except Geronimo, after the modern fashion-an anachronism as well as absurdity-and to allow the old merchant to attire himself according to the period of Queen Anne, or the first George. Happily, now all is rectified at Her Majesty's Theatre; and the characters without exception appear costumed after the manner of the last century.

The Matrimonio Segreto has not been repeated, nor even reannounced; why, we cannot say. All we know is, that it is worth repetition.

ROYAL ITALIAN OPERA.

THE Huguenots was repeated on Saturday, when Her Majesty and the Prince Consort were present.

On Tuesday Martha was given for the second time, and obtained a second triumph for Mario and Mad. Penco.

The performance of Gluck's Orfeo é Eurydice, on Wednesday evening, which had furnished a topic of conversation to musicians for weeks previously, did not attract a large attendance of the general public. Nevertheless, almost every connoisseur in London was present, and excitement and curiosity were carried to an unusually high pitch. It had been announced that Orfeo é Eurydice would be "illustrated by costume, scenery, and decoration," whence, naturally, it was inferred that Gluck's great lyric work would not be presented in a dramatic form, but as a pictorial concert entertainment. It turned out, however, that the announcement was supererogatory, since Orfeo was given as an opera proper, with all the accessories of stage effect and action. The advertisements, therefore, intimated more than was required. The director was determined that the old German master should not suffer for want of attention. The cast of the principal personages was perhaps as strong as it could be made in the present time. Mad. Csillag sustained the part of Orpheus, Mad. Penco that of Eurydice, Mad. Miolan-Carvalho that of the Happy Shade (L'Ombra Felice) and Mad. Nantier-Didiée L'Amore. Nearly the entire weight of the performance falls upon Orfeo, who is rarely absent from the scene. Mad. Csillag, however, to her other estimable qualities, adds that of great sustaining power, which enables her to go through the longest and most exciting opera unfatigued. In such a part as Orfeo this is absolutely requisite, and without it the best powers, natural and acquired, would be of little avail. Mad. Csillag, as she had already demonstrated in Fidelio, possesses amazing energy, and has the finest tragic instincts. Her intensity and passion in Beethoven's heroine could hardly be surpassed, and these qualifications were again exhibited in Gluck's opera. Her greatest effects were produced in the grand bravura, "La speme in sen ritorna," and in the scene with Eurydice, in which, after his wife is a second time snatched from him by death, just as he had recovered her from Hades - a scene of wondrous beauty, somewhat spun out, notwithstanding - Orpheus sings the well-known air, "Che farò senza Eurydice." On both occasions Mad. Csillag proved herself no less a consummate vocalist than tragadienne, and was overwhelmed with applause. We might cite many other points in her performance, but the above suffices to indicate in what estimation we hold Mad. Csillag, and what were the feelings entertained by the public of her very rare merits.

The other characters, comparatively subordinate, were most ably supported. Mad. Penco's Eurydice was thoroughly artistic.

Even her death was remarkable for the natural manner in which it was accomplished. Her vocal displays were restricted to the long (somewhat too long) duet with Orpheus, when Eurydice issues with him from the infernal regions, of which she made the most. Mad. Carvalho gave the single air of The Happy Shade, "Questo prato sempre ameno -a pastoral of infinite beauty with great charm of voice; and Mad. Nantier-Didiée, by her singing, dress, and manner, gave due effect to the impersonation of the God Cupid, who, in the end, is the means of rendering the lovers happy, whereby the author of the libretto is at odds with Heathen Mythology.

The scenery, more especially the view of Elysium, is very beautiful. The ballet of the Happy Shades was received with unbounded applause. Of a very different character is that of the

Furies in the opening of the second act; which, if not so attractive, is far more vigorous and picturesque. We may take another opportunity of speaking of the music. At present we must content ourselves with recording the entire success of the revival of an undoubted master-piece; and trust that the performances of Iphigenia in Tauris, at St. James's Hall, and Orfeo é Eurydice at the Royal Italian Opera, may be productive of genuine results. The success of Orfeo, as we have said, was decided. The chorus, band, and conductor, all contributed largely to the triumph. The opera is to be repeated this evening.

On Thursday, the first performance of Norma this season, and the last appearance but one of Mad. Grisi in the part she has made so peculiarly her own, with the additional attraction of the second act of Fra Diavolo, drew together one of the most crowded and fashionable audiences ever assembled in this theatre. Every part of the house was filled to overflowing, and scores of "La Diva's" admirers were disappointed in not being able to procure even standing room. The Queen and suite occupied the royal box, and the whole performances elicited a series of "ovations," for, evidently affected by the brilliancy of the audience and their enthusiastic reception of her, Mad. Grisi exerted herself with even more than her wonted fire, and "barring" the natural vocal deficiencies, the entire personation of the erring Druidess was one of the most effective we ever witnessed, even in the palmiest days of the great queen of Italian song. Mad. Corbari, as Adalgisa, her old and best part, was nothing inferior to the most graceful Adalgisa of her earlier days, while Signors Neri-Baraldi and Tagliafico, in place of Signor Gardoni and M. Zelger, were admirable as Pollio and Oroveso. In fact Pollio is decidedly Signor Neri-Baraldi's best performance, and Signor Tagliafico only wants weight to make a most impressive high priest of the Druids. As usual, the chorus, scenery, dresses, and appointments were perfect, and the brass band better in tune than usual. The applause during the performance was most enthusiastic and spontaneous, and both at the termination of the first act and of the opera, Grisi was recalled and applauded with that peculiarly hearty warmth which she seems to obtain more spontaneously than any other artiste before the public.

The second act of Auber's sparkling chef d'œuvre, with the brilliant vocalism of Mad. Miolan-Carvalho, the humours of Signor Ronconi, M. Zelger, and Signor Tagliafico, and the graceful singing of the serenade, Young Agnes," by Signor Gardoni, brought the evening's entertainment to a most satisfactory conclusion.

66

The Prophete, long expected, is at last promised, and Signor Tamberlik is announced to make his first appearance this year as Jean of Leyden.

MOZART-CHILD AND MAN.

(Continued from p. 370, Vol. 38.)

116.

The Same to the Same.

Milan, Nov. 21, 1772.

We are, heaven be thanked, as well and lively as fishes in water; for

during the last week it has rained frightfully. To day is the anniversary of our marriage. It is now, if I mistake not, five-and-twenty years ago since we had the happy idea of getting married, to say nothing of the

years we thought about it beforehand; good things require time. The "primo uomo" M. Rauzzini has arrived. The work goes on increasing. We shall have also our little comedies to go through, as is justly expected when theatrical affairs are in question; but such things are mere trifles. The figs which Wolfgang carried away with him from Salzburg were as miraculous as the loaves and fishes in the Gospel; they have lasted until now.

Yes! yes! we have a mighty deal to do; when we are not working there are still all sorts of arrangements to see to.

Milan, Dec. 5, 1772. My bad pen does not prevent our being in good health. Yesterday only did the De Amicis arrive. The poor tenor, Cardoni, has fallen so sick that he cannot come. They have sent for some one to take his place to Turin and to Bologna. He must be not only afgood singer, but a good actor, with an imposing appearance, to represent with honour the character of Sylla. These are the two principal causes which have retarded the composition of the opera. Now it will proceed at a sound pace.

P.S. from Wolfgang.-Fourteen pieces more to do, and I shall have finished. It is true that the duo and the trio may count for four pieces. Can't possibly write you at any length, for I know nothing-first reason; second reason, I don't know what I am writing, my head is so full of the opera; I am in danger of sending you an air instead of words. I have learned a new game here which is called Mercante in fiera. We will play it as soon as I come back. I have also learned of a lady a new tongue which is easy to speak, difficult to write, but useful nevertheless. But it is a little-childish, although excellent for Salzburg. My compliments to our pretty Nandl and to our canary, for those two creatures and yourself form the most innocent part of the household. Your chapel master Fischietti will, no doubt, soon begin working at his opera buffa-that is to say in Germany, at his foolish opera.

HER MAJESTY'S THEATRE. This Evening

machinery, and appointments, which will present features of special interest, Weber's grand romantic Opera of OBERON, with the following powerful cast:-Reiza, Mile. TITIENS; Fatima, Mad. ALBONI; Puck, Mad. LEMAIRE; Mermaid, Mile. VANERI; Sir Hugo, Signor MONGINI ; Oberon, Signor BELART; Scherisman, Signor EVERARDI; Babiken, Signor GASSIER. The whole produced under the superintendence of J. R.

The scenery will be a succession of chefs-d'œuvre, artistic and scientific. The scenic artists, under the direction of M. Flandin, who has visited all the countries of Ancient Assyria, Babylon, and Nineveh, and of Shaperer, who brought home most of the Assyrian collection in the Louvre, have reconstructed ancient Babylon. It is as though the Champollions, the De Sauleys, the Longpériers, who decipher with fluency the cuneiform characters and other hieroglyphics, had succeeded in restoring Babylon by the help of a handfull of stones, just as, through a sequence of analogies, suggested by the configuration of a dry bone, or a fissure in a rock, Cuvier used to reconstruct antediluvian monsters. It would almost seem that the most renowned artists had braved the fatigues and dangers of

been made), and Mr. R. RoxBY. The Recitatives by Mr. BENEDICT, pupil of the composer of this great work, who will direct the Orchestra. Pit Tickets, 8s. 6d.; Gallery Stalls, 58.; Gallery, 38.4 to be obtained at the Box-office of the Theatre (under the Portico), which is open daily from 10 to 6, and on the evenings of performance until the end of the Opera.

ER MAJESTY'S THEATRE. Grand Volunteer

HE

Night. Under the immediate Patronage of Her Most Gracious Majesty the Queen and His Royal Highness the Prince Consort Grand REPRESENTATION Council of the National Rifle Association have the honour to announce that Mr. E. T. SMITH having most liberally placed the above Theatre, together with the whole of the

in BEHALF of the FUNDS of the NATIONAL RIFLE ASSOCIATION. The

Artistes engaged, gratuitously at the service of the Council of the National Rifle Asso.

ciation, a GRAND PERFORMANCE will take place on Monday next, July 2, under the immediate patronage of Her Majesty the Queen and his Royal Highness the Prince Consort, when will be performed the First Act of NORMA. Polonini, Signor MONGINI; Flavio, Signor SOLDI; Oroveso, Signor VIALETTI; Adalgisa, Mile. VANERI; and Norma, Mile. TITIBN3. Conductor, Mr. BENEDICT. After which a Grand Pas de Deux by Mlle. CLAUDINA CUCCHI and M. DURAND (being their last appearance this season). To be followed by the Third Act of OTELLO. Otello, Signor MONGINI; Jago, Signor EVERARDI and Desdemona, Mad. BORGHI-MAMO. After which the Third Act of LES HUGUENOTS. Raoul, Signor GIUGLINI; Il Conte St. Bris, Signor Conductor, Signor ARDITI. To conclude with Rossini's Opera of IL BARBIERE DI Signor GASSIER; Don Basilio, Signor VIALETTI; Berta. Mlle. DELL'ANESE; and Rosina, Mad. ALBONI, who will sing in the lesson scene Rode's Air, with Variatious. Conductor, Siguor ARDITI Pit Tickets, 8s. 6d.; Gallery Stalls, 55.: Gallery, 35.; to be obtained at the Office of the National Ride Association, 11 Pall Mall East; Mitchell's Royal Library, Old Bond Street; Sams's, Regent Street; Hammond's, Cramer and

GASSIER; 11 Conte di Nevera, Signor EVERARDI; and Valentina, Mle. TITIENS. SIVIGLIA. Conte Almaviva, Signor BELART: Dr. Bartolo, Signor CIAMPI; Figaro,

Beale's, Regent Street; and at the Box-office of the Theatre, which is open daily from

10 to 6.

ROYAL ITALIAN OPERA, COVENT GARDEN.

LE PROPHETE.-Signor TAMBERLIK. Meyerbeer's Grand Opera LE PROPHETE is in rehearsal, and will be produced in the course of a few days. Fides, Mile. CSILLAG; Jean of Leyden, Signor TAMBERLIK (his first appearance this season). Floral Hall, Covent Garden.--An Exhibition of Roses, Fuchsias, Cactus, and Stove and Greenhouse Plants, will take place on Wednesday, July 18.-A List of Prizes, together with full particulars, will be published in the course of a few days.

the most fertile, industrious, and clear-sighted critics had unravelled the history and the arts of Asia, by the aid of Bactrian medals, &c., only to enable, the management of the French Opera to offer the Parisian public a spectacle perfectly unique, the first, and probably the last, of its kind.

Everything, we are told, has been consulted, searched, read, analysed. Copies have been made of landscapes, views, monuments, and ruins brought over, first by M. Flandin, and then by Lottin: the superb ruins, the grand and free aspect of nature, which shines forth in solitude, and constitutes a series of magnificent spectacles, with no other witnesses than Heaven and the savage beasts.

The first act is to represent Babylon as that famous city was in the year 1916 B.C. The colossal canvasses of our English Martin are nothing in comparison. Piranes, in his architectural dreams, alone has anticipated the unparalleled scene. Another scene, no less ambitious, is to revive the hanging gardens of Babylon.

depth, in which the painter, it is said, has realised the most That of the third act will present a crypt of immense vivid idea of unfathomable darkness. Here the sepulchres of the Assyrian Kings are erected. The Tomb of Ninus is also, if report speaks truth, a master-piece of pictorial art and mechanical contrivance. Those who have seen, at the Italian Opera, the ghost of Ninus, dressed in a sheet, issue from an ordinary gateway, just like an ordinary mortal, have naturally smiled at the absurdity. At the French Opera this apparition will be sombre and awful; the ghost of Ninus, illuminated by a strange light, will ap pear at the summit of a Babylonian flight of steps, and

vanish into space, with a boldness worthy of the architects who conceived the notion of constructing Babel.

The costumes are to be unexampled for accuracy and richness. With respect to accuracy, the artists possess authentic models at the Museum, in the statues of Assyrian kings and priests, with faces buried in heavy tresses, beards delicately plaited, falling in squares upon their breasts, enveloped in rich mantles, with hierarchal designs arranged in the shape of fans, with tiaras, radiated crowns and arms, conveying, in a word, the most precious information concerning the dress, insignia, and weapons of the ancient Asiatics. Thus will old Babylon be resuscitated.

Great embarrassment was felt about the dance matic. Semiramide. The manager was naturally desirous not to interpolate any other music in the immortal master's work. At length, however, thanks to M. Bordeze, they succeeded in finding a cantata with dance-music, composed by Rossini himself for Mlle. Colbrand, his first wife, in 1818, on the occasion of a fête given at Naples, in honour of the restoration of the Bourbons, whose dynasty would appear at this very moment in such imminent peril.

Sig. Carafa (composer of Le Valet de Chambre, Mazaniello, and other operas, and an intimate friend of Rossini's) has added recitatives. It was impossible to procure a complete score of Semiramide. When Rossini wrote it, it was not the custom in Italy to engrave music, and the copyist of the theatre furnished scores to such theatres as required them. These, generally the handiwork of non-musicians, were exceedingly incorrect, and, moreover, almost invariably incomplete. Most of the theatres, possessing scanty orchestras, from motives of economy, gave orders for so many parts as they had instruments to play from. The quartet of string was more attentively copied than the wind, but all the rest was more or less defective. According to Rossini, even at the Théâtre-Italien they never possessed the score as he composed it. To obtain it for the Opera, it was necessary to engage in researches as long as they were beset with difficulty, and to consult the libraries of several theatres in Italy. At last, however, the management succeeded in obtaining a tolerably complete version of the master's work. On the first representation of Semiramide, Galli, who played Assur, overcome by the emotion he experienced, sang persistently sharp. He was quite aware of his fault, but had not sufficient self-possession to correct it. Consequently, at the fall of the curtain, he endeavoured to evade the composer, who he knew to be on the stage. Rossini, however, catching sight of Galli, ran up to him with open arms, and exclaimed:"Vieni, porco, let me embrace you! You have sung admirably out of tune all the evening."

About the well-known overture, a Belgian critic relates the following:

The first allegro of the overture is a master-piece of vigor, gaiety, and freshness. Rossini has selected the motive of this allegro for- what do you think, reader? - for the funeral march to be played at his own burial. This is highly philosophical. The master sees himself in his coffin, and yet remembers his brilliant youth; he takes one of the most sparkling inspirations of that happy period, veils it in the sombre crape of mourning, and turns it into a funeral dirge, as if he wished to charge youth itself with the task of bewailing his death. The funeral march thus manufactured exhibits a power, grandeur, and desolation of which nothing can convey an idea. It seems as though we heard the weeping and wailing of an immense city-of a modern Babylon; as though the souls of the illustrious composer's operas had come, with tears and groans, to lead him to his last home.

Credat Judæus! that is if Judæus pleases. For our own parts we don't believe the Belgian critic. But to return to

Semiramide. The production of this master-piece at the Paris Opera will be an event in the artistic world. The management have bestowed the greatest care on all the details of mise-en-scène, costumes, orchestra, and general execution. Such perfection as a whole will, it is said, have rarely been witnessed. The difficulty seems to us to rest with the singers. If the sisters Marchisio have not been over-praised, they are first-class artists. At rehearsals they have won general and unreserved approval. The sequel remains to be seen.

SOME proofs have been forwarded to us of a forthcoming work, entitled "The Russians at Home; Sketches of Literature and Society in Moscow and St. Petersburgh." For what purpose they were sent to us we cannot say ; probably for no purpose at all, but by mistake, and in lieu of certain Musical World proofs which have not reached us this week. But these misdirected sheets are welcome, inasmuch as they contain what an esteemed writer in the Sunday Times would call "informatory" remarks on modern Russian music, a subject which, between the Russian concert of last week and the Russian concert of the week to come, must certainly be considered à l'ordre du jour. We do not apologize for printing in the Musical World what the author of the "Russians at HomeSketches, &c." doubtless intended should first meet the public eye in the pages of his book (of which, by the way, he can send us a copy when it is ready, accompanied by an advertisement); and we are of opinion that we have already sufficiently repaid him for the little we intend to borrow from his chapter on Russian music, by simply mentioning that his "Sketches, &c." contain such a chapter.

"Russia," says our unknown friend, " may be expected to produce some good operas." (So may Nova Zembla, if any one chooses to entertain such an expectation.) "The people," he adds, "are passionately fond of music, and the Government encourages it" (which we also knew). "The Russians," he continues, "appreciate good singing, and have produced some excellent vocalists" (why does he not mention, by way of instance, Ivanoff, late of Her Majesty's Theatre ?); "while their national music, for character and true melody, is on the whole superior to that of any other nation in Europe." (Cries of "Oh!" from the author of "Popular English Music of the Olden Time.")

The writer (whom we will not interrupt again even for the sake of instructing him) goes on to give an account of the number of foreign musicians who at various times have visited Russia, and assures us that the music of the Russian Church has been praised by Paesiello, who lived for some years in St. Petersburgh. Boieldieu, who wrote several operas for the Russian stage (during the reign of Catherine), has also expressed his admiration of the Russian Church music, and especially of Bortniansky's contributions to it. Clementi, the pianist, is another of those eminent musicians who have always been welcomed in Russia. He was accompanied there by his pupil, John Field, who, when he was not playing the piano, was always drinking champagne, and who died of the latter in Moscow.

The modern Russian composers (according to the author of the misdirected proofs) write a great deal more vocal and the best of them have a decided national character. than instrumental music. Their songs are very beautiful, Several Russian airs have been appropriated by German composers, who have had German words written to them; for instance, the "Red Sarafan" (the first of the melodies

played so admirably by Wieniawski) and the "Troika," called in German "Die blaue augen." Count Vielgorski's, or Wielhorski's, "Buivala," which, though an original melody, has all the national characteristics, has been made the subject of a fantasia by Vieuxtemps. Every one knows the magnificent national hymn by Lvoff, the Director of the Imperial Choir, who has also written numbers of more familiar strains, and who has even supplied the gipsy companies of Moscow with some of their most popular airs. (Here let us be pardoned for breaking once more the thread of our friend's discourse to tell our readers, that after attending any number of Prince Galitzin's concerts-even if the Prince had his own choir to support him-they would still have a very incomplete notion of the popular music of Russia, as long as they had not heard the Moscow gipsy companies).

Varmaloff, one of the most graceful romance-writers of the day, has also composed or arranged music for the gipsies; and one of their favourite melodies, of which the burden is well-known in England, and which is also introduced in the ballet music of the Spanish dancers (itself full of gipsy characteristics) is signed by Glinka, who, however, can only have harmonised it, for the tune belongs certainly to the gipsies themselves. Various other Russian composers have written for the gipsy troops; and it appears to us that the modern Russian music may be divided into (1) melodies in the style of the old national airs, and (2) melodies founded on, or imitated from, the traditional airs of the gipsies, such as Alabieff's "Nightingale," "He loves me no more," and a dialogue-song, of which the name escapes us, but in which a young man makes all sorts of desperate promises and professions of love to a young girl who laughs at him and rejects him, because, in her character of gipsy, she values nothing so much as her own liberty. Both styles appear quaint to foreign ears; but the former is distinguished by great simplicity and sadness, the latter by wildness and passion, and by a certain oriental character. Naturally in some of the songs of the present day there is a union of the two styles; and, as in all European countries, a certain number of airs are published which are imitated more or less from the Italian. But in spite of the influence of the Italian Opera, and of the numerous Italian composers who have visited the country and written for its stage; in spite too of the number of German musical professors who have settled in St. Petersburgh and Moscow, the Russians have certainly a national school of music, as can be shown, not only from their songs, but from the operas of Glinka and Verstovsky.

Of Glinka we need not speak again at present, but as the name of Verstovsky will be new to the great majority of our readers, we may mention (on the authority of the same informant as before) that he is the director of the Moscow Opera, the composer of a great many songs (several of which are written for the gipsies), and of the music of two serious dramatic works, "Askoldova Mogila" (The Tomb of Askold), and "Gramoboi." Askoldova Mogila is not, and cannot be, esteemed by the Russians in a scientific point of view. The overture is miserably poor; there are no concerted pieces of any importance, nor is there even an attempt in either of the acts at a regularly constructed finale. By a musician, then, Askoldova Mogila would be at once set aside, that is to say, if judged only by the merits of its composer; but at the same time much of the music is interesting to a foreigner, because it is really national instead of being imitated from the Italian. As the composers for the gipsy troops write music in the gipsy

style, so Verstovsky, in treating a national subject, has given a national colouring to his melodies, even if he has not in a direct manner laid old Russian airs under contribution, which he sometimes appears to have done. There is a tune in polacca measure for the hero which is quite in the style of those sung by the boatmen on the Volga (it must be remembered that polacca or polonaise is a misnomer, as that particular form of melody, like the mazurka, is in special favor with all the Sclavonian nations), and the prima donna has an "Air with Chorus" which is also strikingly national. A large proportion of the melodies in this opera are in a minor key, as are by far the greater part of the old national airs; and the opera also abounds in airs with choral refrains or responses, which is another charac teristic of the Russian popular music, whether sung by the peasants, the gipsies, or the Cossack companies. Askoldova Mogila, then, is essentially a popular work, and we can understand that the habitués of the Italian Opera and of the St. Petersburgh Philharmonic Concerts have no great opinion of it, though we repeat that it is full of interest for a foreigner.

We cannot take leave of Askoldova Mogila without calling attention to a strange account given of it by Baron Haxthausen in his valuable work on Russia. This learned economist has the eccentricity to state that it reminded him of La Sonnambula and Der Freyschütz. We should have thought that if it recalled one of these operas it could not very well have suggested the other, for there are no points of resemblance between the two. Nor can we understand how the music of Verstovsky could remind any one either of Bellini or of Weber. Verstovsky's last opera of Gramoboi would doubtless appear to Baron Haxthausen a veritable Der Freyschütz, for it is founded on a legend (which forms the subject of one of Joukovsky's poems), and involves the sale of a soul to the evil one. The action, as in Askoldova Mogila, takes place at Kieff, and the sins of Ruric the Norman again appear. This piece, which was produced in Moscow in 1857, had no success as an opera, and attracted only as a spectacle.

Some of the very finest Russian music, however (as those of our readers who were present at Prince Galitzin's recent concert will readily believe), is that which is executed by the Russian chorus-singers, of which there are numerous companies, organised under Government direction or by private individuals. All the works of Bortniansky and Lvoff are admirably sung by the Imperial Choir at St. Petersburgh, which numbers one hundred and ten of the finest voices imaginable, the basses and tenors being especially remarkable. The most celebrated choirs at Moscow are those of Philaret the metropolitan, and of Prince Galitzin (not the Prince Galitzin of Tamboff, and of St. James's Hall), who has built one of the most beau tiful chapels in the city. At the monastery of the Don, a few versts from Moscow, there is also an admirable choir, but composed only of men (and not of men and boys as elsewhere). In addition to the churches, each regiment has its choir, as well as the principal charitable and educational establishments; indeed, it would be difficult to hear choral music more perfectly executed than at the Foundling Hospital of Moscow.

REFERRING to the present competition between the managers of the two Italian Operas in London, and speaking of the advantages resulting from it to the public, as well as of the zeal manifested by the artists in seconding

the efforts of the particular managers with whom they are respectively connected, M. Achille Denis published, in a recent number of the Revue et Gazette des Théâtres, some very sensible observations, with which we entirely agree and which we think it useful to reprint.

"Singers of great talent and of European reputation, stars from our first lyrical theatres, artists who are difficult to manage and very susceptible, condescend to accept in London parts which, we are convinced, nothing in the world would induce them to play in Paris. By what miracle, by what piece of good fortune is it that the English are enabled to applaud Mad. Borghi-Mamo and Mad. Didiée singing, in the Huguenots, the part of the page, Urbain, and MM. Gassier and Faure that of SaintBris? The audience of our Opéra will never witness such a thing, which doubtless would surprise, but certainly delight them.

"Such a method of executing master-pieces must enhance the value lue of the latter, and afford the public a thousand otherwise unknown sources of delight. As far as we are concerned, we are at a loss to understand why the same thing cannot be done in Paris; we do not, above all, understand the reasons which induce a first-class singer to refuse in Paris a second-rate part, which he makes no difficulty of accepting in London. It is a question of money, we shall be told. This appears to us a mistake. Money does not always remove the obstacles raised by amour-propre. We would willingly make a bet that money considerations would not induce Mad. Borghi-Mamo to undertake, in the Huguenots, the part of Urbain, played by Mad. Dussy, nor prevail on M. Faure to supply the place of Coulon, in that of Saint-Bris. "Competition may, we see, have its advantages, but the fact we have such pleasure in mentioning, must prove most irrefutably an opinion we have always maintained, namely, that there are no small parts in a master-piece; and that an artist does not lower himself by accepting, in a master-piece, a part which is somewhat subordinate to the others. On the day that amour-propre yields to the interests of the great cause of art, we shall have performances similar to those which the upper classes in England have the privilege of witnessing, and which must slightly humiliate Parisian pride. This brings us back to our thesis, which consists in placing the older repertory under the protection of our firstclass artists, who, at present, disdain and abandon it, in order to devote themselves exclusively to the creation of original parts; who arrange just as they choose the parts they order for themselves, and who snap the chain of great traditions, which, if they did their duty, they would preserve unbroken."

A good deal of the foregoing homily might just as well apply to the artists of our London theatres, lyric and dramatic. The most difficult task in the world is to persuade a singer or actor of any standing to fill a subordinate part. Fifty years since the case was different.

HE Patrie announced, a few days ago, that preparations THE are being made for erecting a theatre on one side of the Square of the Arts et Métiers, and that it is proposed to introduce into the building all the improvements required by the public-who pay at the doors for the right of enjoying the performances comfortably-to be perfectly safe, to breathe pure air, to see without effort, and to hear easily and well. Thus, for the first time since edifices of this description have been constructed in Paris, this one, which, according to report, will be called the Théâtre du Prince Impérial, will be built in conformity with all the rules of good sense, and according to the plans best calculated to secure salubrity, ventilation, sonority, a good view of the performances, satisfactory lighting, and room. It is, if we are rightly informed, an English company who will build the theatre, on the plan of two French engineers, approved of by the Emperor. The Presse says:

"We are assured that the future theatre of the Cirque-Impérial, now in course of construction on the Quai de la Mégisserie and the Place du Châtelet, and which is to be finished in a period of eighteen months, has just been let, by the City of Paris, to M. Hostein, at an annual rent of 210,000 francs. Although his patent as manager has only seven years longer to run, it is said that M. Hostein has consented to take the

theatre on the above terms for twenty-one years, and be answerable for the rent during the entire period, whether he is allowed to retain his position as manager or not. As a set-off against his liabilities, he will receive the rents of four shops and suites of apartments, situate at the four angles of the theatre. The neighbouring theatre, intended for a lyrical theatre, has not yet got a tenant. M. Carvalho was inclined to bid for it, when he thought it incumbent on him to send in his resignation as manager."

M. Carvalho has, we think, had enough of theatres.

FESTIVAL OF THE ORPHÈONISTES AT THE CRYSTAL PALACE.

LONDON had hardly recovered from the excitement caused by the magnificent display of the Volunteer forces before Her Majesty on Saturday when its inhabitants were called upon to welcome 3000 representatives of that nation against which our armed protest had been registered in so emphatic a manner. Never in the world's history had been so plainly expressed the determination of a country to be prepared for any emergency that might arise from the ambition of an armed despot; and yet in every respect as significant of an ardent desire for peace, and a wish to be on good terms with our vivacious neighbours on the other side of the channel, was the enthusiastic reception accorded by some thousands of our countrymen to the French Orphèonistes on Monday last. These great demonstrations, so utterly different in character, are the best possible exponents of the real sentiments of England.

La Société des Orphèonistes was established by Wilhem about fifteen years ago, but the undertaking languished, and season after season passed away without any great result being obtained. A few years back a man holding the post of organist in a small cathedral town became impressed with the notion that the failure arose, not from the system, but from the lack of energy in carrying out the system, and he immediately gave up his appointment to work out his ideas. With a knapsack on his back, and a stick in his hand, did this determined individual travel through the departments of France, instituting a branch society in one town, encouraging a lukewarmness in another, and organising wherever he went. Discouraged by no repulse he continued his exertion, and has been rewarded by an amount of success corresponding to the great sacrifices he made when he first charged himself with of the Society. This man is M. Delaporte, the able Director

the crusade.

At present L'Orphèon consists of 800 branch societies, numbering about 40,000 performing members and above 200,000 subscribers and officers.

Early on Monday morning the members of the society began to assemble at Sydenham. Many of them had only just arrived, after having travelled throughout the night, and there appeared to have been a want of order that was not very creditable to those engaged in the direction of this great undertaking. Very curious was it to observe the French tricolor everywhere, and the occupation of the Crystal Palace was a fait accompli. Still more strange was the eagerness with which the visitors examined everything, purchasing more particularly knives, needles, razors, and such articles. Good humour prevailed throughout, an occasional fracas taking place with the waiters about charge, neither party understanding the other.

A few minutes after three the performance commenced with "God save the Queen," in which the greater part of