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Dr. MARK Is open to Engagements cither for hfs first or second Orchestra. THE FIRST ORCHESTRA, Consisting of 30, 40, or AO Performers, and conducted by Dr. Mark, is composed of the Advanced Pupils of the Royal College of Muftic, and some of the " Little Men," who perform Sacred, Classical, Operatic, and Popular Music. Also a Vocalist, Solo Harpist, Solo Pianist, and Organist.

THE SECOND ORCHESTRA, Conducted by Mr. Wrigley, consists of 30 Performers, and is composed of the " Little Men," who play Operatic and Popular Music, and sing favourite Airsjand Choruses. Also a Vocalist, and Solo Instrumentalists.

Dr. Mark begs to inform young ladles and gentlemen who are preparing for the

fTofetilon that he affords opportunities of introducing them to the public by perfuming at his concert*.

Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board and lodging, until the age or fourteen years, when they are either apprenticed to a trade or trained for the profession.

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

For Prospectuses, apply direct to the Royal College of Mu*lc, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day, Saturdays and Sundays excepted.

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Sung by Mr. SIMS BEEVES,



"* The Harp of Wales' (sung for the first time) is a very graceful song, admirsbl? adapted for Mr. Sims Reeves, and sung by the distinguished tenor with a refinement of expression which produced a magical effect on the audience, and raised demsndi for repetition which were not to be denied."—Daily Telegraph.

"* The Harp of Wales' beautifully sung by Mr. Sims Reeves, was unanimous!; reitemanded."—Morning Post.

"The other was new and sung for the first time by Mr. Sims Reeves. It is called the * Harp of Wales,* and is a lovely and expressive melody. It was enthusiastically encored."—Daily .V. u s.

"Mr. Richards did honour to his fatherland by Introducing a new song, 4 The Harp of Wales,' which is sure to become a favourite of the Cymri, who are justly proud of their bards. So admirably was this sung by Mr- Sims Reeves, that an encore *aiin. evitable, and the ballad was as warmly applauded the second time as the first."— Musical World.

London: Duncan Davison & Co., Depot General de la Maison Brand us, de Paris; 244 Regent Street, corner of Little Argyll Street, where may be obtained—

u THE SULIOTE WAR SONG," sung by Mr. Santley, price 3s.

"THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s. 6d.

M ETHEL," Romance for the Pianoforte, price 2s.

•' LEOPOLD," Maiurka Favourite, price 2s.

Composed by Brlnley Richards.!




Written by Johs Oxenfobd, Esq., composed by _G. Alart, and sung trith great success by


Just published, price Three Shillings, with a Portrait of Mr. Reeves In his uniform as a Member of the Artists' Rifie Corps.

BOOSEY and SONS, 28 Holies Street

Just published, price 4?.

EAMSGATE SANDS QUADRILLE A Comic and Characteristic Set on Popular Airs. By Burckhshdt. Illustrated In colours by Bfundard.

No. 1. The Excursion Boat.

No, 2. The Promenade.

No. 3. The Bazaar.

No. 4. The Ride.

No. 5. Ramsgate Sands.

Boosey St Sons, Holies Street.'

NEW SONGS by J. W. DAVISON, «Rough wind that moanest loud" (sung by Mr. Stint ley at the Mouday Popular Conceit*}; "Swifter far than Summer's flight/' (sung by Miss Palmer at the Monday Po^uUr Concerts): "False friend, wilt thou smile or weep," Beatrice's song in the Lend (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's HaRJ; arc published by Cramer, Beale, and Co., 201 Regent Street. The above Songs form Nos. I, 2, and 3 of Vocal Illustrations of Shelley. "Mr. Santley was encored in one of the thoroughly picturesque and poetical setting* of Shelley, by Mr. J. W. Davison, mentioned a week or two sine*?. His song,' Bourn wind that moanest loud,' is a thoroughly good tong,"—A thenteutn. , 'Madame Sahit< n-Dolbv's greatest efforts were called forth by MendeUsohn i 1 Night' song, and Mr. J. W. Davison's ' False frtend,~>llt thou smile or weep' (from Shelley's 'Cenci'), to both of which she did,the amplest justice. The* latter work a one of the most poetical and beautiful of the ',Vocal Illustrations of Shelley,' coroponw by Mr. Daviaon many yenrs ago, and which, though rarely beard, possess far nore sterling merit than nine-tenths of the most admired songs of the day. A more inleJIcctual treatment of the words could not welt be imagined. Mr. Davison hat completely caught the spirit of the poetry, and heightened its beauty by the potent ea«rmi which belong onlv to the sister*art. 1 False friend, wilt thou smile or weep,' sung to perfection by Madame Sainton-Dolby, was enthusiastically applauded."

Mom rug Post, April 26, l«0Cramer, Beale, and Chappclt,201 Regent Street.

Printed by Gaowi Ajrw«w Spottiswoodi, of No. 10 Little NewJJtreot, in the Parish of St. Bride, in the City of London, at No. 5 New-street Published by Joua Booutr, at the Office of Boour * Sons, 28 Holies SiittU-Saturday, July 28,1600,'

Square, In the said Parish.

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'Thb^ Wobth Of Am Appears Most Eminent In Music, Since It Requires No Material, No Subject-matter, 11911082 Effect ~b Deducted: It Is Wholly Form And Power, And It Raises And Ennobles Whatever It Expresses" Gethe

SUBSCRIPTION—Stamped for Postage—20s, PEE ANNUM PayaMe in advance by Cash or Post-Offlce Order to BOOSEY & SONS, 28 Holies Street, Cavendish Square, London, W.

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mmm Cohcert Asb Feti

When the following celebrated Artists will appear :—


Mademoiselle PAREPA, Miss POOLE, Miss BANOE, and the Misses BROUGHAM. Mr. SANTLEY

{His only appearance this Season),



Pianoforte, M. EMILE BEBGEB.

The Surrey Gardens Choral Society of 200 Voices.

Conductors — M. EMILE BERGER and Dr. JAMES PECHS.



ing to the unrivalled attractions of this Entertainment it will be necessary to lmalce early application for Balcony Seats to the following Mmic Sellers. &c.:—Cramer; Chappell; Mitchell; Boosey and Sons; Keith, Prowse, and Co.; Huberts; Pigott and Wiicocks. Admission, Is. Concert to begin at Seven o'clock punctually.

POPULAR MUSIC.—A Green Catalogue, New and enlarged Edition, compiled expressly for the use of Teachers of Music, containing upwards of 2000 Works by the best Composers, furnished gratis and postagefree. All applications must state " The Green Catalogue." — London: Robert Cocks and Co. New Burlington Street.

The 260th Kdition Hamilton's Modern Instructions for the Pianoforte, 4s.;

Hamilton's Modem Instructions for Singing, ICth Hdltlon, 5s.; Hamilton's Dictionary of a-VX) Musical T«rms, 61st Edition, Is.; Clarke's Catechism on the Rudiments of M w - M-, C2d Edition, Is. N.B.—Gratis and post-free, a Catalogue of New and School Muaic ; also'a List of New i.nd Second-hand Pianofortes.—London: Robert Cocks and Co. 6 New Burlington Street, W. ; and of all Music-tellers and Booksellers.


Perlcs d'Ecume, 4s.; BohTM,i.n Airs, 2 books, 4s. each ; Hyne, 3s.; Valse de Salon. 3s.; Romance, 3*.; La Graceeuse, as.—London; Robert Cocks and Co. New Burlington Street.

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TN retiring from business, begs to express his sincere

JL thanks to the Musical Profession and Trade for the support so liberally accorded to the establishment carried on under the title of Wessel and Co., and hopes the same favour may be extended to his successors, Messrs. Ashdown and Parry, who, during upwards of twenty years have taken an active part in the management of his business.



HAVE the honour to announce that they have succeeded to the business heretofore carried on by Messrs. Wbssrl and Co., and hope by constant attention to the wishes and requirements of their customers to deserve and obtain a continuance of the support rendered to the late Firm. 18 Hanover Square, London, July 1860.

CHORISTERS.—Wanted, two Choir Boys, for a Chapel in the Country, where there is daily Choral Service For the annual payment of £15 each, they will receive a good English and commercial education, and will be boarded and lodged in the houte of the Organist, from whom they will receive lessons on the Pianoforte, with daily instruct inns In Singing and Theory of Music. Applicants must possess fair voices, and a musical taste and ear. Apply to Mr. Crossley, Arley Green, Northwich.

YORK CATHEDRAL.—Wanted immediately, for this Choir, a BASS (not Baritone) VOICE. The duties are attendance at Divine Service twice daily, and at Choir-practice whenever required by the Organist. The salary is 50 guineas a year, with a gradual advance to £70, in case of approval.—Applications, stating age of the Candidate, and enclosing testimonials as to his character and musical efficiency, to be addressed to Dr. Monk, Minster-yard, York.

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O ORGANISTS.—Wanted, for the Parish Church of

Beccles, an efficient ORGANIST—Applications to be made to the Churchwardens, stating salary, and enclosing testimonials. The Organ hat lately been restored at a cost of upwards of .£300, and is now one of the finest In the Eastern Counties. «

HYDRAULIC ORGAN & HARMONIUM BLOWER, &c— JOY'S PATENTS, 1866 and 1859.—Can be applied to blow the Bellows of Organ- and Harmoniums wherever water at a pressure can be obtained. For price and particulars of Organ Blower apply to David Joy, Patentee, Leeds. Ditto of Harmonium Blower, apply to Boosey and S


Sons, Holies Street, London, sole Organ Builders supplied on Liberal Terms.

WANTED, for Edinburgh, a Youth, age from 14 to 18, a good VIOLINIST, and If PIANIST also would be an advantageAddress, stating terms, to Mons. Brouneau, Professor of Dancing, 61 Queen Street, Edinburgh.

CHURCH ORGANS.—Foester and Andrews, Organ Builders, Hull, have a number of SECOND-HAND ORGANS for sale, which they have taken in exchange, built by Bevlngton, the late J. C. Bishop, Lincoln, Parsons, Bryceson, Hotdich, &c—For price and particulars, apply to Forster and Andrews, Organ Builders, Hull.



J-TJL will find it advantageous to engage the services of


(for manv years connected with the Liverpool Timet, Liverpool Mail, and Albion Newspapers!, Printers, Lithographers, Advertising AGBim, ai Paper Correspondents.— Swift Court, 13 Castle Street, Liverpool. A

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Gate," composed expressly for him by George B. Allen, is now published, price 25. 6d. by Duncan Davison and Co. 244 Regent Street, W.

adapted for Mich produced a magical...

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repetitine Harp Morning Posting for the

Daily Telegraph: Reeves, was unanimously


Composer of "Thou art so near and yet so far," is published, with English and German Words, and a Portrait of Herr Reichardt, price 25. od. by Duncan Davison & Co, 244 Regent Street, w,

Price 23. 6d. " The Harp of Wales' (sung for the first time) is a very graceful song, admirably adapted for Mr. Sims Reeves, and sung by the distinguished tenor with a regnement of expression which produced a magical effect on the audience, and raised demands for repetition which were not to be denied."-Daily Telegraph.

**The Harp of Wales, beautifully sung by Mr. Sims Reeves, was unanimously redemanded." -Morning Post.

" The other was new and sung for the first time by Mr. Sims Reeves. It is called the · Harp of Wales,' and is a lovely and expressive melody. It was enthusiastically encored." -Daily News.

"Mr. Richards did honour to his fatherland by introducing a new song, "The Harp of Wales,' which is sure to become a favourite of the Cymri, who are justly proud or their bards. So admirably was this sung by Mr. Sims Reeves, that an encore was inevitable, and the ballad was as warmly applauded the second time as the first." Musical World.

London : DONCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris ; 244 Regent Street, corner of Little Argyll Street, where may be obtained“ THE SULIOTE WAR SONG," sung by Mr. Santley, price 3s. " THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s.6d. " ETHEL, Romance for the Pianoforte, price 2s, “LEOPOLD," Mazurka Favourite, price 2s.

Composed by Brinley Richards.

SIMS REEVES'S newest and most popular Ballad is

" I love YOU," composed expressly for him by Balfe." I love you” was sung by Mr. Reeves, and enthusiastically oncored, at Mr. G. W. Martin's Concert, Exeter Hall, Mr, Lindsay Sloper's and Miss Susannah Cole's Concerts, St. James's Hail, and will be sung at Mr. Balse's Benefit Concert at the Royal Surrey Gardens, and at the Crystal Palace Concerts. London, published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.


1 BEAUX (“ Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of England with Prince Frederick William of Prussia, which was played with such immense effect by the Band of the Guides at the Féte of the Orphéonistes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, w,

"T LOVE YOU," New Song by BALFE, composed

1. expressly for Mr. Sims REEVES, and sung by him with the greatest success, is published, price 36. by Duncan Davison & Co. 244 Regent Street, w.


Original Part-Songs, Choruses, &c.


SCHLOESSER, sung with immense applause by Mad. LEMMENS-SHERRINGTON, s published, price 25. 6d. by Duncan Davison & Co. 244 Regent Street, W. Just published, price 48,

Price Threepence each Number. RAMSGATE SANDS QUADRILLE.- A Comic and 1L Characteristic Set on Popular Airs. By BURCKHARDT. Illustrated in colours 1 “Welcome, Heavenly Peace," Four-part Song ... .. ... Frank Mori by BRANDARD. No. 1. The Excursion Boat.

2 “The Bud is on the Bough," Four-part Song-(Male Voices) ... Frank Mori No. 2, The Promenade.

3 " And were they not the Happy Days ?" Four-part Song .. ... Frank Mori No. 3. The Bazaar, No. 4. The Ride. 4 “Beauty is dead," Four-part Song ... ... ...

Frank Mori No. 5, Ramsgate Sands.

5 “Who shall be Fairest ?" Four-part Song ... ... ... Frank Mori Boosey & Sons, Holles Street.1 6 "O spare my Tender Flowers," Four-part Song ...

Frank Mori 7 "Ripe Strawberries," Five-part Song ... ... ...

J. L. Hatton NEW SONGS by J. W. DAVISON, “Rough wind | 8 “Smile, 0 Heaven, upon the Day," Chorus (Satanella)

M. W. Balse IV that moanest loud” (sung by Mr. Santley at the Monday Popular Concerts); }

"Sancta Maria,” Chorus (Dinorah) ... ... ... * Swifter far than Summer's fight, (sung by Miss Palmer at the Monday Popular

Meyerbeer Concerts): « False friend, wilt thou smile or weep," Beatrice's song in the Cenci 10 “A Legend of the Rhine,” Part Song (Male Voices)

Henry Smart (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale, and Co., 201 Regent Street.

il “ The Hostess's Daughter," Part Song (Male Voices)

Henry Smart The above Songs form Nos. 1, 2, and 3 of Vocal Illustrations of Shelley.

12 “ The Rover," Part Song (Male Voices) ... ... ... Henry Smart “ 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

13 “ The Three Wishes," Part Song ... ... ... ... ... J. Pech wind that moanest loud,' is a thoroughly good song." -Atheneum.

14 “ O'er the calm and Sparkling Waters," Chorus (Les Vépres) ... Verdi "Madame Sainton-Dolby's greatest efforts were called forth by Mendelssohn's

15 "Lowly we do bend before Thee," Quartet (Dinorah) .... Night song, and Mr. J. W. Davison's False friend, wilt thou smile or weep' (from

Merci deer Shelley's Cenci'), to both of which she did the amplest justice. The latter work is 16 " A Capstan Chorus,” Chorus (Male Voices) ... ... ... Henry Smart one of the most poetical and beautiful of the · Vocal Illustrations of Shelley,' composed

17 “ The Return from the Tavern," Chorus (Dinorah) ... by Mr. Davison many years ago, and which, though rarely heard, possess far more

... Meyerbeer, sterling merit than nine-tenths of the most admired songs of the day. A more intel. | 18 " Good Night,' Quartet (Martha) ... ... .. ... ...

. ... Flotow

* lectual 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 chris

The above handsomely bound, price 58.
which belong only to the sister art. False friend, wilt thou mile or weep,' sung to
perfection by Madame Sainton-Dolby, was enthusiastically applauded."

Morning Post, April 26, 1860.
Cramer, Beale, and Chappell, 201 Regent Street.




(From our own Correspondent).

Aug. 1, 1860.

I Am this week almost in the some predicament again which obliged me in my last letter to entertain you de coquis et bobus rather than of actors and musicians. Paris has fallen into a sort of dreamy lethargic state, from which it will only rouse itself to rush oil' to the sea-side or the German health springs. At the Grand Opera, the run of Semiramis continues, if such an expression can be applied to the progression of the stately queen of the East. The sisters Marchisio have gained more self-possession in their respective parts, and advance in public estimation. The famous duo between Arsace and Semiramis is nightly called for a second time. Pierre de Medici.*, Prince Poniatowski's opera, has been played once, and Robert le Diuble is to be produced forthwith, with Mile. Vandenheuvel Duprez, and Mile. Marie Sax. Roger was induced to sing once more at the Opera Comique before his departure for Baden, and appeared in the part of Georges in La Dame Blanche before a densely crowded audience, who greeted him with every mark of enthusiastic admiration. It was, indeed, an adroit stroke of policy on the part of M. Beaumont, the new manager, to bring Roger back to the scene of his first blushing honours, and thus to revive those laurels which, in the arduous trials of the Grand Opera, had somewhat faded. Le petit Chaperon Rouge, so long announeed, will decidedly be revived this week, and immediately upon it will follow M. d'llauteroche's comedy, Crispin Medecin, the production of which has suffered some delay, owing to objections raised to it on the part of the authorities. They have at last consented to let it be acted, but stipulate for a different title. This is a concession, no doubt, to the susceptibilities of the medical profession, who are in this country a very thin-skinned class, and mighty sticklers for the dignity of their cloth. The race of Diiifoirus, though it has discarded powdered periwig and gold-headed cane, is as flourishing as when Moiiere scarified its bombastic pedantry with the sharp edge of his satire; but public authority now intervenes to save the dignity of science from such unseemly assaults.

Gossip is already busy with the future season at the Italian Opera here. It seems a settled thing that if Tamberlik do not return, Mario is engaged for the last six months of the season, and Signor Pancani for March and April. Graziani, Gardoni, Badiali, Zucchini, Angclini, and Mesdames Alboni, Penco, and Marie Battu are coming again, so that a sufficiently complete company will to a certainty be available. The season it is said will open with La Sonnambula; and La Semiramide will be given with Mesdames Alboni and Penco, and Badiali, so that the Parisians will have an opportunity of exercising their critical acumen by a comparison of the Italian performance with that now forming the principal attraction of their own Grand Opera. Such operas as // Matrimonio Segreto and L'ltaliana in Algeri, which are not sufficiently long to furnish forth the entire evening, will be backed up by operas in one act selected from the old Italian ripertoire.

The Orphean Society of the city of Paris held one of two grand meetings last Sunday at the Cirque Napoleon, under the direction of Mil. Francois Bazin and Pasdeloup, directors of vocal instruction in the communal schools. The programme may interest some of your readers after the recent visit to England of the Orpheonists. Here it is : — Part I.: 1° Veni Creator, by Besozzi; 2° Le Midecin Taut mieux et le Midecin Taut pit, by P. Bazin; 3° Angelus, by Papin; 4° La Oarde Passe (men's voioes), by Gretry; 5° O Salutaris, by Auber; 6° Le Couvre-feu, by Halevy. Part II.: Invocation, by Pasdeloup; 2° Le Printemps (men's voices), by Von Calle; 3° Let Vendanges, by Orlando do Lassus; 4° Faust (men's voiees), by Gounod; Cantique, by Haydn; Vive rEmpereur, by Gounod. The second meeting will be nest Sunday. Last week the Concert Musard distinguished itself by the performance of Spontlni's overture to Olympia i and as few opportunities of hearing this work have ever presented themselves to the Parisians, great curiosity was excited on the occasion. Mad. Spontini is said to have furnished directions :is to the true mode or rendering the work; and certainly it was very eflectively executed.

The distribution of prizes at the Conservatoire for Music and

Declamation has just taken place, but in neither department do the competitions appear to have brought to light talent of more than ordinary promise. It is worth while noticing, perhaps, that among the competitors for the violin and violoncello prizes, figured four young ladies, three violinists and one violoncellist. Lady-fiddlers we are tolerably well accustomed to, but the attitude of a lady grasping with all her limbs a violoncello is one to the grotesqueness of which usage has not yet reconciled us. In time, no doubt, we shall think nothing of it. The cry after more female occupations, which is so fast breaking down the foolish distinctions between sauce for the goose and sauce for the gander, and has already given us a female goose practising physic, is destined, no doubt, to wear out our faculty of astonishment at such novelties. Female lawyers, soldiers, and sailors will be plentiful as blackberries j and the stories of Portia, and Joan of Arc, and the touching ballad of " Billy Taylor " will lose their savour. Apropos of this subject, as connected with the question of delicacy touching the fair sex generally, I am informed of a curious result which has followed the promulgation of the new constitution by the King of Naples. Besides restoring to the repertory of the Opera a number of works previously interdicted by the censorship of the former regime on grounds now of morality, now of state policy, it has emancipated the corps de ballet from the celebrated green ealecotis (drawers) to which the prurient-minded zeal for decency of the priests had condemned them, much to their chagrin and annoyance. They now nightly appear in the zephyr-like pink ana white in which we are accustomed to admire in perfect innocence their evolutions, unreminded by a green signal that there is any danger in the spectacle, and the audience testify by their enthusiastic applause their sense of relief at the removal of this disgusting badgo of servitude to minds darkened with suspicion and haunted by hideous phantoms of human depravity and carnal gin. While I am at Naples I may as well inform you that the tenor, Signor Pancani, is engaged for the ensuing season, together with Negrini and Colletti, Signora StefFenone, Signora Vera-Lorini, and the danseuse. Mile. Boschetti.

Returning to the Paris news, I shall concludo all I have to communicate by saying a few words about the theatres. Not that there is anything remarkable to dwell upon in their doings, for all are pretty much in the same languishing condition as characterises musical affairs. The fact is the extraordinary caprices of the weather have entirely thrown out the calculations of the manager. Instead of being divided into four even suits, like a pack of oarda fresh from the maker, spring, summer, autumn, and winter, succeeding each other, as do hearts, spades, clubs, and diamonds, the days of the year have got so intimately shuffled up, that any trade or profession depending on the weather has beoome as hazardous as a game of rouge et voir. The consequence is, that believing July would turn up a suecession of hot days, which would mightily thin theatrical audiences, managers have made no provision for the unusual popularity with which they are favoured by the inclemency of the season. Not having any novelty in readiness, they have had recourse to revivals, and these are now as much the order of the day in the theatrical world as they were lately in its opposite pole, the religious hemisphere. At the Gymnasc we have had Let Faux Bonshoinmes; at the Vandeville, La Vie de Bohenie, and later still La Tentvtion, produced for the return of Brindeau, whom you had an opportunity of seeing in this very piece in your French Plays. At the Porte St. Martin, a drama of Frederic Soulie's, Lei Etudianti, produced at the Ainbigu sixteen years ago, has been revived with very fair success, but generally speaking the very modem pieces will not bear the process of disinterment, for the lack of that deeper inspiration and more conscientious workmanship to embalm them, which the present writers neglect for ephemeral skotches of the momentary phases of an ever-changing social surface. At the Palais Royal, a veritable novelty has been produced under the title of Let Memoiret de M'mi Bainboche, which, being nn allusion to a certain disreputable personage, who, under the name of Rigolboche, has drawn attention to her choreographic powers, first at the public balls, and afterwards on the stage, has proved more attractive than the intrinsic merits of the piece deserve. There is nothing more offensive in the state of public manners in this country than the way in which, one by one, a set of disgraceful husseys are allowed to make their way up from the petty orgies of student life, to the front rank of fashionable notoriety, whence, if they do not ascend the pedestal of art, as they frequently do, their names are familiarly bandied about with a second-hand admiration in every rank of society. The "reign of Aspasias with neither wit, learning, nor outward decency, is no longer a portent of decadence, it is the actual and accomplished fall.


Resume Op The Season.

On Saturday the theatre really closed for the season, although it was anticipated that it would be kept open another week;in consequence of the increasing success of Oberon. It could not be managed, however, some of the principal singers being imperatively summoned to their continental engagements. The performances on Saturday were for the benefit of Mile. Titiens, and included Oberon, preceded by the "Shadow Song" from Dinorah, for Mad. Marie Cabel; the last scene from Lucia di Lammermoor, for Signor Giuglini; and the divertissement from the ballet of Or/a, for Mad. Ferraris. The audience was enormous, in spite of the thunderstorm that raged furiously and the rain that fell in absolute torrents from 6 until 9 o'clock. It is not easy to account for the triumphant reception awarded to Oberon at Her Majesty's Theatre, when it is remembered that, with Braham and Miss Paton in the cast, in the zenith of their popularity when the opera was first produced at Covcnt Garden with great splendour of scenery and decoration and the extremest care in the general getting up under the composer's own direction, it was a comparative failure. Has the musical taste of the public so much degenerated? Does there exist a stronger admiration for the decorative in theatricals? Is Signor Mongini a greater tenor than Braham, or Mile. Titiens superior to Miss Paton? Does Her Majesty's Theatre enjoy a more powerful prestige than old Covent Garden before Music hurled the Drama from its pride of place? Is Mr. E. T. Smith a better or a more fortunate manager than the late Charles Kemble, or Mr. Benedict a more experienced and habile conductor than Tom Cooke of facetious memory? However these questions may be answered for or against the representation of Oberon at Her Majesty's Theatre, some things may be urged directly in its favour. It may be confidently asserted that the characters of Fatima and Oberon, so important in the score, were never before so efficiently performed as by Mad. Alboni and Signor Belart; nor had Sherasmin and Babekan been entrusted to such artists as Signor Everardi and M. Gassier. In short, the cast of Oberon at Her Majesty's Theatre was incomparable, and such an array of talent could not fail to have a powerful allurement of its own. As the music became better known too it was more liked, and this gave a durability to the attraction which neither perfect cast nor splendour of decorations could secure. That Oberon has proved one of the most triumphant successes of late years on the Italian stage cannot be denied, and indeed its production promises to constitute an epoch in the annals of the opera.

The season opened on the 10th of April with Flotow's Martha, the principal characters sustained by Mile. Titiens, Mad. Lemaire, Signers Giuglini and Vialetti; Mile. Pocchini appearing in a divertissement from the ballet, Fleur des Champs. That the opera was considered no eminent success may be concluded from the fact that it was not repeated during the season. On the 12th, Mad. Borghi-Mamo made her debut as Leonora in La Favorita, winning immediate favour by the beauty of her voice and the charm of her style. Signor Everardi made his first appearance as Alfonso with decided succsss, and Signor Mongini exhibited considerable im

5rovement in Fernando, a part somewhat out of his exact line. I Trovatore was given on Saturday the 14th, with Mile. Titiens, Mad. _ Borghi-Mamo, Signors Giuglini and Vialetti,— Mad. Borghi-Mamo achieving her second success in Azucena. On the 18th, Mile. Piccolomini appeared as Violetta in the Traviata, it being the first of a series of six farewell performances, previous to her retirement into private life. She did not excite the same enthusiasm as formerly, though she had still many ardent admirers. On the 26th, a new opera, by Signor Campana, enti

tled Almina, written expressly for Mile. Piccolomini, was produced, and created little or no sensation. In Almina, played three times, Mile. Piccolomini took her leave of the stage, an unwise step, as was almost universally affirmed, the young prima donna having n entirely identified herself with Violetta. On the 19th of April, Rossini's Otello was produced, with Mad. Borghi-Mamo, Signor Mongini, Signor Corsi, Signor Everardi and Signor Vialetti. The lady created a profound sensation in Desdemona, more especially in the last act; and the Otello of Signor Mongini, but for its predominance to exaggerate in the passionate scenes, would nave been admirable. In the music of Iago, Signor Everardi proied himself a practised Rossinian vocalist. On the 27th, Lucrezia Borgia was given, with Mile. Titiens as the Duchess, Mad. BorghiMamo as»Maffeo Orsini, Signor Mongini as Gennaro, and Signor Everardi as the Duke. Mile. Titiens was grander and sang more superbly than ever in Lucrezia, and Signor Mongini was immensely applauded in Gennaro. Mafieo Orsini was not well suited to Mad. Borghi-Mamo; and Signor Everardi sang better than he acted as the Duke.

On the 5th of May, Don Giovanni was produced, with the following cast:—Donna Anna, Mile. Titiens; Donna Elvira, Mile. Vaneri; Zerlina, Mad. Borghi-Mamo; Don Ottavio, Signor Giuglini; Leporello, Signor Vialetti; Commendatore, Signor Castelli ; and Don Giovanni, Signor Everardi. The Zerlina of Mad. Borghi-Mamo was exquisitely sung, but some found fault with the acting on the score of its lack of animation. These were principally admirers of Mile. Piccolomini. The Don Giovanni of Signor Everardi wanted dash and devilry, and a certain nonchalance of manner. In other respects little fault could be found. Signor Everardi sang the music extremely well; was easy, at times even graceful, in his deportment; and looked the part admirably, although perhaps a little too mild of aspect for a voluptuary. An artist must be born as well as bred a Don Juan. This is why we have so few singers who can play the part. "Instinct is a great matter." Signor Vialetti sustained the part of Leporello for the first time with credit. Mile. Vaneri gave the music of Elvira in excellent style, and Mile. Titiens was superb as Donna Anna—one of her finest parts, certainly. Don Giovanni was repeated on the 10th and 17th, Her Majesty being present at the last performance, her only visit of the season. On the 28th it was given for the fourth time, with a change in the cast, M. Gassier appearing as Don Giovanni, Signor Everardi as Leporello, and Signor Sebastiano Ronconi as Masctto. Signor Everardi turned out the best in the exchanges, acting the part of Leporello with infinite vivacity, and singing the music to perfection.

Norma was brought out on the 8th of May for Mile. Titiens, who exhibited immense improvement in her mastery of Bellini's music. Her singing of the " Casta Diva" was, in some respects, the most surprising we ever heard. Signor Mongini's Polio is one of his most unexceptionable performances. Mile. Vanen pleased much in Adalgisa, and Signor Vialotti was grave anJ weighty as Oroveso. For some reason we could not make out, Norma was not played again entire during the remainder of the season, although the first scene was introduced into the performances on several occasions for Mile. Titiens.

On the 12th of May, Rigoletto introduced Mile. Maria Brunctti as Gilda, andjSignor Sebastiano Ronconi as.the Jester. The lady, who had gone through one brief campaign only at the Grand Opera of Paris last year, had hardly experience enough to take her place beside the .experienced generals of song who commanded the different forces at Her Majesty's Theatre. She was nervous, and could not do herself justice. Nobody, however, could mistake her talent, which only wants a few years to ripen it. We may anticipate by and bye having to write important bulletins about Maria Brunetti. Signor Mongini was as powerful and striking as ever in the Duke. The Rigoletto of Signor Sebastiano Ronconi had many good points, but was overdone. The opera was repeat*^ on the 24th, after which we see or hear no more of Mile. Bnoietu during the rest of the year.

The Barbiere was brought out on the 15th, but with no superlative cast. It comprised Mad. Borghi-Mamo as Rosina, Signor Belart as the Count, Signor Everardi as Figaro, Signor Vialetti as Don Basilio, and Signor Castelli as Doctor JJartolo. The lady would have been irreproachable but for some unwarrantable

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