"Tire Wobth or Art Appears Mosi Eminent In Music, since It Requires No Material, No Subject-matter, Whose Effect


SUBSCBIPTION—Stamped for Postage—20s. PEE ANNUM Payable in advance by Cash or Post-Office Order to B00SEY & SONS, 28 Holies Street, Cavendish Square, London, W.

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MR. aud MRS. TEN NAN T have the honour to announce their first MATTNEB MUSICAL*,, nnder the following distinguished Patronage— The Marchioness Townsh«md, The Marchioness of Downsbire, The Countess of Bradford, The Countess of Yarborough, The Ladv Amie Sherson, The Lady Elisabeth St Aubyn, The Lady Arthur Lennoi, The Lady Charlotte Copley. The Lady Dufferln. Tbe Lady Dinorben, The Lady Wallscourt. Lady Farquhar, Mrs. Schenley, Viscount Raynham, Lord DuftVpn, Lord Wallscnurt, I,ieut.-Col. the Hon. C. rf. LlnrtW, Wr Minto Farnnhar, Wm. VansitUrt, Esq. M.P., Edward W. II. Schenley, Esq., will take place (by kind permission of Messrs. Collard and Oollard) at their New Concert Room, 16 Grosvenor Street, Grosvenor Square, on Friday, June 22, at 3 o'clock. Artists: Miss Augusta Thomson, Mrs. Tknnant, and Mad. Sainton-dolby ■ Mr. Tbnnant, Signor Ciabatta, and M. Leeort. Instrument^lists-Plano: M. Bli'mknthal. Concertina: Sienor RvaoMM.- Harp: Mr. Bolynb Reeves. Harmonium: Herr Eniel. Flute: Mr. It. Sidney Prattkv. Conductors: Signorl Campana. BccALngsi, and Mr. Ccsins. Tickets, Numbered and Reserved, to be had at Mr. and Mrs. Ten nam's Residence, 307 Oxford Street, New Bond Street.

PHILHARMONIC SOCIETY.—The Directors respectfnlly nvnounce that the FIFTH CONCERT will take place at the Hanover Square Rooms on Monday Evening next, June 18. Programme, Sinfonia in E flat. No. 5, Mozart; Concerto Pianoforte, Herr Ritter, Hummel; Overture. Isles of Fingal, Mendelssohn; Sinfonia in A, No. 7, Beethoven} Concerto Violoncello, M. Paqub; Overture, Prometheus, Beeihoven. Vocal performers, Mad. Bo«gh .maiio and Mr. Tennant. Conductor, Professor Sterndale Bennett.—To beiiln at Eight o'clock. Tickets I5s. each, to be had of Messrs. Addison, Hollier, & Lucas, 210 Regent Street.

HERR ERNST PAUER'S GRAND ORCHESTRAL EVENING CONCERT, at the Hanover Square Rooms, on Wednesday next. June VO. when will be performed toe following new compositions by Herr Parish for the firtt time i—llcoit. and Air. from the Operetta "I)«m Uiego"; \%0fr\\\ Put ha, ** The Lord is my Shepherd "; Concerto for the Clarionet, Op. 58, in G minor. Conductors: Herr Moliqus and Mr. Henry Leslie. Stalls, 10s. 6d.; tickets, 7s.. at all the principal Music Sellers; and of Herr Pauer, 3 Cranley Place, Onslow Square, S.W.

MADEMOISELLE CAROLINE VALENTIN has the honour to announce that her MATINEE MUSlCALK will take place on Wednesday, the 20th of June, at the Hanover Square Concert Kooms, at 3 o'clock. Vocalists:—Madame Ricdkh, Mile. Von Ketti.br, Mons. Depret. Herr Hermanns, and Mr. Santley. Instrumentalists :— Violin— Mons. Victor Buziau. Violoncello— Mons. Pa Que. Piano—Mile. Valentin. Conductor—Herr Wilhelm Ganz. Tickets, 10s 6d.; Reserved and Numbered Seats,'15s. To be had of Messrs. Wessel St Co., 18 Hanover Square; and of Mile. Valentin, No. 6 Duke Street, Manchester Square, W.

HERR KUIIE begs to announce that his ANNUAL MORNING CONCERT will take place on Thursday, June 21st, at St. James's Hall, to commence at half-past Two o'clock. Vocalists:—Me sd tunes Louisa Pvnr, RiEOBR and Sainton-Dolby ; Messrs. Belart Tknnant, Oliva, and Santley. Violin, M.sainton: Harmonium, Herr Enoel; Piano, Herr Kuhe. Conductors, MM. Benedict and F. Berger.— Sofa Stalls and Reserved Seats. 10s. 6d. each; Unreserved Balcony Seats, 5s.; Gallery Ticket*, 2s. tid.; to be had of Herr Kuhe, 12 Benttnck Street, Manchester Square, W.; Mr. Austin's Office, St. James's Hall; and all the principal Musicsellert.

GW. MARTIN'S PRIZE GLEES, MADRIGALS, • PART-SONGS. Ac, will be sung hy a Choir of One Thousand Voice* at Kxcter Hall, on June 21st, at Eight o'clock. Mr. Sims Reeve* and Miss Arabella G«>di>ahd will aUo as-i>t- Stalls, 10*. 6d.; Reserved Seats, 5s.; Gallery or Area, 2s. 6d.; Back S-ns Is.; at the Hall; Addison, Hollier, *i Lucas. 210 Regent Street, Cramer, Beale & Co., 201 Regent Street; and at Keith, Prowse, & Co., 48 Cheapslde.

ST. JAMES'S HALL.—Mr. LINDSAY SLOPER begs to announce that his ANNUAL MORNING CONCERT will take place at thf above Hall, on Wednesday morning, June 27, to commence at half-past two o'clock. Vocalists, Mad. Lemmens Sherrington, Mile. Artot, and Mad. Sainton-Dolby; Mr. Sims Reeves, the English Glbb Ano Madrigal Umon, Mr. Foster. Mr. Lockby, Mr. Montem Smith, Mr. Winn, and Mr. Lewis Thomas. Violin, M. Sainton; Violoncello, Mr. Paqle; Pianoforte, Mr. Lindsay Super. Conductors, Mr. Benedict and Mr. Hahold Thomas.—Sofa Sralls, 10s. 6d.; Balcony, 5s.; Area, 3s.; at St. James's Hall, of the Principal Music Sellers, aud of Chappcll and Co., 50 Now Bond Street.

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_ CONCERT, June 28, at St. James's Hall, to commence at Eight o'clock

Artists engaged. Miss Augusta Thomson, Mad. Gilbert. Mile. Behrens, Miss Palmer, Mints Susanna Cole, Mr. S:ms Reeves, Mons. Dei-ret, Mr. Wali.wo- Th, Mr. Santlky, I,ondon Glee & Madrigal Un On. Pianoforte, Mr. Charles Halle; Violin, Herr Becker; Concertina, Siynor Regondi. Conductors, Mr. Benedict, Mr. Henry Bai'mrr, Signor Ci Mo, and Mr. Aiered Gilbert—Stalls, 7s. each, may bo obtained at Miss Cole's, 25 Lanark Villas, Maida Vale; at Addison, Hollier, ft Lucas's, 210 Regent; Street; Cramer, Bea'e, k Co.'s 201 Regent Street: and at Mr. Austin's, 28 Piccadilly. Balcony, 3s.; Area, 2s.; Gallery, Is., at tbe Principal Music Sellers.


GLUCK'S IPHIGENIA.—Mr. CHARLES HALLE begs to announce that, in compliance with numerous requests, he will give a Grand Performance, for the first time In London, of the whole of t*ie Music of Gluck's celebrated Opera, IPHIGENIA (in Tauris). at St. James's Hilt, on Wednesday evening, June 20, 1880, to commence at 8 o'clock. Vocalists. Mile. Parbpa, Miss Sdsanna C»>le, and Miss Theresa Trvpibyri Mr. Santley, Mr. Winn, and Mr. Sim- Reeves. The Orchestra and Chorus will be complete in every Department, and consist of upwards of Two Hundred Performers, winding the Choir of ihe Vocal Association. Conductor, Mr. Charles. Halle. Sofa Stalls,7*. ; Side Stalls. 5s.; Balcony. 3s.; Unreserved Seats, Is. May be secured ;it Cha»p<-U & Co.'s, fiO New Bond Strut; Cramer & Co's, 201 Regent Street; Hammond's, fM Regent Street; Ke;th, Prowse, and Co.'s, 48 Cheapslde , and at the Hall, 28 Piccadilly.

HERR WILHELM GANZ respectfully announces that Mi GRAND MORNING CONCERT will take place on Friday, June 29. at St. James's Hall, under the Immediate Patronage of their Royal Highae«se« the Duchess of Cambridge and the Prim ess Mary. To commence at 3 o'clock. Vocalists; Mad. Catherine Ha^es, Mad Llmmrns Sherrington, and Mad Sainton-dolby; Mr. Wiliiye Cooper, Mr. Santley, and Herr Herrmanns. In«trumentali-ts—Pianoforte: Herr Wiliielm Ganz. Violin: M- Sainton Violoncello; M. Paque. Tenor: Herr Goffrie. Contra Basso: Mr. F. S. Pratien. Conductors: Messrs. Reindict, W. G. Cusins. and Wilhllm Ganz. Sofa Stalls, 10s. 6d.; Hc.erved Seats, 5s.; Balcony, 5s.; Unreserved Seats, 3s.; to be bad of Herr Wilhelm Ganz, 15 Queen Anne Street, Cavendish Square, W.; Mr. Austin, Ticket Office, St. James's Hall; and the principal Music Sellers.

THE VOCAL ASSOCIATION.—ST. JAMES'S HALL. President. The Right H»n. the Earl of Dndley. LAST SUBSCBIPTION CONCEH T THIS SEASON, Friday, June 29, at 8. Oreat Orchestral Performance. Macfarren's " May Day"; Spohr's ** O.ie to St. Cecilia "{lirst time of performance): Mendelssohn's ** Ave-Maria (trom Lorelcy, MSS.); Serenade for Pianoforte and Full Orchestra (Me delssohn); Overtures " Euryanthe" (C. M. v. Weher), " Tempest" (Benedict)—Mad. Catherine Hayes, Miss Stadbach, Miss Mkk-hent; Mr. Santley, Mr. Charles Halle. The Band and Choir wilt number 30(1 Performers. Conductor: Mr. Benedict. Tickets, Is., 2s., 3s., and 5i. each, at the Hall.

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R. JOHN THOMAS has the honour to announce

that he will give a MORNING CONCEHT, at the Hanover Square Rooms, on Monday, the 2nd of Julv, I860, ro comm-nc« at Three o'clock precisely. Vocalists, Mile. Dksiker Artot, Mfss Augusta Thomson; M. Jules Leport, M. Depret. LiFti umentalists: Piano, M. Ernst LtBtcK; Violin, M. Becker; Harmonuim, M. ENotL; Harp. Mr. John Thomas. Conductors, Mr. W. G. Cuslns & Mr. Harold Thosias. Reserved Scats, Ids., t » be had only of Mr. John Thomas, 109 Great Portland Street, Portland Place. Single Tickets, 10s. Cd., to be had oi all the principal Music Sellers.

MISS STEELE has the honour to announce that she will give a GRAND EVENING CONCERT at the Hanover Square Rooms, on Tuesday, July 3. at h.ilf-past Eiuht o'clock. Vocalists, Mads. Pahepa, Sieelr, and Palmer; Messrs. Sims Reeves, Depret, and Santiey. Instrumentalists, Miss Annie Elliott; Messrs. Chas. Sal*man, Deichmann, Ltdel, Drew Dean, fie W. G.

Cosins Reserved Seats, 10s. 6d., to be had oulv ol Miss Steele, 108 Marylebone Road;

Tickets, 7s., of R. W. Oliiver, 19 Old Bold Street.

ORCHESTRAL UNION. — Mr. ALFRED MELLON begs to announce that he will return to London about the middle of June, when he will be open toany Engagements for the Band of the Orchestral Union, which he has reconstructed. Principal Artistes ■ — M M. Sainton, H. Hill, W. Waison, E. Payton, Dovle, Trust, G. Collin.«, Aylward Howell, sen., White, P. S. Pratten, Rocxstro, Baurrt. Lazarus, T. Owen, Hau>s*r, C. Hakter, Standin, T. Hahi-er, Stanton Jones, W. Wintkrbottoh, Cioffi. HuciiFs.and F. C. Hort> N. Applications respecting engagements to be made to Mr. George Dolby, 2 Hiude Street, Manchester Square, W.

ST. JAMES'S HALL, Piccadilly—Now Open daily, at 3 and 8 o'clock, WASHINGTON FRIEND'S GRAND MUSICAL and PICTORIAL EN TERTAINMENT, entitled "TWO HOURS in AMERICA,'' beautifully illustrated by his large and magnificent moving Panorama faithfully delineating 5.000 miles of the most lntere«ting natural scenerj in Canada and the United States; comprising the Falls of Ni;ieara and the Itiver St. Lawrence, including a magnificent representation of the Great Victoria Tubular Bridge at Mon' senting Canada In Sprine, Summer, Autumn, and Winter, Ulustratini Indian, Emigrant, and Negro Life, showing the very places w ere tl reside who formerly lived in this country, accurately depicting the Rnd Prairie Scenery of the Far West. While the Panorama is pass artist and proprietor, will relate his own adventures, and siug a cli original Sengs and Melodies of the country, accompanying him self iityjffli ments. Admission—Stalls (numbered) 3s.; Area, 2s.; Gallery, W Tji obtained and places secured at Austiu's West-end Box-office. Seecetor) Edwards. 'f\ ^

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The Most Worshipful the Grand Master of Ireland,
His Grace the DUKE of LE1N STER,
And several other Distinguished Freemasons;
His Excellency the Lord Lieutenant of Ireland, the
The Right Worshipful the Mayor of Manchester, IV IK MACK IE, Esq.

His Worship the Mayor of Salford, W. HARVEY, Ksq.
SIR FREDERICK GORP. OUSELEY, Bart., Director of Music at the
University of Oxford.

I of the Nobility, Gentry, Clergy, and Distinguished Families of the Empire,



Organised In 1848, and developed at THE ROYAL COLLEGE OF MUSIC, BKIDGE STREET, MANCHESTER, established by him expressly as a Great National Institution to facilitate the Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, also as a Normal School, for the training of musters to conduct Conssbvatoirbs Of Music to he established throughout the United Kingdom, for Ltttlr Children, the whole comprising an entirely new scheme of NATIONAL EDUCATION, by blending music with general instruction, so that the study of music shall become a branch of education in the humblest of schools of this country. To illustrate and to rouse an interest in every town and city for these institutions, Dr Mark travels with a number of his pupils ocraeionally through the country—giving lectures, and introducing his highly approved and pleasing Musical Entertainment, entitled DR. MARK AND HIS LITTLE MEN, who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the whole forming a most unique and complete Juvenile Orchestra, composed of LITTLE ENGLISH, IRISH, SCOTCH AND WELCH BOYS. FROM FIVE TO SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops, Ac., and ling Songs and Choruses in a most effective manner, and to whom Dr. Mark gives a gratuitous General and Musical Education.

Principal of the Royal College of Music; Director, Composer, and)
Condnctor; Lecturer to both Private and Public, Theoretical > Dr. Mark.

and Practical Instrumental and Vocal Classes )

Master of the General Educational Department;"
Writing, Reading, Arithmetic, Grammar, Dictation,
History, Geography, Practical Geometry, and Book-


Mr. Powell and Two Assistant Teachers.


Organ ...

Violin ... „

Violoncello, Double Bass, and Viola...

Flute, Piccolo, Oboe, and Clarionet"... Cornet and other Brass Instruments ... Concertina (German and English) ...

Vocal Classes ... ...

Mr. Bakrr.

f Herr Siembrs. \ Mr. Elder.

C Mont. Roguier. \ Mr. Beard.

C Motlt. VlEUXTEMPg.

'I Mr. T. Donovan.

Slg. Cortesi.

Mr. H. Rubsill.

, Mr. Elder.

K Messrs. Powell and

I Elder.

Dr. MARK has also made provision for the Orphans of the Musical Profession possessing musical talent, who will find the above .institution a happy home, and receive a most effective general and musical education, board, and clothing, free of all expense.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of .instrument and books.

Twelve appointments ready for Masters. For Prospectuses, apply direct to the Royal College of Music, Bridge , Street, Manchester.

Dr. MARK is also open to Engagements with his little Men.

Dr. MARK begs to invite the Parents and Friends, and all those Interested in his Enterprise and in the Education of the Youths of this Country, to visit his establishment. Visaing hours:—From Nine to „Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted.

CANTERBURY HALL CONCERTS—Westminster Road.—Lessee, Mr. C. MORTON.—Every Evening.—C. H. Gounod's Opera, Faust—Faust, Mr. Henry Herbert; Mephtstopheles, Mr. C. Bernard; Siobel, Mrs. Anderson ; Marguerite, Miss RrsssL. Conductor, Herr Jonghuans—and Selections from Dinorah, Trovatore, and Macbeth. Several interesting Pictures have been added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis.

DOUBLE BASSES for sale, six fine-toned Instruments by good Makers ; a VIOLONCELLO by Banks, in Case; TENORS by Foster and Fendt; VIOLINS by Straduarius, Guarnerius, Steiner &c.; also a seir-acting ORGAN, in a Carved Mahoganv Case, plays 74 tunes. For Particulars apply to J. Moore, Buxton Road, Hudder&fteld.

THE MUTUAL LIFE ASSURANCE SOCIETY, 39 King Street, Cheapside, E.C. — A.D. 1834. — The TWENTY-SIXTH ANNUAL REPORT, Cash Account, Balance-Sheet, Ac, are now ready, and may be had on written or personal application.—CtUUB Inoall, Actuary.

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preferred. Unexcentionable references given and required—For particulars apply by tetter, stating qualifications, and salary required, to Messrs. B. and Co., care of W. Armstrong, Esq., 49 George Street, Portman Square, London.

"flOOD NIGHT," New Song by A. Reichardt,

VJT Comroser of "Thou art so near and yet so far," is published, with English and German Words, and a Portrait of Herr Reichardt, price 2s. bd. by Duncan Davison & Co. 244 Regent Street, W.

« mHE BRIDE'S FAREWELL," by Edodard Roeckell,

_JL is now published Tor the Pianoforte, price 2s. by Duncan Davison & Co. 344 Regent Street, W.

THE SULIOTE WAR SONG," by Brinley Richards, sung with distinguished success by Mr. Santley, is published, price la, by Duncan DavUou & Co. 244 Regent Street, W.


.JL Schloessbr, sung with Immense applause by Mad. Lbmmbnm-sherhinoton,

is published, price 2s. fid, by Duncan Davison & Co. 244 Regent Street, W.


JL dedicated to, and sung byMad. Sainton-dolby, at St. James's Hall. Composed by S. Mabhhaj.l. Price 2s. London: S. Shepherd, 98 & 106 Newgate Street, and all Music Sellers.

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{From our own Correspondent.')

June 12, 1860.

It is always interesting to recur to the early works of a composer who has succeeded in taking the rank of a classic, and to note how those qualities which chiefly distinguish the after productions with which his renown is associated, may sometimes be altogether absent, or exist only in a very faint germ. To students such opportunities are especially valuable, and teach the golden lesson how even genius cannot dispense with patient perseverance, and might never assert itself but for tenacity under disappointment. The management of the Th6atre Lyrique has, therefore, done a useful and a graceful thing in bringing out Herold's first operatic work, Leg Rosieres, an opera comique in three acts, produced at the Salle Feydeau in 1817. On its first production, this work achieved a decided success, and at once informed the world that a composer of the highest promise was born to France. It kept the until 1826, when Marie, a much riper and more masterly threw it into the shade, whence it has never been rescued until now. Leg Rosieres, though much inferior to the composer's subsequent productions, exhibits in a considerable measure the fundamental characteristics of Herold's style. It lacks the rich and brilliant instrumentation, and the startling modulations for which he was afterwards distinguished; but the grace and facility of his melodic inspirations, the elegance, piquancy, and neatness of his style are already clearly discernible. The libretto of this work, although old-fashioned, is still amusing; and the plot has a merit also somewhat out of date—clearness and simplicity. The principal female part, Florette, is played by Mile. Girard, whose easy, correct, and brilliant execution, keen intelligence and agreeable organ, allied to graceful and spirited acting, place her among the first lyrical artists of the French stage. The other prominent characters are filled by Mile. Faivre, and MM. Fromant, Ricquier Delauney, and Gabriel. A little one-act opera, entitled Les Valets de Gascoigne, has been produced for the first time at this establishment with sufficient success. The composer is M. Dufresne. Mile. Faivre, M. Girardot, M. Wartel, and M. Potel, are engaged in it.

M. Henry Wuille, the well-known clarionetist, one Hf the many distinguished artists whom poor Jullien introduced to fortune and to fame, has made his debut in Paris at the concerts Musard, and has won from the public as well as from the critics, the amplest acknowledgment of his uncommon talents.

In the theatrical world the advent of summer, if I may be allowed the expression, when the paletot is as yet an indispensable arment, is producing its usual desolating effects. Several houses ave already closed their portals for the season, and others are threatening to follow their example. The Odeon made its last bow the other day, with the Testament de Cesar Girandot, and the Bouffes Parisiens are strolling in the provinces. The Italian company, which had settled itself in the Salle Ventadour, hanging to the tragic skirts of Mad. Ristori, has likewise taken flight. Just before the departure of Alexandre Dumas the elder, for his periplous of the Mediterranean, it was rumoured that he had written a piece for the Theatre Francais, but that the reading of it had been suddenly interrupted through Borne dispute about the usual premium. It was said that the question was brought up on urpose to induce Dumas pcre, reckoning on his known irritaility of temper, to withdraw the piece of his own accord; whether this was the intention or not, the haughty dramaturgist without deigning to read his work to the end, and thus throw his pearls to swine, ill-mannered enough to cavil over their price, packed up his manuscript, and walked off to the manager of the Vaudeville, to whom he transferred the privilege of producing the new work, with the magnificent stipulation that no premium should be demanded for it, thus setting a glorious example to the grovelling council of the Theatre Francais, and showing that he at least could set the interests of art above paltry considerations of finance. This piece has just been produced under the title of VEnvers dune Conspiration, and the public may now judge whether or no it was right to haggle over the price of such a work. The subject is supposed to be historical, that is to say, Charles the Second figures in it, and Catherine of Braganza. Every one knows,

however, with what freedom the elder Dumas is in the habit of treating the muse of history. He acts towards her certainly as a student, but as a student of the Quartier Latin. He strips her of her classic toga, takes her to a masquerade warehouse, decks her in the most captivating carnival costume, and familiarly clapping his arm round her waist, hurries her through a succession of exciting adventures. The conspiracy to which the title alludes, is that which effected the restoration of Charles; and the "Envers," or underside, is represented by a certain Lady Hamilton, and a Scotch adventurer, one Evan Macdonald, who having come to London to join the commonwealth party, is entangled by his love of Lady Hamilton into the royalist plot, to which he innocently renders essential service. This part, in the hands of Dupuis—formerly of the Gymnase—becomes broadly comic; and if M. Dumas' ambition soared no higher than this, and disdained that attention to literary form which he once condescended to cultivate, he can hardly find fault with the judgment of the Theatre Francais.

An extravagant absurdity called Les trois Fils de Cadet Roussel has just appeared at the Palais Royal, and not without danger attained success. It is incredible how many times this mythical personage of the first French Revolution has been dramatically served up, yet is his vitality apparently not exhausted. A new drama at the Gait6— UnePecheresse, works up afresh a sub ject worn somewhat threadbare, — a husband's jealousy of his wife's past existence.

The indisposition of Mad. Ferraris has not yet ceased, and her place is filled by Mile. Villiers. When is this lady to appear at Her Majesty's Theatre? The first performance of Semirumis is announced for the 29th of June, or at the latest the 2nd of July. The singer Wicart has been re-engaged at the Opera, and will make his re-appearance as Arnold in William Tell; he is then to play Kaoul in the Huguenots. The engagement of Mile. Tedesco is signed and sealed; she is to place herself at the disposal of M. Alfonse Royer on the 1st of September, when the rehearsals of Tannhmiser will commence in view of its production at the end of January, 1861.

At the Opera Comique, the bills still alternate with L'Etoile du Nord, Lc Roman d'Elvire and Rita, and Chateau Trompette. with VHubit ile Aft/lord. A new opera, by M. Paul Dupueh, Gertrude, is in rehearsal, and will take its turn after Le Petit Chaperon Rouge, which is very soon to appear. The following artists will be engaged in this once most popular of Boieldieu's works—Rodolphc, M. Crosti; Roger, M. Warot; the Bailli, Lemaire; the Hermit, Barrielle; Rose d'Amour, Mile. Mariinon; Annette, Belia.

Before closing for the season the Theatre Lyriquo will produce a new operetta, the title of which has been changed since the first announcement from Le Mariage aux Epees to Mailre Palma. The music is by Mile. Rivay, her first essay, and the book by Mad. Furpille and Gille. It is also exp'ected that La Madone, by Lacombe will shortly be forthcoming. The manager has just engaged Mad. Wekerlin Damoreau for next season.

The tenor Fraschini has just signed an engagement with the manager of the Orienta, at Madrid, for the ensuing season; and it is reported that Mad. Borghi-Maino has contracted to ;appear at the Scala, in Milan, during the carnival season next year.

Roger has just returned from his provincial tour. He appeared last at Bordeaux, where ho brought the season to a brilliant close. He is to proceed to Baden in August, where he is engaged, together with Mad. Miolan-Carvalho, to appear in a new opera, by Gounod.

M. Mires, one of the millionaires who have sprung up under the Imperial regime, and who is the proprietor of two daily papers, Lc Pays and Le Constitutional, has just married his daughter to the Prince de Polignac. There is something quite bewildering in this alliance, from the welding of principles and associations so widely dissevered and apparently so incompatible. The ceremony took place in the church of the Madeleine, and was attended by a crowd of distinguished people, whether by rank, intrinsic eminence or fortune. Finance, politics, officialism, art, literature, and even pride of birth were there amply and showily represented. The nuptial benediction was pronounced by Monseigneur the Bishop of Marseilles, and the sacred music executed, on the occasion was composed by Prince Edmund of Polignac, the

stage work,

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youngest of the four brothers composing this illustrious family. The executants were selected from the orchestra of the French opera and the choir of the Madeleine, and were under the direction of the chapel master, M. Dictsch. The organist of the parish, M. Saint Saens, presided at the grand organ.


Madame Clara Novello made her theatrical dibut at Padua, and chose the character of Semiramidc for the occasion. Her success was complete, and this even increased as the experience she gained in her after engagements gave her greater familiarity with the special requirements of the stage. She appeared, in course of time, at Rome, Bologna, Fcrmo, Milan, and other places. Triumph walked in her footsteps, and the rich Italian language was almost exhausted in epithets of admiration, and taxed to the utmost of its sweetness to furnish poems in her praise. The Musical Antiquarian Society, established in London for the resuscitation of the works of early English composers, was at this time actively carrying on its operations, and, as a means to its end, collecting a library of works that might illustrate its purpose. It may or may not prove Mad. Novcllo's Italian popularity, to state, that her father contributed towards the accumulations of this institution a very extensive series of tho laudatory verses addressed to his daughter, enjoining that, in case of the dissolution of the society, the entire collection should be transferred to the library of the British Museum, where the poems were accordingly deposited when the Musical Antiquarian was broken up, and where they will for all time be open to the examination of whomsoever may be interested in them.

The public performance in Paris of Rossini's Stabat Mater, some ten years or more after the production of his last opera, gave a new impetus to the universal esteem of this composer, and added a fresh laurel to his evergreeu crown. The work was immediately transplanted to London, and reproduced in every musical city in Europe. It was first heard in Italy, at a performance in Bologna, where Rossini then resided, who was consulted upon every arrangement for the occasion. Donizetti was the conductor, than whom no one then living could more completely identify himself with the true spirit of the composer; and, by Rossini's expressed stipulation, Mad. Novello was preferred above all the singers in Italy to sustain the soprano solo; and the grand vocal effects of the famous " Inflammatus" were thus first made known to the countrymen of the composer through the medium of her beautiful voice. When the Stabat was given in Florence a year afterwards, the same lady again, by the composer's desire, was engaged to fill the same part in the performance.

In Italy all theatrical engagements are effected by means of correspondent!,—agents whose entire occupation is to negotiate the arrangements between tho imprcssario and the composers, the singers, the players, and every other functionary of the operatic establishment, which holds so important a place in public consideration and exacts so large a share of government attention, that it may almost be regarded as one of the chief political institutions of the country. Through some mistake of the correspondent!—mistakes will happen, even iu the transactions of the most trusted officials—Mad. Novello was engaged for the carnival season of 1842, at both Rome and Genoa, and the director of each theatre demanded the fulfilment of the scrittura. Universal as wo may esteem the talent of the lady, the person of the prima donna was certainly not ubiquitous, and the possibility of her completing the two discrepant contracts was consequently non-existent. The Roman and Genoese manager had each the law in his favour — alas 1 that jurisprudence should be so imprudent as to see a parity of right on each side of a dispute — but the impressario of the Papal States had more than tho law, in having possession, which constitutes the nine points that supersede all the others. In tho autumn season of 1341, Mad. Novello was the prima donna at Fermo, a city, as is well known to all familiar with Romagnian topography, that is located within the papal territory, and consequently under the jurisdiction of the Roman authorities. She could not quit the place without a passport, which document he of the opera house at Rome had the power to prevent her obtaining, and he thus held the lady in such firm possession as would effectively hinder her from appearing at the other theatre, if it did not compel her to sing at his own. The minister of police at Fcrmo, Count Gigliucci, communicated to the cantatrice the restraint imposed upon her by the Roman manager, whereof he, the count, was the unhappy instrument j and communicated, too, that he was under the sad necessity of placing the lady under arrest until she should have made arrangements satisfactory to the impressario, whose interests he protected. The courteous captor became in turn a captive, his captivatioa being effected by the

personal charms of the fair prisoner whose person he held in durance, and he did not release her from her thraldom until she had vowed to bind herself to him for ever. Her hymeneal engagement, however, was not to interfere with the two theatrical contracts which then perplexed her, nor with subsequent professional duties to which she had already pledged herself; but it was to be discharged when she had freed herself, by fulfilment, from all the legal demands upon her talent at that time pending. The first of these was, of course, that which was the subject of the Romano-Genoese controversy, and was the immediate occasion, therefore, of her connection with her future husband. The said controversy was finally settled by arbitration, to the following effect:—It is permitted to the flock of the pope to eat flesh and to hear operas for the entire period intervening between the Feast of the Nativity and the solemn term of Lent, and the carnival season of 1842 was thus to extend over twelve weeks, for six of which, dominion over the vocal and histrionic powers of the songstress was adjudicated to the manager of Rome, and for the other half moiety, the same advantage was ceded to him of Genoa.

One of the engagements that Mad. NoTello had upon her hands was to Mr. Macready, who wns then conducting Drury Lane theatre upon a principle of truly poetic pnrity, which has vainly been emulated by subsequent directors of dramatic taste in London. Mr. Scrlc, the actor and dramatist, and the husband of Mad. Novello's retired sister, was the chief confident of all the arrangements of the great manager, and it was to his suggestion that the London public owed the opportunity Mr. Macready afforded them of witnessing the lady's talent in a capacity in which she had not yet appeared in her native country. Her dibut on the stage in England was in the summer of 1842, and she chose Paccini's opera of Saffo for the display of her ability,—a work, however, which was far better fitted to exercise the refined classic taste of the director of the theatre in the arrangements of the mise-cn-scaie, than to place the artistic talent of the prima dorma in an interesting light before the public. Her brother-in-law translated the libretto, and everything that could possibly be accomplished to give good effect to the performance was done; but nothing could render a weak opera of a weak composer an interesting work, and the error of judgment in choosing such a piece for her appearance was not a little injurious to our heroine's first impression on the London playgoers. In the repertory of Drury Line theatre was Handel's Acis and Galatea, the production of which, with Mr. Stanfield's scenery and Mr. T. Cooke's instrumentation, was one of the most remarkable events of Mr. Macready's management — nay, of modern theatrical history. On tho withdrawal of Saffo, Mad. Novello sang the chief character in this immortal work, and produced an effect in it which was impossible to her in tho feeble music of the modern Italian composer.

She sang that year at our provincial music meetings; and then, without a formal farewell of the public, she retired from the field of her constantly fortunate efforts, and became the Countess Gigliucci The historian may not pry into the incidents of her private life, and there occurs, therefore, a necessary hiatus in tho current of our narrative, which cannot be resumed until the period when Mad. Novello returned o the exercise of her profession.

'I ( To be continued.)

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Society or London.—The fifth and last concert of the season was no less interesting than its predecessors, as will be seen by the subjoined programme :— Pabt L

Overturo," Leonora" . . . . . . Beethoven

Aria "Act nur eiaiiml noch in lebon" . . . Mozart

Fifth Concerto, violin Molique.

Recit. " E mi lasci cosi" \
Aria "Tu m' abbandoni" J
Overture " Lcs deux Jouruees . .

. Spohr • Cherubini

Pari H.

Symphony in A minor (Op. 56)
Recit. "Di ostilitende" |
Aria " Dnll' asilo dells pace "J
Recit. "Krafft meines heiligen Amtcs" J
Aria " Wenn Romoo den Sohn erschlagen" J
Overture " Der Freyschutz" Weber

So magnificent was the execution of the first overture that a very strong demand for its repetition ensued even after Mile. Meyer

Mendelssohn Costa

n | . -: Bellini,/

had ascended the platform; but Mr. Mellon declined to accede to the compliment, gratifying as it must have been to himself and the perfectly trained band under his control. Equally praiseworthy was the execution of the other two overtures, both of which were given to perfection. The great treat, however, was Mendelssohn's superb symphony in A minor, best known perhaps as the Scotch symphony, having, it is said, been composed (like the Isles of Fingal) while the illustrious master was influenced by reminiscences of his visit to North Britain, and impregnated with the character of the locality. From beginning to end the playing of the orchestra was irreproachable: it was evident that every member was earnestly imbued with the spirit of the composition, and all did their best to render justice to its marvellous beauties. The consequence was one of the finest performances of this picturesque work we have ever heard: and no wonder that the audience were worked up to enthusiasm; so much so was this the case indeed, that there were loud calls for the scherzo to be repeated, but Mr. Mellon, deaf to the solicitation, went on with the next movement. Herr Molique met with an "ovation" both on entering and leaving the orchestra, and was frequently applauded during the performance of bis very fine concerto, which he played to admiration, and in which the orchestral accompaniments were given with the utmost delicacy and precision. Miss Louisa Pyne's charming voice and facile vocalisation were conspicuous alike in the air of the German and Italian composer—the latter although replete with difficulty not being very effective— no fault of Miss Pyne's, however. Mile. Meyer's rich mezzo soprano told to greater advantage in the air from Titus than that from I CapvLetti, in which the time was somewhat dragged.

New Philharmonic Concerts.—The fifth performance on Monday brought the series to a termination. The programme included the overtures to La Clemenza di Tito and Preciosa, Beethoven's symphony in D, No. 2, Mendelssohn's concerto in D minor, and Spohr's dramatic concerto for violin and orchestra. In consequence of both Italian operas giving extra nights, Dr. Wyldc was deprived of some of his regular "nands," and forced to look for recruits in all directions. Fortunately, good players in London arc not scarce. To the execution of Beethoven s symphony, we have scarcely anything to award but praise, and the liberal applause which followed each movement proved that the audience were thoroughly satisfied. Herr Becker played the dramatic concerto—so great a favourite with Ernst, and introduced by that distinguished violinist on the occasion of his first performance in this country—in masterly style, and the applause at the end was uproarious. The grand concerto of Mendelssohn also was a triumph for Sir. John Barnett, who created a maiked sensa/ tion. The last movement more particularly displayed the young pianist's execution and taste to equal advantage. The voice' music was allotted to Miss Louisa Pyne, Mad. Lemmens Sherrington, and Herr Herrmanns, the new German bass, who made so great a hit the week previously at the Monday Popular Concerts. Herr Herrmanns introduced "FalstafFusong,' from Otto Nicolai's Merry Wives of Windsor, with the same success as before. He is an unquestionable acquisition to the concert-room. Miss Louisa Pyne sang a grand scena from Spohr's Jessonda, "Batti, batti," and a romance from Mr. Wallace's Lurline. The expressive manner in which she gave the air from Don Oiovanni received the liveliest sympathy and won a hearty encore. Mad. Lemmens Sherrington gave an air from Weber's Euryanthe to perfection, but the audience were moTe pleased with Adolph Adams' "Ah ! vous dirai-je mamma," which was redemanded. The hall was crowded in every part. Dr. Wylde may congratulate himself that the season has been one of the most successful in the annals of the New Philharmonic Society, which merely shows that energy and perseverance in a right cause are capable of surmounting any difficulties.

Mrs. Anderson's Concert.—The annual concert of Mrs. Anderson, pianist to Her Majesty and instructress to the Princesses Alice, Helena, and Louise, took place on Wednesday afteinoon, in Her Majesty's Theatre, which was. crowded .by a fashionable audience. The programme [comprised no less than thrqe hours and a half of vocal and instrumental music, for the most part consisting of excerpts from the popular Italian operas of the

day, and therefore not calling for detailed criticism. Among the singers were Mad. Alboni, Mile. Titiens, Mad. Borghi-Mamo, Mad. Lotti della Santa, Mite. Michal, Mile. Brunetti, Signors Giuglini, Mongini, Belart, Vialetti, Everardi, Gassier, &c.—in short, the whole of Mr. E. T. Smith's company, with the single exception of Signor Ciampi, who had only made his first appearance the night previousi It is scarcely requisite to add, that with such a galaxy of talent—enriched, moreover, by the addition of Miss Louisa Pyne, Mile. Artot, and Mile. Parepa—a feast of vocal music was provided, ample enough to satisfy the hungriest dilettante. A more brilliant and well varied selection of favourite pieces could hardly have been offered; and, although concerts in the daytime seldom provoke many outward signs of approbation, the repeated applause bestowed on the present occasion showed that cither the audience were more impressionable or the programme more enlivening than usual. The solo instrumental department, with the exception of a fantasia on the violin by Herr Becker (admirably played, and thoroughly appreciated), was exclusively represented by Mrs. Anderson and her nephew, Mr. W. G. Cusins. Every amateur of the pianoforte was pleased to see Mrs. Anderson once more come forward in a great work which she used formerly to play with such success at the Philharmonic and other concerts of importance. Beethoven's concerto in E flat—not very long since—was frequently associated with the name of this lady, who nad studied it with ardour, and mastered it so completely as to grasp, at one and the same time, its technical difficulties and poetical meaning. On Wednesday she confined herself to the first allegro, which, probably, she never rendered with greater spirit, taste, and effect; and, to judge by the warm reception it obtained, notwithstanding the length of the programme, no one would have objected to hear the two movements that were omitted. In Mr. Osborne's very ingenious and showy duet for two pianofortes on themes from L'Etoile du Nord, with Mr. Cusins as her associate, Mrs. Anderson was equally happy. This was a vigorous and highly effective performance on both hands, well meriting the hearty plaudits it elicited. The concert began at half-past one, and did not terminate till considerably after five; nevertheless, the attractions it presented were so many and so sterling, that the majority of the audience remained to the end.

Professors' Concert Union.—Mr. Henry Blagrove, the distinguished violinist, has organised a series of concerts of " chamber" music, under the above title, which we suppose implies a sort of joint-stock arrangement between vocalists and classical instrumentalists of repute. The first concert took place on the 1st inst., at the Beethoven Rooms, the programme comprising Mozart's quintet in G minor, Spohr's quartet in B flat, Beethoven's nnartet in E flat, songs by Miss Augusta Thomson and Mr. Wifbye Cooper, and a violin solo by Mr. H. Blagrove. It was a model programme in respect to form and quantity, and the only objection that could be urged was, that the pianoforte did not figure in any of the concerted pieces. The quartets, &c, for stringed instruments, require the relief afforded by contrast — a fact of which the Monday Popular Concert directors appear to have been all along aware, as they have taken care to secure the services of a first-class pianist for every concert, and to insert a trio for pianoforte, violin, and violoncello, a sonata for pianoforte and violin, or a sonata for pianoforte alone, to brighten up the performances. The executants at Mr. Blagrove's first concert were Messrs. H. and R. Blagrove, Clement!, Colchester, and Daubert. Mr. Sidney Smith accompanied the vocal music.

Mb. W. G. Cusins gave his matinee muticale at Willis's Rooms, on the 2nd inst. This gentleman—a zealous pianist, a clever violinist, and an industrious composer—is remarkable for his easy and finished style of playing, and for his leaning towards the higher order of music. He played on this occasion Beethoven's sonata in E flat, No. 3 of Op. 31, joined Mr. Henry Blagrove in Mozart's sonata in A, and M. Paque in Mendelssohn's sonata in B flat. He also played a polonaise by Chopin, and assisted Herr Engel in a duo for harmonium and pianoforte, on airs from Le Prophite. Mr. John Thomas contributed a harp solo, Mundolino, by Parish Alvars, which was much applauded. The vocal music was excellent. Miss Messent introduced a charming song

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