[JULY 7, 1860

MESSRS. DUNCAN DAVISON & CO.'S

NEW PUBLICATIONS.

ROYAL FAMILY,

The Most Worshipful the Grand Master of Ireland,
His Grace the DUKE of LEINSTER,
And several other Distinguished Freemasons;
His Excellency the Lord Lieutenant of Ireland, the
EARL of EGLINTON and WINTON,

The LORD BISHOP OF MANCHESTER,

The Right Worshipful the Mayor of Manchester, IVIE MACKIE, Esq.
His Worship the Mayor of Salford, W. HARVEY, Esq.

SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the
University of Oxford..

And many of the Nobility, Gentry, Clergy, and Distinguished Families of the Empire.

DR. MARK'S

GREAT NATIONAL ENTERPRISE

Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC, BRIDGE 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 masters to conduct CONSERVATOIRES OF MUSIC to be established throughout the United Kingdom, for LITTLE 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 occasionally 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, &c., and sing Songs and Choruses in a most effective manner, and to whom Dr. Mark gives a gratuitous General and Musical Education.

APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN THE ABOVE INSTITUTION.

Principal of the Royal College of Music; Director, Composer, and

Conductor; 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 Bookkeeping

and Two

Assistant Teachers.

PRACTICAL ASSISTANT TEACHERS.

Mr. BAKER.

Mr. ELDER.

Messrs. PoWELL and 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,

SHerr SIEMERS.

Mr. ELDER.

S Mons. ROGUIER,

Allen, G. B........................... Aguilar, E.

"THE MEADOW GATE"

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"SYMPATHY"

Mr. BEARD.

Baker, H................ "THE STEPPING STONES" Balfe, M. W. "I LOVE YOU" ******** Ditto..................................... Ditto................................

"I'M NOT IN LOVE, REMEMBER"

Cobham, M............... Foster, Alice Ferrari, A. Lütz, W. Meyer Ditto..................................

"OH, TAKE ME TO THY HEART AGAIN" AWAKE, LITTLE pilgrim," Sacred Song "MERRILY, MERRILY SHINES THE MORN", "EIGHT BALLADS," Nos. 1 to 8, each

20

26

20

20

"UNDER THE LINDEN TREE" "MERRY LITTLE MAUD"

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. Visiting hours:-From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted.

NEW SONGS, by by Mr. Santley & the Monday Prof conwin J. W. DAVISON, 66 Rough wind

"Swifter far than Summer's flight," (sung by Miss Palmer at the Monday Popular Concerts); "False friend, wilt thou smile or weep," Beatrice's song in the Cenci (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale, and Co., 201 Regent Street.

The above Songs form Nos. 1, 2, and 3 of Vocal Illustrations of Shelley. "Mr. Santley was encored in one of the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His song, 'Rough wind that moanest loud,' is a thoroughly good song."-Athenæum.

"Madame Sainton-Dolby's greatest efforts were called forth by Mendelssohn's • Night' song, and Mr. J. W. Davison's False friend, wilt thou smile or weep' (from Shelley's Cenci'), to both of which she did the amplest justice. one of the most poetical and beautiful of the Vocal Illustrations of Shelley,' composed The latter work is by Mr. Davison many years ago, and which, though rarely heard, possess far more sterling merit than nine-tenths of the most admired songs of the day. A more intellectual treatment of the words could not well be imagined. Mr. Davison has completely caught the spirit of the poetry, and heightened its beauty by the potent charms which belong only to the sister art. False friend, wilt thou smile or weep,' sung to perfection by Madame Sainton-Dolby, was enthusiastically applauded." Morning Post, April 26, 1860.

"Cramer, Beale, and Chappell, 201 Regent Street.

Meyerbeer, G..........

Macfarren, G. A. .....

"ASPIRATION," Cantique for Six Voices, and Bass

Dépôt Général de la Maison Brandus de Paris.

Review.

"Ramsgate Sands," Comic and Characteristic Quadrille on Popular Melodies, by BURCKHARDT. (Boosey and Sons). IF excellence were to be measured by variety, the set of quadrilles before us would be perhaps the most admirable ever written. Generally speaking, a quadrille not original, but founded on known airs, is confined in each figure to one melody, with "settings" by the composer. Herr Burckhardt, however, has followed a plan of his own, whereby he takes separate "bits" from several popular tunes, and dovetails them together to make a single figure. Here he exhibits considerable ingenuity, not merely in selecting what is acceptable to the ear, but in avoiding what would be incongruous. We need not specify the different melodies employed, all of which are as familiar as household words, and will be welcomed as old friends, though stunted of their normal dimensions. The accompaniments are as simple as a hammer; so that the fair demoiselles, who usually at friendly parties supply the place of the orchestra, will not be deterred from attacking the quadrille even without the ordinary preparation. Moreover, to recommend the composition to another sense besides the ear, a picturesque illustration of Ramsgate Sands" is furnished on the frontispiece, wherein are depicted in colours, brighter perhaps than reality, figures of all classes of visitors, varying from full-sided merchant and elegantly clad "lady," to Ethiopian serenader and itinerant mountebank; while the sketch is appropriately filled in by donkeys, children, show-booths, bathing machines, and other paraphernalia of a watering-place in the season. A piece of music so quaintly addressed to the eye as well as the ear recommends itself, and cannot fail to find admirers.

MUSIC AND THEATRES IN PARIS.

(From our own Correspondent).

Wednesday, July 4. FROM the absence of all important events in the musical or theatrical sphere, I am reduced to chronicle the smallest beer in the way of hap or forecast. Perhaps the most curious scrap of intelligence in my wallet is that the opening of a German theatre in Paris is very seriously talked about. Considering that notwithstanding the large admixture of the Teutonic race with the population of this city, to the extent of 180,000 it is said, no German company has ever created sufficient interest among their compatriots to secure itself from disastrous loss, there can be little doubt that this is no private adventure. It is in fact presumed to be a move of his Imperial Majesty, and intended to serve as an exponent of the sympathy of France with Germany-an élan which will carry it to the frontiers of the Rhine. A propos of this subject I have an account from Vienna of the number and nature of the performances at the Court theatre from the 17th of July, 1850, to the end of May this year. The total number of operas performed was 217, in which the share of Meyerbeer alone was thirty-five; that of Mozart twenty-five; Wagner twenty-three; Donizetti and Weber each twenty; Lortzing sixteen; Auber and Verdi eleven; Halevy ten; Flotow seven; Beethoven seven; Rossini six, and Gluck two. The Court opera receives a subvention of 240,000 florins, and the Hofburg Theater, where dramas, tragedies, and comedies are played, 80,000 florins.

The conjunction of Scribe and Auber has been so happy in the operatic region, that though both are now stricken in years, it is impossible to refrain from the liveliest anticipations when we hear once more of its recurrence. Two comic operas are said to be forthcoming, the result of this illustrious collaboration. One of them is already in a finished state; it is in three acts and on a Russian subject of modern date. Russia has unfortunately never

The

proved very inspiring to art or literature; mais nous verrons. title of this work is not yet decided; it bears at present the provisional one of Le Serail en gaité, which would scem to concern the followers of Mahomet rather than the faithful of the Greek Church. There was, by the way, an extraordinary performance (in official language) the other day at the Opéra-Comique, for some benevolent object or other which is unimportant, but which artists. Among them the least known to the public was Mad. was the occasion of the assemblage of an unusually long list of Trebelli, a pupil of M. Wartel, who made her début last year at Madrid with great success. Her voice is a mezzo soprano of light though resonant quality, her intonation is accurate, her face very pleasing, and she gives in every way fair promise. Mad. Ugalde has just accepted an engagement at this house, and will make her appearance in Galathée, of which she is the original creatress. M. Couderc returns about the middle of this month, and will appear in a new opera by M. Eugene Gautier, entitled Crispin revived next week, and Mad. Faure is to play Rose d'Amour. Boieldieu's opera Le Petit Chaperon Rouge will be I must not leave the subject of the Opéra-Comique without confessing with due humility that in one of my letters I was guilty of circulating a gross canard. The bird, I trust you will believe, was none of my hatching, but flew to me direct from Italy, whence many a bird of like feather and treacherous accent has winged its way to the news market. Foreign intelligence was wont to be wafted on the pinions of the trusty pigeon cogener of the faithful folly, usurps the office and makes gulls of poor editors. But I dove; now the canard, patron of quacks and emblem of fraud and forgot to correct my false intelligence. Mad. Pannetrat is to marry no German ambassador, nor has she contracted any alliance save with the public of the Salle Favart.

Médecin.

It is a coincidence that Levassor, the celebrated comic singer, and John Parry, equally celebrated, and not a little resembling him in style, though without the qualities of a thorough actor, period of illness. Levassor was actually killed by, not a grey both return to the world much about the same time after a long goose shaft, the dart was winged with a feather from our friend the canard.

I am informed by a correspondent at St. Petersburg that the Italian tragedian, Mad. Ristori, is engaged there for three months. I had heard of this before, but was not certain of the fact, especially as it was coupled with the absurd statement that her terms of remuneration were to be 4000l. On her return to Paris, Mad. Ristori will appear at the Odeon in a drama of M. Legouvé, and will play in French. From the same informant I hear also that an important decision, so far as music is concerned, has been taken by the Emperor, who has ordered that from the 1st of September next the orchestras of the Imperial theatres should adopt the diapason fixed by the French Commission. General Lwoff, whose interest in the art is known throughout Europe, has obtained from his Imperial Majesty a grant of 17607. as an indemnity to the artists for the changes required in their instruments in order to carry out this measure. Another piece of foreign musical news is that the King of Holland has just conferred on M. Batta, the violoncello player, the order of the Crown of Oak. By the way, à propos of the diapason-normal just mentioned, your readers may not know that it is now in full use at the Grand Opéra. M. Cavaillé-Coll has had to substitute a new instrument to the organ formerly in use for the stage. It is not yet installed, but it is highly spoken of. Mad. Ferraris, the celebrated danseuse at this establishment, has just left for London, being engaged at Her Majesty's Theatre. Semiramis is being rehearsed, and is on the point of being produced.

The Théâtre-Choiseul, of which diminutive place of entertainment M. Offenbach is lessee, has just been sold by auction. It was knocked down to M. Lenoir, agent for M. Charles Comte, after a smart competition with M. Offenbach's agent, who ran the bidding up to 292,500 fr. The two new theatres in the Place du Châtelet are being rapidly proceeded with. The foundations of the new lyrical theatre have already reached the level of the ground, and the ground has been long cleared for the Impérial Théâtre. After a minute examination of the plans submitted for the reconstruction of the Opéra, the commission has finally adopted that presented by the Government, but with certain modifications.

The new house is still to have a frontage of fifty-six metres and a depth of seventy, but the site will be enlarged by the additional space originally to be devoted to the formation of two lateral streets. The suppression of these will allow sufficient space for two covered court-yards, one reserved exclusively as an entrance for the carriages of the Imperial Court, the other for the carriages of the public. The Rue Lafayette and the Rue de Rouen, carried out on a breadth of from fifteen to twenty mètres, will open out on the new Place, which will be connected by a boulevard thirty mètres wide, with the carrefour Gaillon, while two streets, twenty mètres wide, will open out, one on the eastern face of the Madeleine, the other on the Place de la Bourse, near the Vandeville Théâtre.

It was pleasantly rumoured here that a libretto, by the Italian poet, Melchiore Sacchero, entitled Charlotte Corday, was being set to music by Meyerbeer, and would be produced at the San Carlo, at Naples. There is not the least foundation for the statement, which, in the latter part of it, is manifestly absurd.

While you have had your Orphéoniste festivals at the Crystal Palace, the good city of Friburg have also had a great choral demonstration; eighty-two vocal societies assembled there, and two of them were also from France-one from Paris and another from Colmar. The Grand Duke of Baden, with his Grand Duchess, and the Minister of the Interior, honoured the performances with their presence. At Zuichan they have been celebrating the 50th anniversary of the birth of Robert Schumann. A concert was given on the 8th of June, and the next day the memorial tablet and sculptured medallion of Schumann were solemnly unveiled; both are affixed to the façade of the house in which the composer was born. Goethe too is to have another statue; it is to be erected in Berlin, and the celebrated philologist, Jacob Grimm, is at the head of the commission charged with carrying out the project. The Opéra at Berlin, by the way, has closed, the last representation being La Muette de Portici. It will not re-open for two months. Rather a curious musical event has just occurred in this city, namely, the 3000th concert given by Charles Eichelberg. The orchestra was on a colossal scale, 30 first violins, 20 second ditto, 20 basses, 16 violoncellos, 20 double basses; in all 150 artists.

I see you are bringing out Oberon at one of your Italian theatres. As a pendant to this revival I may tell you that at Breslau they have been playing Der Freischütz for the 250th time. Karl Maria von Weber was leader of the orchestra in this city in 1805, and it was here he wrote his opera of Rubezahl.

TESTIMONIAL TO CIPRIANI POTTER. SEVERAL professors and students of the Royal Academy of Music, and other persons connected with music, and involved in its best interests, have subscribed to a Testimonial to Mr. Cipriani Potter, on his retirement from our only national musical seminary, in which he has been actively engaged since its foundation, thirtyseven years ago. The presentation of this took place at the Academy, on Saturday, the 30th of June, when a very numerous meeting of the subscribers assembled. Sir George Clerk, one of our leading musical amateurs, and Vice-President of the Academy, acted as chairman on the occasion; and he was supported by the Earl of Wilton, and the committee for conducting the testimonial, Mr. R. Barnett, Dr. Sterndale Bennett, Mr. H. Blagrove, Mr. Dorrell, Mr. Lucas (Hon. Treasurer), Mr. G. A. Macfarren (Hon. Secretary), Mr. Walter Macfarren, and Mr. Brinley Richards. The minutes of two former meetings of the subscribers were read, at the first of which the testimonial was proposed, and at the second the manner was decided upon in which it should be carried out. The Committee submitted the following Report of the proceedings:

Report of the Committee to the Meeting of Subscribers on the 30th of June, 1860.

"Your Committee have the pleasure to report that several new subscriptions have been added to the list since you extended the time for receiving them, including some from New York, Calcutta, Naples, and Boston, besides some from admirers of Mr. Potter resident in England.

One from Naples is from the former Superintendent of the Academy, the Rev. F. Hamilton, expressing not only the most cordial sympathy with this tribute to Mr. Potter, but desiring also the kindest greetings and remembrances to the many friends with whom he was associated during his connection with the institution. The subscription list contains 309 names, and the total sum at present subscribed amounts to £534 13s., of which £530 19s. 6d. has been already received by the Treasurer.

"Your Committee changed the date agreed upon at the last meeting for the Presentation, in accordance to the wish of several provincial subscribers, who were anxious to attend on this occasion, but whose engagements would prevent their being in London before the present time. It was impossible to make an arrangement that would suit the convenience of every subscriber, and it is to be regretted that some of those who have expressed the warmest interest in the proceedings, especially Mr. T. M. Mudie, are unable to be here to-day; but their good wishes are with you all, although they cannot personally express them. Sir John Campbell's absence to-day is occasioned by another cause, which he explains in a letter that will be read to you. Your Committee have to report that Dr. W. Sterndale Bennett, Mr. Charles Lucas, and Mr. G. A. Macfarren, have accepted the office of first trustees of the Exhibition Fund, which you appointed them at your last meeting. The draft of a deed of trust-for the legal provision for successors to the trustees, whom you appointed at your last meeting, to take charge of the fund you appropriated to the Potter Exhibitionhas been prepared by Mr. Bishop, and will be submitted to you for approval. Your authorising of this deed will be the virtual establishment of the Potter Exhibition, and thus it will be the erecting a monument to Mr. Potter's memory, which will endure as long as music is studied in England.

"A list of the Subscribers, with an account of the Testimonial, has been written on vellum. In this, according to the feeling generally expressed at your first meeting, the amount of each individual subscription is not stated, it being considered that the compliment to Mr. Potter is shown in the animus which has prompted us, one and all, to subscribe, and not in the sums which, according to our different means and circumstances, each of us has subscribed. As there is no distinction among the subscribers in respect of the feeling that has induced them to join in this testimonial-as they constitute a commonwealth of esteem and regard towards the late Principal of the Academy-the names in this list stand in alphabetical order, with the exception of a very few, which were received too late for insertion in their proper places.

"Your Committee have expended the sum of £100, voted at your last meeting for that purpose, in the purchase of a Silver Tea Service and Salver, of Messrs. Hunt and Roskill; and they have the pleasure to inform you that these gentlemen, in consideration of the occasion, and at the instigation of Mr. Sparrow (one of our subscribers), reduced the price of these articles from £126 to the sum you voted, and included the cost of engraving the inscriptions in this amount.

"The Secretary has received very many letters in reference to the Testimonial, all of which abound in the most cordial expressions of affection and admiration for Mr. Potter ; and your Committee suggest to you that as these may probably be interesting to Mr. Potter, the whole of the correspondence, together with the books containing the minutes of the Committee's meetings, be handed to him.

"It is expected that one more meeting of the Committee, for the purpose of discharging the claims upon them for the various expenses connected with the Testimonial, of winding up the accounts, and of handing over the balance to the Trustees of the Exhibition Fund, will enable will retire from office with feelings of the utmost gratification, if they them to complete the agreeable duties you confided to them; and they can believe that they have fulfilled your wishes."

The draft of the deed of trust was read and approved, and signed by the Chairman on behalf of the meeting.

Sir George Clerk addressed Mr. Potter, stating how deeply the the institution, how happy its professors had always been in coDirectors of the Academy felt the importance of his services to operating with him, how gratified as much as benefited had been the students by his instructions, and how sensible was every one who felt interest in the progress of music in England, of the valuable influence his (Mr. Potter's) example and teaching had had upon it. He alluded to the fact that all the chief positions in our principal London orchestras are held by persons who have been educated in the Academy, to prove the beneficial effect this institution has had in furtherance of the art; and he attributed this effect mainly to Mr. Potter's able fulfilment of his office; and he concluded his speech, amidst loud acclamations, by presenting Mr.

Potter with the silver service and the list of subscribers, and declaring that the "Potter Exhibition" was now established.

Mr. Potter was greeted with enthusiastic applause when he rose to return thanks for the compliment that was paid him. He spoke, with very great emotion, of his interest in music, his interest in the Academy, and his interest in all those who had been educated there. Throughout his long and gratifying speech, he was greatly overcome by his feelings; but he showed himself in every word he said, as he has proved himself in his indefatigable artistic career, a true and zealous lover of the art he has done so much

to foster.

The Earl of Wilton expressed the thanks of the meeting to Sir George Clerk for his efficient conduct in the chair, who acknowledged these with cordial earnestness, and then proposed three cheers for Cipriani Potter, which were given with pealing heartiness, being joined in as warmly by the many ladies as by the gentlemen who were present.

The meeting was one of great interest, since it brought together from remote parts of the country many old school associates, who had not shaken hands for years; and with these, many musicians quite unconnected with the Academy, and many amateurs of music, who all concurred in the feeling for which they were assembled their wish to express their personal regard and professional admiration for the man who has had more influence than any other on the progress of music in this country. The time is now passed for statues and tablets; the merits of Wellington are commemorated in a college for the sons of soldiers; those of Miss Nightingale in an hospital for men who have suffered in the service of their country; and those of Cipriani Potter, not less appropriately, in the endowment of a fund to assist musical students in defraying the cost of their education.

MADAME CINTI-DAMOREAU TO HER PUPILS IN THE CONSERVATOIRE.*

Ir is to you, my dear pupils, that I have resolved to dedicate this method, the fruit of my studies and my experience, and in which I think I have set forth the best principles and the best examples of the art of singing. Adhere firmly to these principles, and endeavour to reproduce faithfully the examples; this, in a word, is the great thing in a good system of instruction.

If I speak to you of my studies, it is because at the very apogee of my artistic career, I never ceased to study; it is only to assiduous labour, and the firm resolve of effecting every day fresh progress, that we owe the inestimable honour of obtaining and preserving the favour of the public. In order to prove to you all that may be gained by this determined application to study, I at first entertained the idea of prefixing my biography to this book, but I was afraid it would be too long, and 1 shall restrict myself to describing only that part of my career which is connected with my débuts at the Théâtre-Italien, the Opéra, and the Opéra-Comique. You must bear in mind, therefore, that, while speaking of myself, I shall not cease to think of you.

I was scarcely thirteen when I was introduced to M. C. Henri Plantade, a clever, talented, kind-hearted man, whose memory is still cherished by all those who have loved or cultivated musical art in France during the last thirty years. M. Plantade was assiduous in giving me lessons, with all the care of an excellent musical professor and all the tenderness of a father. My voice, which gave promise of becoming flexible, but which did not then possess much strength, struck him as completely adapted to the Italian style. I studied, therefore, under him, only the old repertory, beginning with Durante's Psalms. My masters allowed me to sing scarcely three or four French airs; among these latter were the airs of Montano et Stéphanie, and Beniowski, true models of a style that is at once simple, expressive, and graceful. I mention this to you, my dear pupils, in order that you may not suppose that you sing well only when you have succeeded in singing with ease what is difficult. It is not enough, recollect, merely to utter notes and execute passages more or less difficult; besides doing this, you must give them colour, you must animate and accentuate them, and for this purpose an artist must be impressed with the words, and with the spirit of the piece or scene he has to sing. His physiognomy, also, must, so to speak, reveal to the hearer the subject and character of what is sung. Is it necessary for me to add that his

* Preface to the Methode d'Artiste, dedicated by Mad. Cinti-Damoreau to her pupils of the Paris Conservatory.

articulation and pronunciation must be irreproachable? Listen to Ponchard, and you will perceive how much charming effect is gained by not allowing a syllable to be lost by the auditors.

It is far more difficult to sing in French than in Italian. This is very easily explained. We French do not allow ourselves to take breath in the middle of a word, to repeat a syllable, to sing forte when the situathe words to the notes, but, on the contrary, we must sacrifice the notes tion suggests that we should sing piano; lastly, we must not sacrifice sively to your art, you may succeed in identifying the former with the to the words. By working incessantly, by devoting yourselves exclulatter, and speaking in music.

Such is nearly all my method, my dear pupils. I worked always and constantly, listening to others and reasoning on what I heard. When I had attained my fourteenth year, M. Plantade said to me, "My dear girl, you can now do without me. Mark my words: you possess taste; you will adopt what is good in some and reject what is bad in others." But do not suppose from this advice, that you are to imitate servilely the master or the model you select. You must, as I cannot too often repeat, explain to yourselves the means of success peculiar to the artist to whom you are listening, and clearly comprehend by what art he has acquired grace, by what secret he has been able to charm you. You thus avoid the shoal of parody, and advance rapidly on the road that leads to success.

Before I was fifteen, I made my debut at the Italiens, as Lilla, in La Cosa rara, a character left open by the departure of Mad. Fodor. Thanks to my extreme youth, and, above all, to the advice of my dear master, my success was a genuine one. The day on which M. Plantade's unconditional approbation confirmed the applause of the public was the happiest day of my life. After my successful début, I had many annoyances and prejudices to overcome. I was French; this was almost a crime at the Théâtre-Italien !

I was not discouraged. I learned, in a very short time, nearly fifteen or twenty parts; I understudied (sometimes in a day) the parts of all the prime donne; in the ardour of my zeal, and with my incessant application, I was ready for every score. This, my dear pupils, is the proper place to inform you that, should you intend to go on the stage, you must not be contented with studying the part in which you propose to appear; you must comprehend and fully master all the other parts. By this plan, you seize better the purpose of a work, while engaging in a practice more calculated than any other to render your talent supple. My adoption of this system proved, one day, highly advantageous

to me.

Mad. Catalani was to appear in an extraordinary performance at the Opéra. The grand rehearsal was already somewhat advanced, when it was remarked that the great vocalist had not arrived. At the moment the ritornello of her cavatina announced her entrance on the stage, Barilli, our stage-manager, taking my hand, boldly presented me to the orchestra, to sing in the place of our celebrated manageress. Though greatly agitated at first, I felt afterwards very happy, for the orchestra applauded me very much, and it was the first time such an honour had been paid me. When Mad. Catalani heard of what I had been bold enough, or, rather, what my devotion to art had prompted me to do, she thanked me by an embrace, for she was always kind.

A short time subsequently (I was then sixteen), Garcia entrusted me with a charming first-rate part in his opera, Il Califo di Bagdad. Yarat, who then heard me (alas! I was too young ever to have heard him), said, I sang insolently in tune (insolemment juste). This is, I think, the only defect on which I have had to congratulate myself in the whole course of my life; contrast this defect, my dear pupils; there can be no charm if you do not sing in tune. This quality is not one, I am aware, that is easily acquired, but, by working assiduously at the intervals of all kinds, slowly, and with the assistance of a master, you may sometimes succeed in singing in tune, even when you have not naturally a feeling for it.

When Rossini arrived in France, I received the valuable advice of Bordogni, whose colleague I afterwards became at the Conservatoire, and whose good taste is proved by the charming exercises of vocalisation he has given us.

A short time afterwards, an extraordinary performance afforded me an opportunity of appearing at the Opéra, in Le Rossignol. As I had never previously had a chance of singing in French before the public who treated me already so kindly, I was in a state of intense anxiety. It was, however, the very success which attended this attempt which made me resolve to remain on the grand stage of the Opéra, for which a new destiny seemed then about to open. But, before I separated from the Théâtre-Italien, which had become endeared to me for many reasons, I determined to subject myself to another ordeal, more serious than that of Le Rossignol could be. The Vicomte de la Rochefoucauld (then Duke de Doudeauville), whose name all artists should remember with