes of the counter-tenor.
Jeliotte was neither handsome nor well-made; but he had merely to sing and he was superb. It seemed as though he charmed the eye at the same time as the ear. Being a good musician, his talent cost him no trouble, and his profession was only a source of pleasure. Cherished and esteemed by his comrades, he led the life of a man of the world, — welcomed and longed for everywhere. At first, what people wanted was to hear his singing, and his complaisance in acceding to their wishes was as charming as his voice. He made it his especial study to pick out and learn our prettiest songs, which he gave to perfection, accompanying himself on the guitar. But people soon forgot in him the singer in their appreciation of him as an amiable man. His wit and obliging disposition procured him as many friends as he had numbered admirers: some belonged to the middle classes, while others moved in the very highest society. Invariably simple and modest, he accumulated, by his talent and the favours bestowed on him, a small fortune, which he employed in placing his family in comfortable circumstances. In the offices and private cabinets of the ministers he enjoyed considerable credit, which he employed in rendering most important services to persons in his native province, Languedoc, where, in return, he was adored.
His generosity proved most injurious to him; and he died at Paris, in 1782, in a state bordering on poverty, having no resources but his pension, which, luckily, could not be touched by his creditors. Tobchbt.
Ox the 10th November, 1859, the public journals brought news from Munich that Sophie Schroeder, at the age of nearly eighty years (her maiden name was Burger, her first married name Stollmcrs) had excited such a jubilee by her recitation of Schiller's Bell as would have been possible to few of the younger notabilities of the stage. And now (February 9, 1860) we read of the decease, in Coburg, of her equally renowned daughter, Wilhelmina Schroeder-Devrient, by second marriage, Madame Bock. Five and twenty years younger then her mother, her shorter career was not less eventful, not less rich,in triumphs. Born in 1805, at Hamburg, in her fifth year she figured on the stage in a ballet: thence she went with her mother to Vienna, where she first appeared as an actress at the age of fifteen, and in such parts as Alicia in Phadra, Louise in Kabale und Liebe, Beatrice in Der Bruut von Messina, did honour to the teaching and example of her mother. At the same time she received musical instruction from Griinwald and Mozatti, and already, in the year 1821, turned her attention to opera. Emmeline in Weigl's Swiss Faynily, Maria in Gretry's Blue Beard, and Eleonore in Fidelio, wore her first most prominent parts. If the story that it was she who first caused the world to recognise the power and beauty of Beethoven's opera is untrue, inasmuch as Fidelia had maintained its place in the repertoire of the Vienna Opera since 1816, it is true that in her study of the part of Eleonore, Wilhelmina Schroeder, at sixteen, did enjoy the personal instruction, and, by her performance, obtain the hearty applause of the composer. Thus equipped, she went first (in 1823) to Berlin; and thence to the Court Theatre at Dresden, with which she remained connected, notwithstanding her artistic tours, until her retirement from the stage (in 1848). Here she never tired of making progress in her art; but even when she had long shone as a model, she repeatedly began anew at the foundations, availing herself of the instructions of the celebrated singing-master, J. Miecksch. At Dresden she laid the foundation of her fame, which, after her journeys to Paris in 1830 and 1831, and to London in 1832, 1833, and 1837, spread over the greater part of cultivated Europe.
Should we undertake to recall all the parts in which Wilhelmina Schroeder appeared during a period of twenty-seven years; we should not wander far from the truth in maintaining that she represented all the leading characters in all the operas written and produced before and during her theatrical career. While she revealed to us the perennial freshness of Gluck, Gretry, Mozart, Beethoven, Cherubini, Spontini, she understood how, at the same time, to make Rossini and Bellini, Auber and Donizetti, Halevy and Meyerbeer exceedingly enjoyable; and any one who has admired her in German works of later times, — the operas of Weber, Spohr, Marschner, and Richard Wagner, — will find it hard to tell how much these masters owed to her, and how much she to them. We shall not see such another Aruiida, Iphigenia, Donna Anna, Fidelio, Euryanthe, Rebecca, or Adriana; we shall not sec again that perfect harmony between composer and interpreter which we enjoyed in her creations. But perhaps the highest thing was the soul with which she quickened and ennobled weaker and even weak forms. To the end of her career she was on this account besieged by an uninterrupted series of artists, who, not knowing how to find the true and shortest way to glory, found it convenient to bespeak the mediation of the disinterested artiste. Schroeder-Devrient was always glad to help where she
From the Leipzig Zeitung.
was able. Most glad when it would really serve the cause of Art She had sincere joy in her art; for her it had nothing mechanical, nothing slovenly, nothing aiming at mere applause or gain. When she made pilgrimages to Paris, London, Vienna, and Berlin, it was no Barnum raid, but to test the correctness of her efforts before new and perhaps severer judges; not the desire to take her talents to richer markets. Hence we do not see her seeking an uncultivated public of backwoodsmen, but going to the places where all her great predecessors had been; where |she found living rivals, where the public had seen andjappreciated the highest and best. In fact, her artistic journeys were more productive of fame than of any material advantage.
The same zeal for Art she'always'showed towards other talents striving in the same direction. If it was not possible to carve, as she said, a Schroeder-Devrient out of every piece of wood, yet there were a great number of younger talents which she helped to develope, or at least carried along with her. We must not imagine her instruction to have been systematic schooling; lessons to be learned and said by rote. Where no real soul for art betrayed itself, where the capacity to understand and follow her was wanting, her influence could not of course avail; but where there glimmered any spark of native fire, she knew well how to quicken, sustain, and cause it to shine out. From Agnes Schebcst to Johanna Wagner, a whole list of singers could be named, who, if just and candid, would ascribe the best they have ever done to her example and her teaching.
Her zeal for the aspirations "of more recent composers has been alluded to. There has hardly been one of any importance who, living^ at the same time with her, did not seek her acquaintance, and, if deserving of it, win her friendship. She was one of the first to recognise Wagoner; she belonged to that prophetic circle, who, not led astray either by the unmistakable excrescences in • the first works of that master, or by the fault-finding criticism of the day, foretold the rising of a new star; she it was who in the parts of Adriano and of Senta, decided the victory. Nay, for the first representations of the Tannhiiuser, she undertook the part of Venus. This was the last creation of her genius. The part in many respects was not suited to a woman of forty; but we shall not see such another Venus. It was her unmistakable enthusiasm that lent a colouring to her performance, which those presen never can forget, and which those who have only seen the opera without her, can never understand.
For all who knew her, there is and can be no description even remotely corresponding to the impression she left; and it is hardly possible for one who has not seen her, to form any conception of her performances. Who can imagine a Fidelio, who, with the first words she uttered seized upon every public, and in the prison scene moved even the actors on the stage to tears? or a Donna Anna, who, in the brief words of the introduction : ", Padre mio!" thrilled every nerve of our being? or a Euryanthe, who could breathe an ecstacy of love into the duet: "Hin nimm die Seele mein ?" who, if he has not seen or heard,—nay, if he has not lived it,—can form any idea of the cry with which Rebecca was .wont to greet the trumpets of Ivanhoe.
We shall again see Clytemnestra rage, and Marie toy in Blue Beard, and perhaps an Emmeline smile amid tears ; we shall often hear" Adelaide" and the "Erlkonig" sung, and again be thrilled by their imperishable beauty; but the highest enjoyment we shall feel in them can only be, that the singer falls not too far short of the ideal which has been realised for us once and cannot be again. Such identity of the artiste with her part, such faultless dramatic expression, such a union of splendid resources, of most, highly cultivated singing with complete impersonation, we shall never witness again. The happy instinct with which Schroeder-Devrient saw and caught the spirit of every part, and the peculiar signification of its every moment, has often been a theme of wonder. This was native to her. But the reason of it was, that she had perfected her taste to the finest degree, and was never weary of probing the task set before her, and never ceased to study it until she had found its truest expression.
As Schroeder-Devrient was always great and noble in her performances, so she always set herself the highest tasks in her art. Thus she worked for her own time, and her name will live for ever.
Sacred Harmonic Society. — The series of Subscription Concerts was continued on Friday the 18th, with Haydn's Creation. The work, by far the bghtest in the repertoire of the Society, was, generally speaking, well performed. The band executed the Overture ("Chaos") in admirable style. The accompaniments were likewise worthy of commendation. The chorus showed their familiarity with the work, and were steady and correct as usual. We may except the vocalised passages in the last piece, "Praise the Lord, ye voices all," the only phrases of the kind in the work which were sung incorrectly.
The soprano solo was undertaken, for the first time, by Miss Parepa, who did herself infinite credit. Indeed, the part suits her better than any sacred rdle she has attempted. "On mighty pens" was particularly effective, the ascending passages being delivered with accuracy and brilliancy of tone. Mr. Sims Reeves was never more favourably heard than in "In native worth." The purity of his singing is exceeded by none of his contemporaries; while he renders this (and many other airs) with a manliness which is all his own. Signor Belletti had not quite recovered from his recent indisposition. He took infinite pains, however, with his music, and, in "Rolling in foaming billows," created a marked sensation. The room was crowded in every part.
'Philharmonic Concerts.—The programme of the fourth concert on Monday last was unusually rich in material, and attracted a very large audience to the Hanover Square Rooms :— Part L
Overture — Scherzo — Song with Chorus, " You
spotted* snakes," (Miss Augusta Thomson and
Mdlle. Jenny Meyer) — Notturno, March, and
Pinal Chorus ("A Midsummer Night's Dream ") Mendelssohn Air, "Du villago voisin," Madame Rieder ("Le
Concerto, Violin, No. 8, Herr Kompel (Scena
Recit. and Air "Nur einen Wnnsch, nur cin
Verlangen" (" Iphigenie in Tauris ") — Mdlle.
Jenny Meyer Gluck
Overture, "Anacreon" Cherubim
Sinfonia in F, No. 8 Beethoven
Scena, "Ah me! he comes not," Miss Augusta
Thomson (" Fair Rosamond ") Barnett
Trio, Madame Rieder, Miss Augusta Thomson and
Mdlle. Jenny Meyer (" Azor and Zemira ") ... Spohr
Overture, "Zauberflbte" Mozart
Conductor — Professor Sterndale Bennett, Mus. D.
We must criticise the performance in our next. At present it is enough to say that the new violinist, Herr Kompel, was deservedly successful; and that Mendelssohn's Scherzo was played to perfection and encored.
The London Glee And Madrigal Usion, under the direction of Mr. Edward Land, will give their 100th performance of glees, madrigals, and old ballads on Friday next, at the Royal Gallery of Illustration,—a very gratifying proof that the public are appreciating more and more this delightful style of vocal music.
Mr. Henrt Leslie's Choir. — The Concert on Wednesday last, the fifth of the season, was quite up to the standard which Mr. Leslie seems to have set up, and above which he will not go on any account. Glees, madrigals, and part-songs sung in a style nearly approaching perfection will always command an audience; but the interpolation of indifferent fantasias on operatic airs is simply distasteful to the musical public, whose opinion neither Mr. Leslie nor anyone else can afford to despise. Last season we had sonatas, pianoforte and violin, and pianoforte and violoncello and other works of equal importance. This matter should be looked to. The motctt of Hauptmann, "Source of all power and light," Wilbye's madrigal, "Sweet honey-sucking bees," "Hear my prayer" (Mendelssohn), trio canone, "Placido Seffiretto" (Cherubini), were the noticeable features. A vocal duet, and a
four-part song, by Mr. Henry Leslie, were sung with much effect. Both compositions are agreeable and well written.
Madame Puzzi's Concert.—A large and fashionable assembly attended the annual concert of Madame Puzzi, which came ofT at the Hanover Square Rooms on Monday morning. The programme was more than usually varied. The artists included Mesdames Borghi-Mamo, Lemmens-Sherrington, Parepa, Rudersdorff, Everardi, Lemaire, and Rieder; Signors Mariano Neri, Solieri, Ciabatta, Dragone, M. Despret, and Mr. Patey, vocalists; and M. Leopold de Meyer (piano) and Signor Pezze (violoncello), instrumentalists. The special feature of the concert (to quote the Morning Post) "was the first appearance this season of the great 'lion-pianist,' Leopold de Meyer, who executed a new fantasia on original themes, of his own composition, with extraordinary effect. We never heard him play with more brilliancy, power, delicacy, and finish." Being unanimously encored, he returned to the instrument and repeated the last half of the fantasia.
The Neapolitan air and variations, introduced by Madame Borghi-Mamo in the lesson scene of the Barbiere, and sung by the same lady on the present occasion, was the most brilliant vocal display of the concert. The fine duo, "No, Matilda," from Rossini's Matilda di Shabran, was admirably given by Mdlle. Parepa and Madame Borghi-Mamo. Madame Everardi, wife of the eminent barytone, in the cavatina, "D'amor gull' ali," from the Trovatore, displayed a voice of nice quality, and a good style and method. Two compositions by Signor Giuglini, a duet sung by Mesdames Lemmens-Sherrington and Borghi-Mamo, and a chorus by the entire company, were introduced. The rest of the performance calls for no particular remark.
Monday Popular Concerts. — Out of eight pieces in a programme devoted to various masters, no less than five were heard for the first time at the concert of Monday last. This looks well, as it shows that the continued success attendant on these interesting series has not made the directors indifferent or content (as is too often the case) to fall back upon works with which the public are now, thanks to them in a great measure, tolerably familiar. Nor is it alone in the construction of their scheme that the effects of judicious management are shown: not only fresh pieces but fresh artists are heard. This season we have had Her Becker, a valuable addition to the ranks of our classical violinists; and now a (comparatively) new pianist, Her Lubeck, is introduced.
The instrumental novelties comprised two quartets,— Mozart's in D minor, and Beethoven's in F minor; both played to perfection by Messrs. Sainton, Goffrie, Doyle, and Piatti: Mendelssohn's trio in C minor (No. 2), in which the first and last named gentlemen were joined by Herr Lubeck, who also gave Beethoven's sonata in C sharp minor, best known as the Moonlight Sonata.
The remaining novelty was the "Sleep song" from Auber's Masaniello, given with the utmost delicacy of expression by Mr. Sims Reeves, who also contributed Rossini's barcarolle, "La Gita in Gondola," in such a manner as to elicit an encore, which it was impossible to resist, To Mr. Santley for his admirable rendering of Vincent Wallace's capital song, "The Bell Ringer," a like compliment was deservedly paid, and much applause was earned by the said gentleman in Mr. J. W. Davison's "Rough Wind that moanest loud." Mr. Benedict as usual accompanied the vocal music with consummate ability.
On Monday next—an Italian night—Miss Arabella Goddard, Miss Laura Baxter, Mile. Parepa, Herr Becker, &c, will appear. The selection (except one air repeated by desire) will be entirely new.
Swansea.—The Jullien Concert came off on Monday evening at the Guildhall, under the patronage of the Mayor. Considering the benevolent object in view, namely, to aid the fund on behalf of M. Jullien's widow and family, who have been left totally unprovided for, the attendance was not so large as we anticipated. Sufficient, however, we hope, has been realised to enable the promoters to transmit a sub ■ stantial sum to the fund. The following artistes kindly gaie their services on the occasion :—Madame Enderssohn, the last vocalist who accompanied the great maestro on his tour through England; Miss Evans, of Newport; Miss Harrison; Miss Piucott; Mr. Merrick, of the Bristol Cathedral; Mr. W. Bowen, and the members of the Swansea Proprietors of Punch
Musical Union, led by Mons. F. Ternon. Dr. Wastfield, Dr. Denning, and Mr. Fricker, also kindly gave their services. The concert opened with Aubcr's overture, Masanielh. Madame Enderssohn sang Donizetti's aria, " L'Amor Suo," Hadyn's Canzonet, "She never told her love," "Home, sweet Home," and M. Enderssohn's " Only in jest." We were much pleased with Miss Rachel Evans' pianoforte solos. She was loudly encored. Miss Harrison sang Meyerbeer's "Robert toi qui j'aime," and Wallace's "Gentle Troubadour." Mr. Merrick, of the Bristol Cathedral, sang. Mr. Bowen and Miss Fincott assisted as amateurs. The former sang "Good Rhein Wine" with much spirit, and was encored. Miss Pincott received a similar compliment. Dr. Wastfield and Dr. Denning conducted.
L DON Alboni, Opera of Saturday, La Santa. ballet of box-office
HER MAJESTY'S THEATRE—This evening, Satur
HER MAJESTY'S THEATRE Second Night of Semlramfde—Titihns, Alboni, Vialbtti, Evbrardi, Bbi.art —This Evening (Saturday, May 26) will be performed Rossini's Opera of SEMIRAMIDE. Semiramide. Mile. Titibns [her second appearance In that character); Arsace, Madame Album; Oroe, Signor Vialbtti; Idreno, Signor Bblart: and Assur, Signor Evbrardi. Conductor, Signor Arpiti. To conclude wlih the first tableau of the new and aJmired Ballet of SCINTILLA, in which Mile. Pocchini, Mile. Molacchi, and M. Dur*nd, wil, susta n the principal characters. Pit tickets, 8s. 6d.; Gallery stalls, 6s.; Gallery, 3s. The Opera will commence at 8 o'clock.
~D OYAL ITALIAN OPERA, COVENT GARDEN—
XV First App-arance of Mdlle. DIOIEK.
Thig evening, May 26th, will lie performed, for the first time thli season, Rossini's Opera LA GAZZA LADRA.
'Principal characters by Madame Penco, Madame Tagliafico, Mdlle. Didiee, Sipnor Ronconl, M. Faure, Signor Tagliaflco, Signor Lucchesi, Signor Polonlnt, Signor Rossi, Signor Gardont.
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. Each Visitor to the Boxes, Pit Stalls, or Pit, will hare the priviledge of entree, free of extra charge. Carriages can take up at the Bow Street entrance of the Floral Hall.
EXTRA NIGHT NEXT MONDAY. Onl Monday next, May 28th, will he performed for the third time this season Rossini's Opera IL BARBIEKE Dl SIVIGLIA.
I Princip.il characters by Madame Miolan-Carvalho, Madame Tagliafico. Signor Ronconi, M. Zelger, Signor Taaliafico, Signor Lucchesi, Signor Rossi, Signor Mnrio.
After which (second time) a New BaMet Divertissement, arraoged by M. Desplaces, entitled I.F.S AMOURS DE DIANE.
The Music arranged by M. Nadaud. Supported br Mdlle. Zina, Mdlles. Espnr, Maraquita, Mulot, and Laure, Mr. W. H. Payne, and M. Displaces.
On Tuesday next, May 29th, will be repeated Rossini's Opera
LA GAZZA I. ADR A. After which the New Ballet Divertissement
I.ES AMOURS DE DIANE.
"VTEW FLORAL HALL—A GRAND MORNING
-Ll CONCERT will take place in the New Floral Hall, on Wednesday next, M--ty 30. To commence at Two o'clock. Supported by the following eminent Artists, Meadames Grisi, Rosa Csillag, Didisr, Co an A Hi, Pbnco, Miol«n Carvuii Signor, Mario, Gbaziani, Fatjrb. Nfri Baralpi. Poloni-.., Zrlt.br, Taouajtcm, GaboonI, Ronconi. Also the Band and Chorus of the Royal Italian Opera. Extra Night, not inrluded In the Subscription, on Thuraday next, Mav 31st, will he performed (for the third time this season), Verdi's Opera. IL TROVATORE, with the following powerful cast, Madame Gbi&i, Mile. Roxa Csillau, Madame Tauuapico, Signors Gkazuni, Taoliafico. Lucciibbi, Rossi, ami Mario. Conductor, Mr. Coats, Doors open at 8, commence at half-past. rit,7t#; Amphitheatre stalls. 7s. and 5s.; Amphitheatre, 2s. Gd. —
THE 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 wii h the wishes of the deceased had it been permitted him to express them, Tlx. 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 Chappcll; 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 Bond Street; and Mr. W. M. Sams. 1 St. James's Street.
Messrs. Coutts & Co., Strand; Heywood, Kcnnards, & Co., Lombard Street;
Lady B. Lytton
Countess Caroline Bellcw
Dr. Besset Hawkins
2d Collection, Coffee Room
Henry Fentum, Esq
T. W. B
H. S. Fllnn, Esq
Sundry small subscriptions :—
Mr. Austin ■•*
Mr. Duncan Davison
Messrs. Cramer & Co
Sunday Times Office
Messrs. Keith Si Co., per J. N.
Messrs. Keith ft Co
Messrs. Bailey, Brother!
Deposit Bank, Leicester Square
Parkins ft Gotlo
Messrs. Koosey & Sons
Mrs. John Hill
A Washington Friend
J. Williams, Esq., Debden Hall,
Thomas Fairbairn, Esq
C. R. N
Lea Richardson, Esq
Shilling subscription, per T.
Burbl ige. Esq
Ditto A. Hjam, Esq.
Shilling subscription, from Gen-
Small subscriptions, per Mr.
Messrs. Keith, Prowse, ft Co....
Mr. Austin ».
Messrs. Bailer, Brothers
„ Chappell ft Co
H.R.H. the Duke of Cambridge
J. Green, Esq.
H. Y. Z
„ Mr. Hammond
„ Keith, Prowse, & Co....
„ Deposit Bank
„ Mr. Duncan Davison...
„ Mr. Jeffs
„ Mr. Austin
Hon. Mrs. Heury Ramsdcn
Henry Farmer, Esq , Notts
... 1 ... I
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