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MR. SIMS REEVES' NEW SONG.

THE BRITISH VOLUNTEER.

SONG,

OOD NIGHT," Réverie by KUHE on Reichardt's Written by JOHN OXENFORD, Esq., composed by G. ALARY, and popular Wiegenlied (Cradle Song), is now published for the Pianoforte, price 38. by Duncan Davison and Co. 244 Regent Street, W.

"IF

F I COULD CHANGE AS OTHERS CHANGE," composed by M. W. BALFE expressly for Madame LAURA BAXTER, and sung by her with distinguished success at St. James's Hall and the Royal Surrey Gardens, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

"GOD SAVE THE QUEEN," for Four Male Voices,

in the Crystal Palace, Sydenham, arranged especially for them by CAMILLE DE Voss, is published in score, price 6d., by Duncan Davison and Co. 244 Regent Street, W,

WILBYE COOPER'S NEW SONG,

"The Meadow

Gate," composed expressly for him by GEORGE B. ALLEN, is now published,

price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

sung with great success by

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"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 refinement of repetition which were not to be denied."-Daily Telegraph.

ELLIOT GALER'S NEW SONGS, composed expressly expression which produced a magical effect on the audience, and raised demands for

for him by W. MEYER LUTZ, are just published,_viz. :-" Under the Linden Tree" and "Merry little Maud," price 2s. 6d. each, by Duncan Davison and Co. 244 Regent Street, W.

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SIM

IMS 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 encored, at Mr. G. W. Martin's Concert, Exeter Hall, Mr. Lindsay Sloper's and Miss Susannah Cole's Concerts, St. James's Hall, and will be sung at Mr. Balfe'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.

EYERBEER'S FOURTH MARCHE AUX FLAM

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 Fête of the Orphéonistes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.

"I LOVE YOU" New Song by BALFE, composed

expressly for Mr. SIMS REEVES, and sung by him with the greatest success, is published, price 38. by Duncan Davison & Co. 244 Regent Street, W.

"I WOULD I WERE A BUTTERFLY," by A.

SCHLOESSER, sung with immense applause by Mad. LEMMENS-SHERRINGTON, s published, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

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NEW SONGS by J. W. DAVISON, «Rough wind

that moanest loud" (sung by Mr. Santley at the Monday Popular Concerts); 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.

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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. The latter work is one of the most poetical and beautiful of the Vocal Illustrations of Shelley,' composed 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 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.

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 of 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: DUNCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris; 244 Regent Street, corner of Little Argyll Street, where may be obtained— "THE SULIO TE 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 23. "LEOPOLD," Mazurka Favourite, price 2s. Composed by Brinley Richards.

BOOSEY'S

PART-SONG MISCELLANY,

A COLLECTION OF

Original Part-Songs, Choruses, &c.

BY CELEBRATED COMPOSERS.

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1 "Welcome, Heavenly Peace," Four-part Song

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2 "The Bud is on the Bough," Four-part Song-(Male Voices)

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3 "And were they not the Happy Days?" Four-part Song

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4

"Beauty is dead," Four-part Song

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Frank Mori Frank Mori Frank Morl Frank Mori

5 "Who shall be Fairest ?" Four-part Song

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Frank Mori

6

"O spare my Tender Flowers," Four-part Song

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MUSIC AND THEATRES IN PARIS.

(From our own Correspondent).

Aug. 1, 1860.

I AM this week almost in the same 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 off to the sea-side or the German health springs. At the Grand Opéra, 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 Medicis, Prince Poniatowski's opera, has been played once, and Robert le Diable is to be produced forthwith, with Mlle. Vandenheuvel Duprez, and Mlle. Marie Sax. Roger was induced to sing once more at the Opéra 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 Opéra, had somewhat faded. Le petit Chaperon Rouge, so long announced, will decidedly be revived this week, and immediately upon it will follow M. d'Hauteroche'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 Diafoirus, though it has discarded powdered periwig and gold-headed cane, is as flourishing as when Moliére 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, Angelini, 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 Opéra. Such operas as Il Matrimonio Segreto and L'Italiana in Ålgeri, 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 répertoire.

The Orpheon Society of the city of Paris held one of two grand meetings last Sunday at the Cirque Napoléon, under the direction of MM. François 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; 2o Le Médecin Tant mieux et le Médecin Tant pis, by F. Bazin; 3° Angelus, by Papin; 4° La Garde Passe (men's voices), by Grétry; 5° O Salutaris, by Auber; 6o Le Couvre-feu, by Halévy. Part II.: 1° Invocation, by Pasdeloup: 2° Le Printemps (men's voices), by Von Calle; 3° Les Vendanges, by Orlando de Lassus; 4° Faust (men's voices), by Gounod; 5° Cantique, by Haydn; Vive l'Empereur, by Gounod. The second meeting will be next Sunday. Last week the Concert Musard distinguished itself by the performance of Spontini's overture to Olympia; 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 as to the true mode of rendering the work; and certainly it was very electively

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; and the stories of Portia, and Joan of Arc, and the touching ballad of "Billy Taylor" will lose their savour. A propos 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 régime on grounds now of morality, now of state policy, it has emancipated the corps de ballet from the celebrated green caleçons (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 and 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 badge of servitude to minds darkened with suspicion and haunted by hideous phantoms of human depravity and carnal sin. 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, Mlle. Boschetti.

Returning to the Paris news, I shall conclude 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 cards fresh from the maker, spring, summer, autumn, and winter, succeeding each other, as do hearts, spades, clubs, and dia monds, the days of the year have got so intimately shuffled up, that any trade or profession depending on the weather has become as hazardous as a game of rouge et noir, The consequence is, that believing July would turn up a suc cession 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 Gymnase we have had Les Faux Bonshommes; at the Vandeville, La Vie de Bohême, and later still La Tentation, 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, Les Etudiants, produced at the Ambigû sixteen years ago, has been revived with very fair success, but generally speaking the very modern 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 sketches of the momentary phases of an ever-changing social surface. At the Palais Royal, a veritable novelty has been produced under the title of Les Memoires de Mimi Bamboche, which, being an 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.

HER MAJESTY'S THEATRE.
RESUME OF 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 Mlle. 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 Orfa, 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 Covent 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 Mlle. 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 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.

its own.

The season opened on the 10th of April with Flotow's Martha, the principal characters sustained by Mlle. Titiens, Mad. Lemaire, Signors Giuglini and Vialetti; Mlle. 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 début 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 success, and Signor Mongini exhibited considerable improvement in Fernando, a part somewhat out of his exact line. Il Trovatore was given on Saturday the 14th, with Mlle. Titiens, Mad. Borghi-Mamo, Signors Giuglini and Vialetti, Mad. Borghi-Mamo achieving her second success in Azucena. On the 18th, Mlle. 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 Mlle. Piccolomini, was produced, and created little or no sensation. In Almina, played three times, Mlle. Piccolomini took her leave of the stage, an unwise step, as was almost universally affirmed, the young prima donna having so 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 have been admirable. In the music of Iago, Signor Everardi proved himself a practised Rossinian vocalist. On the 27th, Lucrezia Borgia was given, with Mlle. Titiens as the Duchess, Mad. BorghiMamo as Maffeo Orsini, Signor Mongini as Gennaro, and Signor Everardi as the Duke. Mlle. Titiens was grander and sang more superbly than ever in Lucrezia, and Signor Mongini was immensely applauded in Gennaro. Maffeo 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, Mlle. Titiens; Donna Elvira, Mlle. 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 Mlle. 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 "Instinct is a great have so few singers who can play the part. matter." Signor Vialetti sustained the part of Leporello for the first time with credit. Mlle. Vaneri gave the music of Elvira in excellent style, and Mlle. 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 Masetto. 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 Mlle. 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 Pollio is one of his most unexceptionable performances. Mlle. Vaneri pleased much in Adalgisa, and Signor Vialetti was grave and 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 Mlle. Titiens.

On the 12th of May, Rigoletto introduced Mlle. Maria Brunetti as Gilda, and Signor Sebastiano Ronconi as the Jester. The lady, who had gone through one brief campaign only at the Grand Opéra 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 repeated on the 24th, after which we see or hear no more of Mlle. Brunetti during the rest of the year.

The Barbière 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 Bartolo. The lady would have been irreproachable but for some unwarrantable

liberties taken with the cavatina "Una voce," and the duet "Dunque io son," both of which were almost obnubilated in a cloud of fioriture, whereby the music was spoiled and nobody the gainer. Mad. Borghi-Mamo introduced a Neapolitan air in the scene, which created a furor. The Figaro of Signor Everardi was not first-rate, and the Doctor Bartolo of Signor Castelli was last-rate. Signor Belart sang Almaviva's music with wonderful fluency, but this did not compensate for the want of breadth in his singing, and his indifferent acting. Signor Vialetti, if he had not descended to caricature, would have made a capital Don Basilio. On the 12th of June, the Barbière, with M. Gassier as Figaro, was repeated, and introduced Signor Ciampi as Doctor Bartolo. The new buffo made a tremendous hit, literally taking the house by storm as the old guardian, and winning the universal suffrages of the entire press. Subsequently, in other parts, Signor Ciampi hardly reached the expectations formed of him in the old doctor; but the fact that he is very young may extenuate the sins of excess with which he has been charged. Signor Ciampi's talent is undeniable, and only requires fining down to be made pure and legitimate. It will be his own fault if he be not ere long acknowledged the most accomplished buffo of the day. On the 16th of July, the Barbière was given with another change in the cast, Mad. Alboni being Rosina, and Signor Sebastiano Ronconi, Figaro. Mad. Alboni's singing of Rossini's music is incomparable. "Una voce" falls from her lips as it fell from the inspired pen of the composer, as fresh and as complete. Signor Sebastiano Ronconi did not exactly snuff out the recollection of his renowned brother in his delineation of the barber. Semiramide-one of the specific announcements of the prospectus-was produced on the 22d of May. Mlle. Titiens essayed the part of Semiramide for the first time, and was too anxious to do herself justice. Her singing, at times gorgeous and magnificent, was not always perfect. Her acting, however, was grand, powerful, and picturesque in the extreme. Mad. Alboni's Arsace was worthy of the music. Higher praise we could not bestow. Signor Everardi's Assur was excellent, if not great; and Signor Belart was irreproachable in the small part of Idreno. We cannot say much for the band, the chorus, and the mise-en-scène. The success was not extraordinary. If, however, Mr. E. T. Smith had expended the same money and pains in getting up Semiramide as he did in getting up Oberon, we should have had another story to tell. Semiramide was repeated on the 26th and 31st, and on the 11th of June.

The Huguenots was given for the first time on the 2d of June, with the following cast, too striking not to give in extenso :Valentina, Mlle. Titiens; Marguerite de Valois, Mlle. Michal; Urbano, Mad. Borghi-Mamo; Raoul, Signor Giuglini; De Nevers, Signor Everardi; St. Bris, M. Gassier; Marcello, Signor Vialetti. This undoubtedly was the crowning performance of the season, and which never failed to draw immense audiences. The Huguenots was repeated on the 4th, 9th, 14th, and 27th of June, and the 17th of July. Mlle. Titiens transcended all her efforts, and indeed those of all artists we have seen in Valentina. Mlle. Michal - not named in the prospectus-proved a valuable acquisition to the company, singing the music of the Queen with surpassing brilliancy, and creating a decided sensation. Mad. Borghi-Mamo made a most fascinating page, and gave both her songs, the first particularly, with charming grace and expression. The St. Bris of M. Gassier, and the Nevers of Signor Everardi, were inestimable additions to the cast. Signor Giuglini sang the music of Raoul as exquisitely as on any former occasion, and displayed greater passion and intensity in the acting; and Signor Vialetti exhibited those bluff qualities that make his impersonation of Marcello entirely his

own.

On the 5th of June, Verdi's Ernani introduced Mad. Lotti to the subscribers of Her Majesty's Theatre. She made no sensation, and the opera was not given a second time. This lady afterwards essayed her talents with better success in Gnecco's comic opera La Prova d'un Opera Seria, given on the 19th of June; and in Cimarosa's Matrimonio Segreto, produced on the 23rd. Gnecco's opera was given twice, but did not attract. Signor Ciampi sustained the part of the manager with immense spirit, but was indifferently supported. Cimarosa's opera

was well cast,-Mad. Lotti' appearing as Carolina; Mlle. Vaneri, Elisetta; Mad. Alboni, Fidalma; Signor Giuglini, Paolino; Signor Everardi, Count Robinson; and Geronimo, Signor Ciampi. Mad. Alboni's Fidalma was perfect; and the Count of Signor Everardi every way admirable. Signor Ciampi's Geronimo, too, was excellent, although open to criticism on the score of over elaboration. The chef-d'œuvre of the old Italian master was played twice only; and, although pleasing infinitely a select few, did not take with the general public. On the same night that La Prova d'un Opera Seria was given, a new German tenor, Herr Steger, made an appearance as Edgardo in Lucia di Lammermoor with but little success, and was heard of no more. Mlle. Titiens played Lucy for the first time, and though somewhat undersuited in the part, contrived to gain new laurels by her brilliant vocalisation no less than her energetic acting.

Of the next novelty, Oberon, brought out on the 3rd of July, we have spoken at length recently on more than one occasion. The public are familiar with the causes that led to its production at Her Majesty's Theatre; which, indeed, is entirely to be attributed to Mr. Benedict, who has all along advocated the policy of reviving the almost forgotten work of his illustrious master and having it tried on the Italian stage. The greatest success of Mr. E. T. Smith's first operatic campaign in the Haymarket is owing to Mr. Benedict, not only inasmuch as he suggested the performance of Oberon, but for the work done in adapting the music to the exigencies of Italian Opera, a far more difficult task than many think, to say nothing of the responsibility. Oberon was repeated on the 5th, 7th, and 9th of July, when it was suddenly withdrawn from the bills without explanation. The reason, however, seemed to be that Signor Mongini's engagement had expired, and, that not being solicited to stay he had departed for Italy. When the cheap nights commenced Oberon was clamorously called for, and a telegraphic message being despatched for Signor Mongini, he forthwith returned to London. Weber's opera was repeated on the 19th for Mr. Smith's benefit; and on the 21st, 23rd, 24th, 26th, and 28th, making in all nine performances-a number which might have been trebled had it been brought out early in the

season.

Perhaps the most questionable act of the management during the entire season was the bringing forward on the very last night of the subscription two such renowned artists as Mad. Marie Cabel and Mad. Amalia Ferraris; the one the very head of the French school of singers, the other one of the most accomplished dancers now before the public. To make matters worse, Mad. Cabel only appeared in one scene from Dinorah, a much greater indignity than was offered to Mad. Ferraris, who appeared in only one scene from the ballet of Orfa, since the fair danseuse was the sole representative in her department, whereas the fair songstress had to contend against the impression made by Mlle. Titiens, who had preceded her in a whole opera. A few days afterwards a better opportunity was afforded Mad. Cabel of exhibing her admirable talents as Maria in the Figlia del Reggimento, a part in which she displayed the most brilliant vocalisation, and the most delightful graces as an actress. That the fair cantatrice was not altogether at her ease in Italian opera was only natural; and it is to be regretted that no more than one opportunity was given her of appearing in the part.

We omitted to state that Mlle. Claudina Cucchi, a very clever dancer, made her first appearance on the 7th of June in a new ballet entitled Adelina. Mr. Smith perhaps did not make the best of the ballet materials at his command; but the fact of his engaging first-rate talent indicated a desire on his part to do the most. A good ballet with good music is only less desirable than a good opera. We trust that next year the ballet master will make an attempt to bring forward something worthy of the prestige of the theatre.

We cannot recognise the necessity of two conductors. Why Mr. Benedict and Signor Arditi should both be retained it is impossible for us to make out. We can understand that a conductor who has other engagements to attend to might find it inconvenient to preside in an orchestra where performances are given every night, as at Drury Lane last year; but at the regular performances of three or four nights a week there can be no difficulty. Besides, as no servant can serve two masters, so

no band can serve two conductors. Mr. Smith is fond of duplications; witness, the harlequinade of his Drury Lane pantomime. But, if he would desire his Italian opera to flourish, he must be simple and observe the unities. Let him eschew two conductors as he would two coachmen on the box of his chariot, if he would wish to be driven straight and escape upsetting.

MEYERBEER.

BY SCUDO.

nations. Robert le Diable was brought out at the opera in November, 1831. In March, 1836, he gave the Huguenots; in 1849, the Prophète; and in 1854, l'Etoile du Nord. I shall not undertake to comment on these works, which are known all over the world, and performed in all the theatres of Europe. At some future time, we shall have occasion to recur to these great scores, which are very differently rated by critics, but of which no one can deny the powerful effect upon the public. Germany, where the works of Meyerbeer are judged by artists and critics with a rigour that borders on injustice, Germany runs to the representations of Robert le Diable, the Huguenots, and the Prophète with no less enthusiasm than the Parisian public. Upon what then depends the evident and indisputable popularity of the operas of Meyerbeer? On the vigour of the colouring, the warm passion that pervades them, on certain situations powerfully rendered, on the effect of combinations, on profound inspirations that take hold of the masses, whatever may be the legitimate reservations of the man of taste who prefers the beauty that touches the heart and charms the imagination to the truth that strikes and impresses itself upon the intellect. We can say of Meyerbeer, who devotes himself above everything to the true expression of life, what the Latin poet, Propertius, has said of Lysippus, the Greek sculptor:

"Gloria Lysippo est animosa effingere signa."

MEYERBEER is certainly one of the most curious and interesting figures presented by the history of Art. A man of the North, beloved fellow disciple of Weber, who created the German opera, born of a family favoured alike by nature and fortune, Giacomo Meyerbeer had nothing to do but allow himself to live. Having two brothers, one a celebrated astronomer, the other a distinguished poet, Giacomo wished that his name, too, should be inscribed upon the book of life. After having been a remarkable virtuoso on the piano, as were also Mozart, Beethoven, Weber, Mendelssohn, after having tried his powers in several dramatic compositions, in the language of his country, he was suddenly seized by an extreme love for Italian music, and breaking all bonds with the new school, which had aimed to lead away the musical genius of the German nation from the influence of the It is a fine spectacle to contemplate the varieties of genius preItalian masters which had triumphed since the renaissance, Mey-sented by the history of art. Going back no farther than our erbeer went to the peninsula, and established again by his example own century, and restricting the field of observation to the three the old-fashioned pilgrimage of German musicians to the pure nations that represent the aesthetic civilisation of Europe, the sources of melody; for it is well to know that the pilgrimage of Italians, the Germans, and the French, we perceive two great the German composers began as far back as the last half of the changes wrought, the one by Beethoven in instrumental music, the sixteenth century. Prætorius, Henri Schütz (who was a pupil other by Rossini in dramatic music. These two geniuses, as of the school of Venice), Keyser, and all the dramatic composers different from each other as are the two nations whose aspirations who preceded Handel, Hasse, and Gluck, were admirers and and sentiments they express, proceed in the conception of their imitators of the Italian school then reigning. It was at the close work as nature proceeds: they imitate their predecessors, and as of the eighteenth century, after the death of Mozart and Haydn, the poet says, "sur des pensers nouveaux ils font des vers antiques," that the old alliance of the two great musical schools of Europe for there are no lasting recollections in the intellectual world, was suddenly broken. Beethoven, Weber, Schubert, Spohr, any more than in the moral world, but those that rest upon some Mendelssohn, and all the musicians who attached themselves more corner of the past. You cannot cite either a great philosopher, or less closely to the movement of renovation called the romantic, or a poet, or an artist, or even a real statesman whose original work that is to say, national school, not only rejected the ancient teach- is the result of an isolated force, of a purely individual activity. ings of the school which produced Palestrina, Carissimi, Scarlatti, If it is incontestable that the first compositions of the author of the Gabrielli, Marcello, and Jomelli, but even any imitation of its Pastoral Symphony reveal a more or less involuntary imitation of original peculiarities and processes. The last manifestation of the the style of Mozart, so neither does Rossini conceal the fact that German romantic school is that horde of inconoclasts who pretend he has been educated in the admiration of Haydn, Mozart, and to extirpate from music all idea of melody, and who speak with Cimarosa, whose essences he combines and mingles on his magic disdain of the works of Monsieur Mozart! and who have dubbed palette: but this has not prevented Beethoven from becoming the themselves musicians of the future, because the present age is not most vast, most profound, and most original musical genius that worthy to comprehend them. has ever existed, or Rossini from being the most varied, most passionate, and most brilliant dramatic composer of his epoch. Around Beethoven, who remains unique, has arisen in Germany a group of congenial geniuses, such as Weber, Spohr, Schubert, and later Mendelssohn, who, deriving their inspiration from the same order of ideas and the same traditions, are not the less original for that, especially Weber, who first translated into the lyric drama the marvellous of the German poetry. In the train of Rossini, in the same way, has been produced a family of brilliant disciples, of whom the most original of all is Bellini, who would have risen very high, had not death cut off before his time this sweet singer of Sicily, who had known how to combine with his own yet youthful style, an imitation of the old masters, especially of Paisiello, and the manner of the great renovator of Italian opera.

Of keen intellect, a sagacious observer, endowed with an imagination at once ardent and under restraint, ambitious of glory, yet not in too great haste to conquer it, timid and anxious in details, audacious and profound in the conception of a general plan, Meyerbeer developed in Italy a complex genius in which an adroit imitation of Rossini is discreetly mingled with his own inspirations. Such is the character of his two best Italian operas, Margu rite d'Anjou and Il Crociato, which made him a reputation that much afflicted his illustrious fellow-pupil and friend, the author of Der Freyschütz and Oberon. We may read in the correspondence of Von Weber, the letter in which he deplores the fact that Meyerbeer should have plunged deeper and deeper into the imitation of foreign forms, and that the love of success should have stifled so fin an imagination. "Was hofften wir alles von ihm! O verfluchte Lust zu gefallen!" Nevertheless in the midst of all the applause and vivas lavished upon him by the Italian public, so warm and extravagant in the demonstrations of its satisfaction, Meyerbeer meditated (for he is always meditating) a transformation of his manner. Der Freyschütz, which had been given at Berlin in 1821, was translated into French, and represented at the Théâtre de l'Odeon, at Paris, in 1824 with a success that has become European. Stimulated doubtless by this example, by that given by Gluck in 1774, which Spontini and Rossini had followed so brilliantly, Meyerbeer also conceived the idea of essaying his genius in a country which possesses indisputably the finest and richest dramatic literature of modern

While these two great revolutions in the musical art were in progress in Germany and Italy, France, which comprehends and appreciates nothing but exclusively dramatic music, remained faithful to the double tradition of Gluck and Grétry. Spontini and Mehul are disciples and eloquent imitators of the creator of Armida and the two Iphigenias, while the influence of Grétry produced at the theatre of the Opéra Comique, a swarm of delicious and charming composers of whom M. Auber is the illustrious successor. On this vast theatre, upon which Gluck, Piccini, Sacchini, Spontini, had come in succession to enlarge the domain of the lyric tragedy created by Lully and Rameau, submitting their differing genius to the severe taste of the French traditions, Rossini came also to write four great chef's d'œuvre,

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