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I HAVE not much to tell you of this week as touching musical events. The principal fact to be recorded under this head is a concert given by a M. L. Wiest, a German violinist, but whether by birth, or education only, I know not. He is chapel master to some prince at Bucharest, but seems to devote himself to the light fantastic style, and to eschew serious and solid music. What he played was his own handiwork, and served mainly to display certain sentimental graces mingled with dashing feats of execution. Indeed I should not mention the concert at all but that among the executants was Theodore Ritter, the pianist, who your readers will remember produced such a legitimate sensation at the last Philharmonic Concert in London, in one of Hummel's concertos. He is indeed an artist of pure and correct taste as well as rare mechanical ability, entirely free from those paltry tricks and affectations, those senseless caprices of accentuation by which so many artists strive to entrap the judgment of their audience and pass for persons of unusual depth of perception. All he does is simple, clear, and honest, and distinguished withal by a rare degree of finish. In scale passages he is brilliantly clear and rapid, and when he has a melody to deliver it receives all the expression due to its character without any attempt to torture it into extra impressiveness.

M. Wicart, the Belgian tenor, whose re-engagement at the Grand Opera I announced in my last, made his appearance last Friday as Arnold in Guillaume Tell. A great deal of curiosity was felt, to ascertain whether this artist had indeed made all the progress attributed to him since his first appearance in Paris. The result has proved in excess of whatever was anticipated, and so decided was his success that the strongest desire is expressed that he should in future make Paris his artistic home. His voice is of considerable extent, powerful, and especially clear and telling in the upper notes. In the celebrated air, "Asile héréditaire," followed by the stretta, "Amis, secondez ma vaillance," which is the trying piece of the part, and the one which would decide the character of his success, Wicart was enthusiastically applauded and several times re-called. He is to appear again in the same opera, and then twice as Raoul in the Huguenots; his engagement being only for four nights. I understand that the report of the commissioners appointed to make enquiries as to the most suitable locality for the new Opera House has been sent in, and that the decision is in favour of the site on the Boulevard des Capucines. The commission consisted of the following personages, M. Chaix d'Estange, chairman; M. Caristie, architect; and MM. Cornudet, Eugène Scribe, Varin, L. Véron, and Denière. Herold's maiden triumph at the Opéra Comique, Les Rosières, just revived, as I mentioned last week for the first time since 1826, is still running, and meets with increased success every night. It is admirably executed, every part being well filled.

At the command of the authorities all the theatres in Paris broke out last week into lyrical ecstasies of patriotic enthusiasm at the annexation of Savoy and Nice to the French territory. M. Méry, whose muse is ever at the disposal of official grief or rejoicing, emitted three strophes on the occasion for the use of the opera, and M. J. Cohen wedded them to strains of befitting harmony. The Opéra Comique, the Théâtre Lyrique, and the Théâtre Dejazet, had each its cantata, called France et Savoie in each instance. It may interest your readers to know that the amusements of the Parisians during the month of May, in the way of theatres, concerts, balls, and other public entertainments, reduced the contents of their pockets to the extent of 1,206,523 francs 40 centimes, or £48,260.

A correspondent at Strasburg informs me that Mad. Sanchioli is shortly expected there to give a grand concert at the theatre. This singer, you will remember, was engaged at Her Majesty's Theatre in 1847, the first year of the opposition to Mr. Lumley's establishment. She appeared in La Favorita with Signor Gardoni; both artists making their débuts at the same time. Mad. Sanchioli has been making a tour in the French provinces, accompanied by M. Bazzini, and takes Strasburg on her way. The alliance between

the corps diplomatique and the lyrical stage, commenced by Mad. Sontag, and continued so illustriously by Lady Crampton, will be further cemented by a marriage that I hear of as shortly to be celebrated between the Prussian ambassador at Stuttgard, Count Schullenburg, and Mlle. Pannetrat, of the Opéra Comique. The same writer who furnishes me with this piece of gossip informs me that Alexander Paër, a son of the celebrated composer, and a maestro himself, has just died at Rome.

I have received a slip from a Belgium paper, Le Journal de Gaud, in which there is a gentle and, to my thinking, not ill-deserved tap administered on the knuckles of M. Scudo, the musical critic of La Revue des Deux Mondes. This gentleman publishes an annual volume called L'Année Musicale, in which he has made a violent attack on Belgium and the Belgians, charging them with living wholly on the brains and genius of France, and being in arts, language, literature (he_excepts their government and industry), a piratical copy of France and Frenchmen. He says they have a conservatoire with a very capable director, to wit, M. Fétis, where they only rear instrumentalists and vocalists such as Vieuxtemps and Cabel, having their merit no doubt: but they have no national school of music, or if they have, it is as equivocal in merit as the French they speak at Brussels. Unfortunately this reproach is expressed in anything but an elegant specimen of the language it so jealously defends from Belgian barbarism. It presents an inextricable confusion of relatives, which affords the journalist of Ghent an opportunity of thus retorting: "In the presence of this literature of que-que and of qui-qui it is impossible not to be struck with the graceful turn M. Scudo has given to the compliment he pays us on our ignorance of the French language. Could he not be prevailed upon to accept a professorship of French in Belgium?"

A very intelligent friend of mine, who holds an important post at the Court of Berlin, and of whose musical knowledge-amateur as he is-I am decidedly jealous, gives me some account of the operatic doings in that city. Marschner's opera of The Templar and the Jewess has just been revived. This is decidedly the most popular work of the composer, but on its first appearance it had to struggle against the influence of two such redoubtable rivals as Weber and Spohr, and consequently it was never appreciated at its just value. Marschner has now had his revenge, and has compelled the public to acknowledge the dramatic power which characterises many of the pieces in this opera, the gracefulness of its melody and the richness of its instrumentation. Mad. Koester played the part of Rebecca and added fresh lustre to her reputation. Kreutzer's opera of A Night at Granada has been played at Kroll's establishment with great success. Stradella (Flotow's) is still attracting crowded audiences, and is being played both at the Frederick William Theatre and at Kroll's. The duo between the two brigands and the hymn to the Virgin are regularly honoured with an encore whenever they are heard. It is the success of Martha over again. This is encouraging to Mr. Gye, who is to bring out Stradella during the present season. By the way, it is said here that he (Mr. Gye) has engaged Graziani for two seasons, 1861 and 1862, at the rate of 10,000f. a month; you will better come at the truth of this than I. But to return to my German correspondent's budget of news. The Italian opera at Vienna closes on the 28th of the month, and next season the Pardon de Ploërmel will be produced, with Mad. Frassini as Dinorah. The Pardon has been played at Munich with Mlle. Schazbach as the heroine. Gluck's Iphigenia in Aulis is announced here, and Mlle. Stoeger is to sing the principal part. The Oratorio Society of Munich have brought their season to a close. Bach's Christmas Cantata and fragments of Handel's Susannah were given at the last performance. At Trieste, Mad. Amelia Jackson had just made her début in Robert le Diable as Isabella, and obtained a legitimate success.

Let me wind up with a piece of local news which if not musical is curious. A commission has been appointed of literary and administrative sommités (anglicé topping fellows) in order to examine and discuss the knotty question of literary property. The time is oddly chosen for such an inquiry. It does not seem as though the products of the French press under the Imperial régime would ever constitute a very valuable estate to their proprietors even though the title to them were granted in perpetuity.

HER MAJESTY'S THEATRE.

66

midst of his "

period of the September fêtes-in other language, at its gayest Don Giovanni was announced for Saturday evening, but put off and very best. No modern opera is more replete with ad captanin consequence of the illness of Mlle. Titiens, Mad. Borghi-Mamo, dum "tune;" and if the tune was as fresh and original as it is Signor Everardi, and Signor Giuglini, who were severally attacked fluent and continuous, Martha would be, in a purely melodic sense, with sore throats. In this strait Mad. Alboni was applied to, and a masterpiece. At the same time, the music throughout is anithe Barbiere was given, the great artist appearing of course as mated, busy, and dramatically appropriate. Some critics have Rosina, one of her most perfect and exquisite achievements. M. suggested that Martha, stripped of the Irish (or-as Mr. William Gassier also being ill, Signor Sebastiano Ronconi sustained the Chappell may probably tell us in a future volume-English) air to which Moore wedded the "Last Rose of Summer," would be part of the barber for the first time, and, amid much that was exaggerated, displayed no small amount of humour. His singing, is begging the question; the Irish melody was at hand, and Herr much in the same plight as the stem without the flower. But this but for a tendency to drag, was excellent. Signor Ciampi, as Doctor Bartolo, again created a furore in the air "A un dottore." (Boieldieu, in La Dame Blanche)-turned it to excellent purposes. Flotow-as a far more genial composer did with "Robin Adair " In the lesson scene, Mad. Alboni, whose "Una voce" was divine, introduced the tyrolienne from Betly, "In questo semplice," which having his pictures hung near those of Turner, inasmuch as they An eminent landscape painter was once heard to say that he liked was magnificently given and rapturously encored. On Tuesday, Lucia di Lammermoor was presented for the first mation to the lustrous canvas of that great master; and so Herr derived a brightness not intrinsically their own from their approxitime, with Mile. Titiens as Lucy, and Herr Steger (from Vienna) Flotow may have inserted the "Last Rose of Summer" in the as Edgardo-his first appearance in this country. That the heroine of Donizetti's opera is not entirely suited to Mlle. Titiens, tone-picture" (to employ the modern Teutonic may readily be credited. It is as though Mrs. Siddons should jargon) with some such arrière pensée. At all events, this exquiessay the character of Juliet. The easily-credulous, timid, lovesite melody gives the predominant colouring to the work, and it stricken maiden is hardly suited to the impetuous instincts of the would be as impossible to think of Martha without it as of the last Teutonic Grisi. Nevertheless, there are many passages in the scene in Rossini's Otello without Desdemona's "willow-song." music which give occasion for the display of strong emotions, There is not much to say of the performance, the cast of the and of these Mille. Titiens laid hold with avidity. The scene with opera being, with one exception, precisely the same as before. Ashton in the second act, the scene of the malediction, and the The exception, nevertheless, was an important one. The part of mad scene, were superbly acted, and in most respects magnifiLady Henrietta (Martha)-sustained in 1858 by Mad. Bosio, and cently sung. The sensation Mlle. Titiens created after the lastin 1859 by Mlle. Lotti-was on this occasion alloted to Mad. named was indescribable. Penco. Mad. Penco is not Mad. Bosio, but she approaches much more nearly that inimitable artist in her musical delineation of the character than her immediate predecessor, or, indeed, than any other we have seen. Her delivery of " Qui sola, vergin rosa (the "Last Rose of Summer "), but for a slight abuse of that tremulous utterance which so many singers of recent days appear to consider inseparable from the true pathetic style, would have been faultless-more plaintive and unaffected it was impossible to make it; and we were not at all surprised at the loud "encore" M. Gassier sang the music of Ashton very finely, but would do hibit still deeper feeling and still greater vocal refinement. In it elicited, the compliance with which enabled Mad. Penco to exwell to change his Highland for a Lowland garb, One kilt her acting Mad. Penco displayed those legitimate qualities that among so many pairs of trews does not greatly aid the scenic illusion. Perhaps the Italian costumier who first dressed the chiahave placed her in the foremost rank of existing lyric comedians. racter in Lucia, was impressed with the idea that Lammermoor Plunkett), M. Tagliafico's Lord Tristan, and M. Zelger's Sheriff Mad. Nantier Didiée's Nancy, Signor Graziani's Plumkett (not was a village on the summit of Ben Nevis. Previous to Lucia, Gnecco's opera buffa, La Prova d'un Opera in former years, and need not be described anew. Nor, but for of Richmond were each in its particular sphere quite as good as Seria was given, with Mlle. Lotti, Signors Corsi, Sebastiano Ronconi, and Ciampi in the principal characters. This lively little the surpassing excellence of Signor Mario's singing on the present affair was capitally sung and acted, more especially by the new occasion, would it be requisite to devote more than a passing word buffo, Signor Ciampi, who, as the manager Campanone, again his accustomed taste" and "act with his accustomed intelligence." to his Lionel. Signor Mario, however, did more than "sing with proved his title to be the legitimate successor of Lablache. In the with directions to the orchestra he was most admirable, all its beauties would take more time and space than we can His performance was irreproachable in every sense. To describe song and elicited roars of laughter. In the popular duet, "O guar-afford; but it is no more than just to point out one or two. Of date che figura" (with Mile. Lotti), we have heard the imitative passages given with greater fluency by Mad. Viardot and Signor Tamburini.

Herr Steger is, we understand, a Hungarian, and has for many years enjoyed a first-rate reputation in some of the theatres of Germany. He is a tenore robusto, with a very capable and strong, if not very agreeable, voice, and style full of energy and vigor. An abuse of the vibrato is his most serious fault. He received every encouragement from the audience, and was twice recalled at the end of the opera. Nevertheless, it is unlikely he will retain a position at Her Majesty's Theatre.

On Thursday, Lucrezia Borgia was repeated, with Mlle. Titiens, Mad. Alboni, Signor Mongini, and M. Gassier in the principal characters.

On each of the above occasions, the last scene of the ballet Adelina was given, with Mlle. Claudina Cucchi, who makes visible progress in the favour of the audience."

ROYAL ITALIAN OPERA.

Martha, the best opera of Herr Flotow, and one of the happiest German counterfeits of the wit and sparkle of the Opéra Comique, was received on Tuesday night with the same success that attended it in 1858 and 1859. No work has been more sumptuously, and at the same time more carefully, put upon the stage of the Royal Italian Opera than this; and though compared with one of Auber's lyric dramas it stands much in the same relative position as Brussels when compared with Paris, under such favourable conditions of costume, scenery, and distribution of the principal characters, it may be allowed to represent the Belgian capital during the

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course his most thoroughly appreciated vocal effort was the air, "M' appari tutt' amor' (Act III.), in which the perplexed and half-demented Lionel, in a fervid apostrophe to the cruel Martha, vows eternal constancy to that beloved ideal- the mistress of his fate. The recitative commencing with a snatch of the melody which haunts us through the opera, was given with intense feeling, especially the passage

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desired; and the concerted music - including the scene of the "statute fair," the quartet at the spinning wheel, the "Buonanotte," and the last finale, in which, by the influence of familiar sights and sounds, Lionel recovers his scattered senses-were, one and all, alike effective from a musical and scenic point of view. The whole performance gave the utmost satisfaction to a crowded audience, among whom was Her Majesty the Queen.

Concerts.

PHILHARMONIC CONCERTS.-These admirable and thoroughly intellectual entertainments seem to be returning to their première jeunesse. Most assuredly have they not for years engrossed so much attention, or presented such undeniable evidence of prosperity. The appointment of Professor Sterndale Bennett to the office of conductor has proved (as we always anticipated) of eminent service. So thoroughly practised a musician could hardly fail to win the confidence, and thereby enforce the willing discipline, of his orchestra; and it is not too much to say that the band of the Philharmonic Society was never more entirely under the control of its chief, and consequently never more fitted to render the orchestral works of the great composers to perfection than at the present time. The programme of Monday evening's concert (the fifth and last but one of the season) was as follows:

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Conductor-Professor Sterndale Bennett, Mus.D. Of the symphonies and overtures-all selected from the repertory of chosen master-pieces, which it is the professed object of the Philharmonic Society to bring forward as often as possible (and which they will be able to do still more effectually next season, when the series of concerts is restored to its original number of eight)—nothing need be said. The more than usually magnificent performance, however, of Mendelssohn's Isles of Fingal-of all poetical concert overtures (in contradistinction to the "character overtures," of which Beethoven's Coriolan and Egmont, together with Mendelssohn's own Ruy Blas, form the most striking examples) the finest must be acknowledged, in justice both to Professor Bennett and those who act under him. So wellmerited a success as that obtained by Herr Ritter (a Frenchman, we believe-M. Benet, who need not be ashamed of his patronimique) in the pianoforte concerto of Hummel has not been witnessed, at the Philharmonic Concerts or elsewhere, for a very long period. This same concerto was played, if we remember correctly, about two years since, by a resident German pianist of eminence (not M. Hallé), but without producing any marked sensation. It was not, therefore, as a novelty that it pleased so much. The merit must be attributed to Herr Ritter's (M. Benet's) performance, which literally transported the audience. The applause at the end of each movement and the recall at the termination of the concerto were beyond measure enthusiastic. Herr Ritter's playing reminds us in many respects of that of Mr. Sterndale (now "Professor"-nay, "Doctor") Bennett, more than twenty years ago, with the proviso that the foreigner has yet to acquire the full rich tone, the perfect phrasing and the provokingly faultless mechanism that, at the time we speak of, left the young Englishman without a single rival except Felix Mendelssohn Bartholdy. Whether Herr Ritter is destined to reach this high standard or not we are unprepared to say; but of one thing we are certain, no such legitimate playing as his has been listened to from the fingers of a new aspirant to the suffrages of the English public since M.

Hallé (with whom, of course, he must not yet be measured) first appeared in the orchestra of the Philharmonic Concerts. If in Beethoven and Mendelssohn Herr Ritter has the gift to shine as brilliantly as in the less poetical though more methodical Hummel, he may be hailed as a new phenomenon in the pianoforte world, and with the greater heartiness as a foreigner who, without the slighest pretension or quackery, reads good music with the spirit of an enthusiast and the skill of a master. We regret that we were unable to hear the violoncello solo of that excellent artist, M. Paque, whose introduction to these concerts was simply a just tribute paid to real desert. The Morning Post says :

"The rich and powerful tone of M. Paque gives him a special advantage over the best of our resident violoncellists, whilst in musical sentiment he is surpassed by none. M. Paque's execution of a concertino by Goltermann on this occasion may be cited as a worthy exemplification of his powers. We never heard him play more finely." Of the vocal music we need say nothing more than that the name of Mad. Borghi-Mamo was a manifest attraction, and that Mr. Tennant, one of the most careful and intelligent of our young English tenors, gave Beethoven's beautiful song with such artistic taste as to win unanimous approval from an audience "critical among the critical."

In all

MONDAY POPULAR CONCERTS.-These highly successful entertainments are now rapidly drawing to a close, the concert of the 18th being announced as the last but two of the season. our experience of matters musical, we cannot recall an example of such unparalleled success as has attended these performances. Excellent as was the first season, the second has surpassed it both in variety and extent; and a better criterion of the advanced musical taste of the day cannot be found than in the fact, that from the middle of November till the present time these concerts have been given almost without interruption every Monday, and invariably attended by large and appreciative audiences, including all ranks and classes of the public. The concert under notice formed no exception to its predecessors, and judging from a line of private carriages extending nearly the whole length of Regent Street, we may reasonably infer that a considerable number of the audience must have belonged to the "upper ten," while the densely crowded state of the shilling seats showed that the same description of hearers whom Jullien first taught to listen to, and afterwards thoroughly enjoy, "classical" music rendered with all the appliances of a powerful orchestra, were equally capable of relishing the chamber compositions of the great masters now that the directors of the "Monday Popular Concerts" have placed them within their reach. The instrumental portion of the scheme was devoted to Beethoven, and comprised two quartets,-E flat, No. 10 (Op. 74), and D major (Op. 18); the sonata for pianoforte alone, E flat (Op. 29, No. 3); the violin romance in F (Op. 50), and sonata in A for pianoforte and violoncello. Mr. Charles Hallé's performance of the solo sonata was magnificent throughout, and commanded a perfect "ovation." No less admirable was the duet, in which the honours were shared by Mr. Hallé and Signor Piatti, while Herr Straus was warmly applauded for his able rendering of the violin romance. The execution of the quartets, in which the new violinist enjoyed the co-operation of Herr Goffrie, Mr. Doyle, and Signor Piatti, was equally praiseworthy, and met with quite as cordial a reception as the other pieces. Miss Louisa Pyne, Mlle. Jenny Meyer, and Mr. Laurence-a new name-divided the vocal music, the English lady being encored in Spohr's “E mi lasci cosi," of which she repeated the allegro, and Macfarren's song from Charles II. "Canst thou deem my heart is changing," both sung to perfection. Mlle. Meyer's effective rendering of Beethoven's "In questa tomba " was honoured by a recall, while in Gluck's "Che farò" she afforded general satisfaction. This was equally the case with Miss Pyne's rendering of "Quando lascia," from Meyerbeer's Roberto il Diavolo. Mr. Laurence sang the air "Ah non avea più lagrime." Undaunted by the enormous work of his morning concert at Her Majesty's Theatre (of which a notice will be found elsewhere), Mr. Benedict presided at the piano, accompanying the vocalists, as well as Herr Straus' solo, with his accustomed ability. Monday, June 25th (the last concert but one), is to be a "Mozart Night;" and July 2nd, termi

nating the series, will be devoted to various masters, being for the Directors' benefit, an announcement which we are sure will be sufficient to fill St. James's Hall to repletion.

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believe that those who, still unsatiated with the interminable banquet of harmony prepared by the Trimalchio of concert-givers, remained for the jeu d'esprit of Gnecco, had equal cause for MR. BENEDICT'S CONCERT.-Our space will not allow us to do satisfaction, the principal characters being assigned to Mad. Lotti more than glance at the very rich programme, marked alike by letto, and brother to Giorgio Ronconi, Mr. Gye's Rigoletto), and della Santa, Signor Sebastiano Ronconi (Mr. E. T. Smith's Rigoexcellence and variety, which Mr. Benedict provided for his numerous and aristocratic patrons on Monday afternoon. The per- Signor Ciampi, the new bass-barytone, whose Dr. Bartolo is formance took place in Her Majesty's Theatre, every part of which already a "town talk." We were, unfortunately, not of the number, was densely crowded. At half-past one the band played the it being six o'clock P.M. before the last note of Rossini's cloquent music had breathed the last sigh of Desdemona. When we add overture to Masaniello, and this was the prelude to a miscellaneous that, but for the indisposition of the new dancer, Mad. Claudine selection, chiefly devoted to favourite pieces from the most popu- Cucchi, the ballet of Adelina was to have crowned the entertainlar operas of the day, contributed by Mlle. Brunetti (the young ment, our musical readers who were not present will agree with and promising singer, who but recently made her début as Gilda, in Rigoletto), Mlle. Vaneri, Signors Corsi, Aldighieri, those more fortunately privileged in pronouncing this last concert Gassier, and Belart. Besides the vocal music, there was one of (pasticcio?) of Mr. Benedict's a "monster-concert," entirely Spohr's concertante duets for two violins, played to perfection by without precedent. At the same time, in all probability, a large Herren Molique and Straus (the youngest and most rising vio- majority of the audience would willingly have dispensed with onelinist in Germany); and to finish this section of the entertainment, instrumental, from the pen of the accomplished concert-giver-too third of the programme in favour of some few pieces, vocal and Mr. Benedict's ingenious and sparkling Concertino for pianoforte, excellent and inventive a musician to restrict his patrons on such with orchestral accompaniment, performed at one of his own conan occasion to a short concertino for the pianoforte. certs, some years ago, in the Royal Italian Opera, by Miss Arabella Arditi shared with Mr. Benedict the post of orchestral conductor. Goddard, but on the present occasion executed in his most brilliant style by the composer himself. To this miscellaneous selection folPRINCE GEORGE GALITZIN'S CONCERT. This concert, of the lowed Rossini's magnificent Stabat Mater, which, so far as the princi- holder and object of which we have already given some account, pal singers were concerned, could hardly have been better given, but took place on Wednesday afternoon in St. James's Hall. Though left much to desire in one very important department-viz., the its announcement did not, as we expected it would have done, fill chorus, which, in the "Eia mater" (bass solos, by Signor Vialetti), the hall to overflowing, yet the audience was large, and many and still more in the final "Amen" (embracing Rossini's idea of tinguished persons were present. Prince Galitzin, on presenting a fugue, "en robe de chambre "of which the cleverest and most himself in the orchestra in the capacity of conductor of the congifted pupil of the learned Padré Mattel ought to have been cert, was received with loud and prolonged acclamations. He is a ashamed), was in all respects unsatisfactory. Nevertheless, such man of a striking aspect; tall, stout, and portly, with a handsome fine declamation as that of Mlle. Titiens in the "Inflammatus," and noble countenance, and an air of great dignity. He conducted and such absolutely faultless singing as that of Mad. Alboni in the performances with the skill of a practised musician, wielding the "Fac ut portem Christi mortem," would have atoned for much his baton of command with remarkable grace, and beating the more lamentable shortcomings. The duet between these two ladies measure with very great clearness and precision. Altogether, ("Quis est homo ") was equally to be admired, while Signor this high-born stranger did not disappoint the expectations of Giuglini in "Cujus animam gementem," and Signor Everardi in those who were led by his illustrious name which is a household "Pro peccatis," exhibited not only a thorough acquaintance with the word among musical amateurs-to look at him with curiosity and text but the power of expressing it, each, after his manner, to perfec- interest. The concert consisted wholly of Russian music, untion. On the whole this performance of the Stabat Mater afforded known in this country, but calculated to give a high idea of the the utmost gratification. It was succeeded by the exquisite "Ave state of the art in the far North. Several of the pieces were comMaria," from Mendelssohn's unfinished Loreley, Mad. Catherine posed by Prince Galitzin, and showed him to be-not a mere Hayes giving the soprano solos with her accustomed sentiment, amateur, but a thorough artist, possessed of original genius and the characteristic horn-parts in the orchestra being irreproachable, great technical acquirements. A chorus, "Santa Maria," which and the chorus far more satisfactory than in the Stabat of Rossini. opened the concert, was a piece of ecclesiastical harmony equally An eccentric solo on the violoncello, eccentrically (though skilfully) remarkable for purity of style and grandeur of effect. There was, rendered by the composer, Signor Pezze, and eccentrically accom- too, a charming Romance with an "obbligato" accompaniment for panied by the orchestra, was the next display. To this succeeded the violoncello, sung by Mad. Sainton-Dolby, and accompanied by the famous "Tyrolienne" from Donizetti's Betly, superbly sung M. Réné Douay, which enchanted the audience; and there was, by Mad. Alboni; Thalberg's most elaborate, individual, and me- lastly, a waltz for the orchestra, which, in vigour, brilliancy, and chanically difficult fantasia for pianoforte alone (on the prayer masterly treatment, reminded us of the best things of poor Jullien. from Mosé in Egitto-which first introduced the celebrated In short, this illustrious amateur showed himself a master of every Viennese pianist to an English public, at the Philharmonic Con- style of music. Besides these compositions of Prince Galitzin, certs, some 20 years ago), performed by Miss Arabella Goddard, there were several superb choral pieces of Bortniansky, a comThalberg's favourite pupil; an Irish ballad, sung by Mad. Cathe- poser whose renown has reached this country, and whose music rine Hayes; a duet for two pianofortes, on themes from Robert le ought to be better known among us; and there were two speciDiable, composed by M. Léopold de Meyer, who, with Mr. mens of Glinka, a famous dramatic composer of the day; one, a Benedict as partner, undertook its performance, and succeeded in beautiful trio from a Russian opera, sung by Miss Louisa Pyne, astonishing and delighting the audience in an equal measure; Signor Mongini, and Mr. Patey; and the other a mazurka, Rode's familiar air with variations, sung with extraordinary bril- played with remarkable grace and brilliancy by Miss Arabella liancy and great applause by Mlle. Artôt; and Meyerbeer's vigo- Goddard, who was enthusiastically called upon to repeat it, rous and characteristic March composed for the 100th anniversary but contented herself by gracefully acknowledging the comof Schiller's birthday, and now heard for the first time in England. pliment. Though the concert consisted of modern compositions, Here, it might have been thought, was enough for any one concert, they were, for the most part, strongly marked with the Russian however ambitious its pretensions. Mr. Benedict, however, was national character, a circumstance which enhanced their interest. evidently not of this opinion, inasmuch as Meyerbeer's march had The performances were received with the greatest enthusiasm ; only brought us to the "half-way house." The whole third act most of them, indeed, were encored, and at the conclusion Prince of Rossini's Otello (in costume, as on ordinary operatic evenings), Galitzin retired from the orchestra amidst thunders of applause in which Mad. Borghi-Mamo and Signor Mongini, as Desdemona from all parts of the hall.. and Otello, have reaped such well-earned laurels at Her Majesty's Theatre, and Gnecco's Prova d'un Opera Seria (the only opera buffa, by the way, of its composer that has defied the encroachments of time) were still to come. All who stayed to listen to Rossini's admirable music were enchanted; and we have reason to

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MAD. SAINTON-DOLBY'S TWO CONCERTS. For many years past there have been so many entertainments in the months of May and June, that space cannot be found in our columns for doing them common justice. Here, for instance, are two of the

best concerts of the year, and we are obliged to curtail our account of them, for only a few lines are available. The bénéficiaire sang, in the course of the two performances," Ah s' estinto," Mercadante; "The Skipper and his Boy," Miss V. Gabriel; "It was fifty years ago," in which Mr. Hatton has so well illustrated Longfellow's beautiful ode on Professor Agassiz; "Janet's choice," Claribel; "Per pietà," (Cosi fan tutte) Mozart; and "Che faro" (Orfeo), Gluck. The pure expression, artistic phrasing, and thoroughly musical voice of Mad. Sainton are always welcome; and it is now quite superfluous to say that her concerts were attended by crowded audiences. A special word of commendation is due to Miss Marian Moss for her correct singing of an air from Spohr's Azor and Zemira. Among the other notabilities were Mad. C. Hayes, Signor Belletti, Mad. Lemmens Sherrington, with her pet" Shadow song" (Dinorah); Mr. Santley, Mr. Montgomery, who has appeared before now as Signor Luigi, Mad. Rieder, Mlle. Parepa, and Signor Belart. The instrumental music, performed by Miss Arabella Goddard, Mr. Hallé, Messrs. Sainton, Ries, Doyle, Piatti, and Paque, comprised, among many well-known and welcome works, Dussek's sonata in B flat, pianoforte and violin, played to admiration by Miss Goddard and M. Sainton; Mendelssohn's trio in D minor by Mr. Hallé, and MM. Sainton and Paque; the splendid Op. 26 (sonata with funeral march) in A flat of Beethoven, by Mr. Chas. Hallé; and Benedict's fantasia on "Where the bee sucks," by Miss Goddard, who, though loudly encored, declined to accept the compliment. M. Sainton's violin playing was, as usual, the theme of unanimous praise. The concerts took place in St. James's Hall.

THE FIRST DRESS REHEARSAL (as it is the fashion now to call certain musical entertainments heretofore denominated "concerts") of "The Arion," a new musical association, was given on Thursday evening at the Architectural Gallery, Maddox Street. The programme, of unusual excellence, comprised Mr. Macfarren's May Day; selections from Mozart's Clemenza di Tito; Neithardt's motett, for eight-part choir, "Misericordias Domini; " Webbe's glee, To love I wake;" Mendelssohn's part-song, "Autumn Song;" part-song, "On the Rhine," by W. C. Filby; besides songs, duets, and trios, sung by Mad. Gilbert, Miss Alleyne, Miss Hughes, Mrs. Paget, Miss Fosbroke, Miss Bramly, Miss Boden, Mile. Charlier, Messrs. Redfearn, H. Regaldi, and Wallworth. Mr. Macfarren's cantata was on the whole most creditably rendered, the chorus being steady and correct throughout, and evidently working with a will. Mad. Gilbert, in the song "Beautiful May," won a decided and well-merited encore. The selection from the Clemenza di Tito pleased universally. The performances entitled to special mention were the aria "Parto," by Mad. Gilbert, with clarinet obbligato by Mr. Williams; duet, "Ah! perdona," by Miss Fisher and Mrs. Paget; and the tenor air, "Ah, se fosse," by Mr. Redfearn. As a relief to the vocal music, Mr. Winniatt Smith (violin), Mr. Alfred Gilbert (piano), and Dr. Bennett Gilbert (harmonium), played Gounod's Meditation sur un Prelude de Bach, and Mr. Williams executed a fantasia on the clarinet, both with capital effect. Mr. Alfred Gilbert conducted.

HERR ERNST PAUER'S ORCHESTRAL CONCERT came off at the Hanover Square Rooms on Wednesday evening. Beethoven's concerto for the pianoforte, No. 5, Op. 73, in E flat, was the principal instrumental display, and was executed finely both by pianist and orchestra. Herr Pauer's other performances were Prelude and Fugue by Bach, Studie in Canonischer Form, Op. 56, No. 4, by Schumann; Weber's Momento Cappriccioso; Schulhoff's Aubade; and his own transcription of the Spanish air, "La Calesera." The Cappriccioso of Weber and Aubade of Schulhoff were both extremely effective. The band-selected from the Royal Italian Opera and Philharmonic-played the overtures to Figaro and Prometheus. Herr Pauer's contributions were important. These were, in the vocal department-recitative and air from the operetta Don Riego, for bass voice, and the 23rd Psalm, "The Lord is my Shepherd," written for chorus and solos of female voices, with accompaniment of pianoforte obbligato-both, we believe, given for the first time in public. The Psalm is the composition of a skilled and thoughtful musician, and was extremely well executed by the choir of female voices. The bass recitative and air found a capital interpreter in Mr. Thomas,

and was much applauded. Herr Pauer's instrumental contributions included a pianoforte arrangement of the Spanish air just alluded to, and a concerto for the clarinet. The last is admirably written for the instrument, and was executed to perfection by Mr. Lazarus. This performance created a great sensation, the audience recalling Mr. Lazarus at the end with enthusiasm. Herr Kömpel performed a fantasia on the violin, by Spohr, with admirable dexterity. Mad. Rieder introduced a new bravura, Le Carnaval de Rome, in which her rare facility and command of the higher tones were conspicuously displayed; and joined Mr.. Thomas in the duet from Figaro "Crudel, perchè." Herr Molique and Mr. Henry Leslie were the conductors.

HERR WILHELM KUHE, the well-known professor of the pianoforte, gave his annual morning concert at St. James's Hall, on Thursday. It was a miscellaneous affair, but extremely good of beautiful sonata in B flat, for pianoforte and violin; duo for piano its kind. Herr Kuhe himself performed, with M. Sainton, Dussek's and harmonium with Herr Engel; and two solos of his own composition. Herr Kuhe is an admirable executant, and while he played all the foregoing pieces capitally, he was most particularly effective in Dussek's sonata (which is attaining a wide popularity) and in one of his own solos, Grande Fantaisie de Concert, on airs from Dinorah. M. Sainton played his own fantasia on the Figlia The rest of the programme del Reggimento with brilliant success. was devoted to vocal music rendered by Miss Louisa Pyne, Mad. Rieder, Mad. Sainton-Dolby, Signor Belart, Mr. Tennant, Signor Oliva, and Mr. Santley; wherein Mad. Rieder, inasmuch as she was recalled after singing the Carnaval de Venise, appeared to carry away the vocal honours of the evening. The Carnaval certainly, and the ballad "The Skipper and his Boy," by Mad. SaintonDolby, were the most effective performances in the vocal department. The hall was crowded with bonnets, and the male sex seemed in a decided minority. Herr Kuhe should congratulate himself on the patronage of the fair sex. No doubt the popular pianist reckoned upon such an audience, as the selection was of a kind to be addressed especially to the ladies.

MLLE. CAROLINE VALENTIN'S MATINÉE.-The morning concert of Mlle. Caroline Valentin, an eminent professor of the pianoforte, took place on Wednesday afternoon under distinguished patronage. The entertainment was held in the Hanover Square Rooms, which were crowded to the walls with a fashionable audience, among whom the fair sex, as usual at morning concerts, considerably predominated. Mlle. Valentin has evidently not been idle since her last appearance in public (about a year since). Her own part in the performance was both trying and ambitious, including no less than five pieces-two in the classical style, one in the so-called "romantic," and two in the modern" brilliant," which taxes the mechanical rather than the intellectual capacity of the artist. To the first category belonged Haydn's charming trio in G, for pianoforte, violin, and violoncello, in which Mlle. Valentin was associated with MM. Buziau and Paque, and Beethoven's well-known sonata to which the title of Mondscheins ("Moonlight") Sonata has been assigned by certain of its more enthusiastic admirers. The "brilliant-school" was represented by Kullak's showy and difficult caprice entitled Les Arpeges, and the late Fumagalli's clever imitation of Thalberg, in the shape of an improvisation on "A te o cara." M. Stephen Heller's second and best Tarantella vindicated the claims of the "romantic" style to the attention and applause of connoisseurs. In all these compositions Mlle. Valentin not only exhibited that manipulative talent and command of expression which have been praised on former occasions, but a very decided improvement. In the pieces of Haydn and Beethoven she displayed both thought and facility, and in Kullak's Arpèges achieved a marked and well-merited success. All her efforts were honoured with the most encouraging tokens of approval. M. Victor Buziau, who took the violin part in the trio, proved himself-in one of Ernst's most arduous tours de force- -a solo player of more than common ability; and M. Paque performed a romance and bolero of his own (on the violoncello) to perfection. The vocal selection was excellent, and judiciously varied. M. Depret gave Hoel's romance in Dinorah with real feeling; Mlle. Kettler two German lieder in a pleasing and unaffected manner; and Mad. Rieder the variations on the

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