This is hardly inferior to the well-known "One God, one Farinelli." As our readers are well aware, these Festivals are conducted by the organists of the respective cathedrals. Now, with all possible respect for the ability of these gentlemen, who are doubtless thoroughly at home with their own instruments, we cannot but think that it would be desirable to have a chef with whose method of conducting the band is familiar; for it is hardly to be expected, however great the capacity as an organist, that any one assuming the bâton once in three years should be competent to direct performances on the scale of magnitude that these Festivals have assumed. Granting that Messrs. Done, Amott, and Smith are not altogether unused to such oratorios as the Messiah, Elijah, &c., (although in these, without being hypercritical, we have more than once had occasion to find fault) it is in the evening concerts that their deficiency as conductors is apparent; a wavering beat, uncertainty and changes of time, frequently putting band and chorus at variance, and in some instances marring the efficiency of the principal singers. Of late years, however, this has fortunately not been quite so apparent, thanks to having a leader like M. Sainton, whose unvarying steadiness is of immense service, acting as a foil to the somewhat eccentric gyrations of the local conductor's stick. More than once an attempt has been made to alter this, and secure the direction of a London conductor, but vested interests and other prejudices of like character have interfered, and so kept things in statu quo. One of the objections urged has been the time-honoured cry of precedent "It always had been so, and why should there be a change? It would alter the character of the meetings, &c" Now, the fact is that it was not always so; for in 1737 Dr. Boyce, many of whose anthems still hold their place in our churches, was engaged to conduct the festival, and wrote an anthem for the occasion; and, as we shall show farther on, other conductors presided at various times. When Handel's oratorio of Samson was produced in 1752, the prices were raised in consequence of the extra expense of engaging London performers, although this was not the first time that the metropolis had contributed her aid; for in 1733 (Mr. Powell's year) French horns, trumpets, hautboys, German flutes, and a "fine treble harp," were engaged, to say nothing of the "first vocal" performers, of whose names we have no record. In 1754 Handel's Judas Maccabæus was produced at Gloucester. In 1755 at Worcester the singers were Miss Turner, daughter of Dr. Turner, organist of Westminster Abbey; Mr. Wass, of the Chapel Royal; Mr. Denham; Mr. Baildon; and Mr. Beard. The latter gentleman was the Sims Reeves of his day, taking the principal part in almost every musical piose that was performed, and being the original tenor in Esther, Handel's fist oratorio. He was one of the singers in the Duke of Chandos's chapel at Cannons, and in 1739 gave great scandal to the aristocracy by marrying Lady Henrietta Herbert, only daughter of James Earl of Waldegrave, and widow of Lord Edward Herbert, second son of the Earl of Powis. Our musical readers will remember that the late Lord Waldegrave married a daughter of the great John Braham. Touching the marriage of Lady Herbert, Lady Mary Wortley Montague, in one of her letters to Lady Pomfret, says: "Lady Herbert fur nished the tea-tables here with fresh tattle for the last fortnight. I was one of the first informed of her adventure by Lady Gage, who was told that morning by a priest that she had desired him to marry her the next day to Beard, who sings in the farces at Drury Lane. He refused her that good office, and immediately told Lady Gage, who (having been unfortunate in her friends) was frightened at this affair, and asked my advice. I told her honestly that since the lady was capable of such amours I did not doubt, if this was broke off, she would bestow her person and fortune on some hackney-coachman or chairman, and that I really saw no method of saving her from ruin, and her family from dishonour, but by poisoning her, and offered to be at the expense of the arsenic, and even to administer it with my own hands, if she would invite her to drink tea with her that evening. * * Her relations have certainly no reason to be amazed at her constitution, but are violently surprised at the mixture of devotion that forces her to have recourse to the church in her necessities, which has not been the road taken by the matrons of her family." With much more of the like good-natured character. Her friends, however, were disappointed, as Beard appears to have been a man of superior attainments, good principles, and respectable conduct; and consequently he and his noble, wife enjoyed a fair share of happiness in the married state. After her death Beard married a daughter of Rich, and eventually became one of the proprietors of Covent Garden Theatre, dying in 1791, at the age of seventy-four. In 1757 Handel's Messiah was given at Gloucester for the first time, and received with enthusiasm, Dr. Hayes being the conductor. The following year Pinto, an Englishman by birth, but of Italian parentage, conducted. Pinto's son, who died in 1808, at the early age of twenty-one, was a most extraordinary genius, but of very irregular habits. In addition to being an excellent performer on the violin and piano, his compositions for these instruments, as well as for the voice, were both numerous and original. The Monday Popular Concerts gave one of his sonatas, A major, for pianoforte, the early part of last year, if we remember rightly. At the Gloucester meeting of 1760, Dr. Hayes again conducted, Esther being given in memory of Handel, who had died since the preceding anniversary. In 1770, at Worcester, Miss Linley (afterwards the wife of Sheridan) sang. Israel in Egypt was given for the first time at Gloucester with a new oratorio, Ruth (now entirely forgotten), by Giardini, who at that time led the band. Hereford, in 1777, took a novel step;→ the introduction of an entire Italian opera: the example, however, was not repeated. Mr. Cramer, father of John Cramer, led the band at Hereford in 1780. Four years later the church services and anthems were confined for the first time to the morning meeting in the cathedral, and the music which had been performed the same year at Handel's commemoration at Westminster Abbey substituted for the ordinary service. In 1788 George the Third and his queen honoured the Worcester Festival by their presence. The following year Mrs. Billington made her first appearance at these festivals. Lindley, the celebrated and well-remembered violoncello player, made his first appearance at Gloucester in 1798, and his last appearance at the same place half a century later. Gloucester certainly seems to have taken the initiative both in the production of new works and new performers; for in 1796 we find that John Braham made his appearance as principal tenor for the first time. Worcester, however, brought out Incledon in 1803; and Gloucester, in 1802, Mrs. Billington, and in 1811, Mad. Catalani, when Braham resumed his post as first tenor, having just returned from Italy; and in 1814 Miss Stephens, afterwards Countess of Essex, We have before alluded to the responsibilities of the stewards; and so heavy were the losses they had to defray, that at one time (1798) no gentleman could be found to accept the office, consequently the meetings ran the imminent risk of being abandoned altogether. The Duke of Norfolk, however, overcame the difficulty; and although since then great trouble has been experienced in getting stewards, and from that and other causes the festivals have been repeatedly endangered, we think that now there is every reason to believe that they are established on a firmer basis than ever, the losses of late years having diminished to a mere trifle, and indeed twice at Gloucester, 1853 and '56, a surplus being obtained for the charity. To Mr. J. H. Brown, the indefatigable secretary of the Gloucester meetings, belongs the credit of extending the number of stewards, having gradually increased from eight to no less than forty-four, whose names we find heading the programme of last year's meeting. The Rev. Robert Sarjeant, the zealous secretary of the Worcester festivals, has secured the goodly number of thirty-four stewards, amongst whom we find the Earl of Shrewsbury and Talbot, Earl Coventry, the Hon. F. G. Calthorpe, M.P., Hon. F. Lygon, M.P., Sir H. E. Lambert, Bart., Sir E. Lechmere, Bart., the High Sheriff of the county, &c., &c. Should any loss arise it is not felt when distributed over so many; but when a deficit of £1500 has to be divided amongst six, as it has been within our recollection, it becomes a serious matter. Another advantage, too, in numbers is this:-The majority of gentlemen selected are generally residents in the neighbourhood, and being pecuniarily interested in the success of the Festival, fill their houses with company for the week, and every day bring large parties to the Cathedral and Shire Hall, who not only swell the attendance, but contribute handsomely to the plates held at the doors with such persistence by the most charming and fascinating of ladies, whose earnest appeals are literally irresistible. We can understand any one refusing a donation when the plate is handed round at "Ebenezer" or "Little Bethel" by a sourvisaged deacon, elder, or some such functionary, the mind having been previously prepared by listening to a dreary discourse from the Rev. Mr. Howl, and the body chastened by sitting in the most uncomfortably angular pew constructed of the hardest wood known. But after hearing a glorious oratorio, in a no less glorious cathedral, the dulcet strains of Clara Novello or Sims Reeves ringing in our ears, to have to run the gauntlet of a dozen or so of the most elegant and fashionable belles of the county, the heart would not be made of flesh and blood who could possibly withold his mite under such circumstances. The list of principal singers is strong. First we have Mad. Clara Novello (who made her first appearance at Gloucester twenty-five years ago with Caradori Allan), and as this is the last opportunity the public will have of hearing her marvellous voice in the place of all others where it sounds to the greatest perfection-the nave of a cathedral-we doubt not that this fact will of itself be sufficient to attract vastly increased numbers to the morning performances. The remaining soprani are Mesdames Rudersdorff, Weiss and Parepa; contralti-Mad. Sainton-Dolby (the Worcester stewards not following the example and bad taste of the Norwich committee), and Miss M. Wells. Tenors Mr. Sims Reeves (without whom no festival can be considered complete), Messrs. Montem Smith and Mason. The basses Messrs. Weiss, Briggs, and Signor Belletti; the first-named gentleman this time sustaining the part of Elijah, as he had always done at the festivals of the choirs until last year at Gloucester, the circumstances of which need no repeating here, having engaged sufficient attention at the time. Mr. H. Blagrove leads the band in the morning, M. Sainton in the evening performances. Nearly the whole of the principal players of M. Costa's orchestra are engaged, but amongst the violoncellos we miss the familiar name of W. Lovell Phillips, unhappily numbered with the dead since the last meeting of the choir, and also of Signor Cioffi, first of trombone players, likewise taken from us this year. To-day there has been a long rehearsal at the cathedral, and this evening another rehearsal at the College Hall. From what we hear there seems every prospect of a good festival, by far the larger proportion of seats for both morning and evening performances being secured. The weather is charming, a trifle cold perhaps, but bright, clear, and promising a continuation. TUESDAY. This morning, at half-past eight, divine service was held in the choir of the cathedral, the Rev. R. Cattley, minor canon, intoning, the Rev. Canon Lewis, reading the first, and the Hon. and Rev. the Dean (Dr. Peel), the second lesson,-the chant being the Rev. F. Havergall's festival chant. The choristers and lay clerks of the three choirs were all present, and rendered the service, Croft in A, and Goss's anthem, "Praise the Lord O my soul,' with steadiness and efficiency, Mr. G. Townshend Smith, of Hereford, presiding at the organ. An excellent and appropriate discourse was preached by the Rev. George Herbert Pepys (son of the bishop), from a text taken from the 3rd chapter of the book of Proverbs, 9th and 10th verses-"Honour the Lord with thy substance, and with the first-fruits of all thine increase; so shall thy barns be filled with plenty, and thy presses shall burst out with new wine." Although the congregation was very large, the collection was but little more than £14, which does not say much for the liberality of the Worcester townspeople, whom we take to have formed the staple of those present. True it is that the Mayor and Corporation, who came in state, reserved their contributions for the oratorio performance, which was to take place later in the day, when no doubt the charitable feelings of the corporate body, and many others, would be stimulated by a bounteous champagne breakfast, with which the Mayor regaled his friends at the Guildhall, a building which has just undergone thorough repair and redecoration, the festivities of to-day serving as a sort of housewarming to the edifice. We remarked that the choir or east window of the cathedral has been partially restored, six out the ten stained glass lights having been recently filled in by Hardman of Birmingham. The purport is to depict certain events in the life of our Saviour, but what they are intended to represent must be taken entirely on trust, as from the choir it is quite impossible to decipher their meaning. The colours, moreover, are poor and cold, lacking that rich and lustrous effect which the old artists were wont to produce in stained glass. And while we are on this subject, it may not be out of place to mention that upon visiting Gloucester cathedral last Sunday, we found three new and very fine specimens of stained glass windows had been inserted in the south aisle, and it is in contemplation to complete the series by filling in the whole of the lights on the south or college green side in a similar manner. When this is finished, the nave of Gloucester may challenge comparison with any cathedral, the very large and no less effective west window, erected to the memory of the late Bishop Monk greatly enhancing the appearance of the building. The At 12 o'clock the musical performances were inaugurated by the first part of Haydn's Creation, in which the most marked feature was the singing of Mad. Clara Novello, whose voice told wonderfully in "The Marvellous Work," and "With Verdure clad." The choruses went well, "The heavens are telling," bringing the selection to a fine close. Mr. Weiss is so thoroughly at home in this as in all other of our standard works, that we need do no more than remark that his delivery of "Rolling in foaming billows was characterised by all those good qualities which have raised and retained him in his deserved position. After a few minutes' pause, Mendelssohn's oratorio of St. Paul commenced, and allowing half-an-hour's interval between the first and second part, did not conclude until just 4 o'clock. Our readers are sufliciently well acquainted with this masterpiece to render all criticism on its intrinsic and manifold beauties quite superfluous. Suffice it to say then, that the general execution is entitled to commendation-principals, band, and chorus alike exerting themselves to do justice to the great work, which twenty-four years ago was produced with such success at the Dusseldorf gathering, under the direction of the great composer himself. Mesdames Clara Novello and Rudersdorff divided the soprano music; Mad. Sainton-Dolby, assisted by Miss M. Wells, the contralto; Mr. Sims Reeves alone sustaining the tenor part, and Signor Belletti the bass, supported by Mr. Briggs, one of the lay clerks of the cathedral. choruses producing the greatest effect were "Stone him to death," "Rise up, arise," and "O great is the depth," marred, however, by people who could not wait for their refreshment until the end of the first part, but persisted in getting up and disturbing everybody else. The chorales, forming so distinctive a feature in this oratorio, were also given with great smoothness and attention. The one "To thee O Lord," performed at the funeral of the late Duke of Wellington, and "Sleepers, wake, a voice is calling," especially calling forth praise. The final chorus "Not only unto him" was altogether lost for the same reason we have above alluded to. Perhaps four hours is rather too long for a sitting, especially when we consider there are yet three full mornings and three long evening concerts to come. The attendance was larger by some 300 than is usual on the Tuesday morning (a good argument for continuing the same order at future meetings)-about 1,350 persons being present. An alteration has been made since the last festival, by taking away the western gallery and substituting reserved seats; another change too has been made, the prices of the aisles-formerly 5s. but last time 3s. 6d.-are now 2s. 6d.; and the result is that they were quite full, instead of, as in days gone by, being but a third occupied. One singular fact has come to our knowledge (and that from an undoubtedly authentic source) which it will not be out of place to mention here. The elegantly dressed ladies would perhaps feel offended if they were told that their devotion to fashion sadly interfered with the charitable objects of the music meeting, and could not think it possible that their skirts amplified by crinolines (which large as they are in the metropolis become positively gigantic in the provinces), should be enemies to the festival to the extent of more than £200-but so it is, for this time there are 230 seats fewer than last, to allow room for the present outrageous height, or rather width, of fashion. Readers of a calculating turn of mind who feel inclined to multiply this number by 15 shillings, the price of the reserved seats, can arive at a correct result. But this is not all, we have spoken only of the seats in the cathedral; at the College Hall, where the was succeeded by Mad. Rudersdorff, who gave an energetic "Music hath charms," not only "to soothe the savage breast," but also to extract money from the civilised pocket, and efficacious as pulpits and preachers may be upon some occasions, orchestras and singers are yet more powerful upon others. Excellent as was the advocacy of the reverend gentleman who officiated yesterday" morning, and urged the claims of charity, less than £15 was collected at the doors, as we have already stated; but after Haydn's Creation and Mendelssohn's St. Paul, the plates were replenished by donations amounting to upwards of £355, a sum more than double that usually subscribed the first day, and a splendid beginning for the Widows' and Orphans' fund. This has put the stewards and everybody connected with the festival in high spirits, and as the weather is magnificent and the plans for morning and evening performances present the gratifying sight of nearly the whole of the reserved and numbered seats marked off as let, all of them for Friday, the Messiah, and always the great day, and all for Thursday night, the last concert, the pecuniary success of the meeting ought to be certain. Should the anticipated attendance be fulfilled, there is a right to expect a surplus for the charity, or at any rate no deficit, for if there is any call upon the stewards after filling cathedral and concert hall every day, it must be a sign of radical mismanagement somewhere, as after all it amounts to a mere matter of calculation. So many seats at so much will produce a given sum, the engagements and other expenses will cost so much, and allowing a margin for casualties, the expenditure should not be allowed to exceed the estimated receipts. The attendance last night at the College Hall was the largest we remember for a first concert, 530 being present. The body of the room will hold about 600 persons, and the gallery some 300 more, but for the fact we mentioned yesterday, a thousand people might be accommodated. Perhaps when the present fashion is discarded (it cannot last for ever, that's one consolation), and ladies return to the straight and limp costume of their grandmammas, "when George the Third was king," and the festival of 18-, well, we cannot fix the date exactly, has let every seat for morning and evening, the consummation devoutly to be wished" may be accomplished. The concert of Tuesday was a decided improvement in more respects than one on those generally given at these meetings. In the first place the length was not excessive, as it commenced at eight and would have terminated at eleven, but for the encores in the second part. So much for the quantity. Next as to the quality, likewise praiseworthy, including, as it did, two works cach equally great in its way, and sufficient to stamp the concert with the individuality of good music. We allude to Dr. Sterndale Bennett's May Queen, heard for the first time at Worcester, and now fairly making the round of the provinces (it only remains for Hereford to follow the example of Gloucester the "fayre," and this the "faithfulle" city, to complete the circle of the choirs), and Beethoven's Symphony in D, No. 2, which occupied the post of honour, the opening of the second part. Mad. Clara Novello, as the heroine, Mr. Sims Reeves as the lover, Mr. Weiss, as Robin Hood, and Miss M. Wells as the Queen, one and all acquitted themselves to perfection; the chorus, too, was unusually good, and but for the orchestral accompaniment being far too loud throughout the entire execution, would have been entitled to unqualified praise. Of course for this the conductor is responsible, and it really was a pity to hear the voices of the principals all but drowned by the loudness of the instruments. We have so frequently eulogised this work that any further laudation would be superfluous, but it is sufficient to say that the intrinsic goodness of the music is such that the pleasure of the hearer is increased at each performance, a fact which never occurs with music of an inferior character, however attractive and catching it may have been at first hearing. The audience, although cold during its progress, applauded loudly at the close of the May Queen, which The College Hall, where these concerts are held, forms the south side of the cloisters, which connect it with the cathedral. It is by no means a comfortable-looking room, the coloured wash with which the walls are covered, and the dilapidated condition of the stone columns detracting from its appearance. The bare roof, open timber work of no ornate character, also adds to the effect we mention. It has, however, two very great merits, which in this age of defective ventilation and faulty principles of acoustic construction, must not be overlooked. The height of the building, and its tall windows with their lofty openings, secure an amount of circulation of air which we may seek in vain in any of our London concert-rooms. Indeed, last night the fault was the other way, for the cold was so excessive that the opening of the windows might well have been dispensed with, ladies gathering their opera cloaks round them, and looking as if they would have liked to put their feet to the fire. For sound, too, it is excellent, and perhaps had the conductor and his band known how thoroughly their sweet strains travelled, and how the softest note may be easily heard in every part, they might not have fallen into the error we have already alluded to. The building in olden times served as a refectory, and is used ordinarily as the College school; and as the pupils must necessarily have a holiday while the room is occupied for the purposes of the meeting, we have no doubt that these young gentlemen look with great respect upon the Worcester festivals, which would of course be increased if they were held every year instead of triennially. As the cathedral is under repair, the Dean and Chapter having agreed to expend some £20,000 on the work of restoration, masons are busily engaged both inside and outside the edifice, and in some parts to the great inconvenience of the occupants of the orchestra SEPTEMBER 15, 1860] in the cathedral, as it is not altogether pleasant to have unglazed cheques from the Rev. J. Fortes, one for £20, and the Gloucester dividend £22. 17s. 4d. At the festival of '57, £221. 5s. 8d. was taken. As the plateholders are pretty much the same each day, we shall reserve their names until the last, but we may as well mention that the large collection of yesterday included the following:Lady Emily Foley, £50; Sir J. Pakington, £10; Mr. Lycett, £10; Mrs. Padmore, £20; Mrs. Peel, £10; Earl Beauchamp, £10; Mr. Ricardo, £20; the united subscription of the Corporation, £30. 6s., being a guinea from each alderman and half a guinea from each councillor, a very shabby donation considering the immense benefit to the town these festivals unquestionably are. Such illiberality only convinces us that the people who care the least for their success or failure are the townsfolk, who should be the most active supporters, instead of leaving it to the county families and strangers. THURSDAY. Our notice of last night's concert must necessarily be short; and as there was but one novelty in the evening (the greater part of the remainder of the programme being of an uninteresting character) our task is easy. The plot of Niels W. Gade's cantata, The Erl King's Daughter (first time of performance in England), also is remarkably simple. A certain Sir Oluf, on the eve of his marriage, appears to have been taking a post-prandial ride "while twilight around was closing; " very unwisely he decides upon taking a nap on the Elfin Hill, although his mamma has expressed her objection to his being "out" at night. The elfin maidens, no doubt gratified at the presence of such a distinguished guest, serenade him, and invite him to dance, while the Erl King's daughter tempts him by the offer of a silk waistcoat ("a silken vest it shall be thine "), a decided novelty in the way of attire, as the young lady's mamma, who must have been a laundress of original ideas, seems to have bleached it in "pale moonshine." Whether he accepts or declines the gift is not altogether clear; however, the lady "hurries him on," and having attained her wish ungratefully dismisses him with a prediction that he will die on the morrow. As she tells him to "ride home to his bride clad in robe of red," we conclude that in elfinland an extensive stock of readymade gentlemen's apparel is kept on hand. Sir Oluf's mamma, who has been terribly distressed at his absence, welcomes him on his return, as does also a chorus of what we may suppose to be his Unfortunately for Sir Oluf, but fortunately for the public, the prediction is fulfilled, and the hero expires promptly; and so ends the cantata. An epilogue is tacked on very much in the shape of the "moral" to the celebrated pathetic legend of "Villikins and his Dinah;" only instead of the advice being addressed to "All ye young maidens take warning and nor," it is Knights who will on horseback ride" who are counselled to stay not, like Oluf, in elfin grove with elfin maidens till morning." tenants. 66 Of the music we need say little more than that in parts it is invested with a certain graceful flowing melody, and that Mendelssohn has been the model the composer has sought to imitate. The with Mr. Weiss as Sir Oluf, sustaining the principal parts. On execution was good, Mesdames Rudersdorff and Sainton-Dolby, the whole, however, it is not very interesting, lacking invention, and displaying a tendency, especially in the melodramatic part of the story, to run into commonplace. The audience were not very enthusiastic at its termination; but that says nothing, as enthusiasm does not appear to be an attribute of the Worcestrians. Weber's overture the Ruler of the Spirits and Mendelssohn's concerto (very finely performed by M. Sainton) were the only instrumental pieces. A change in the arrangements made the Au reste, it is first part of the concert unusually long, which was happily balanced by the second part being uncommonly short. enough to say that there were three encores-Signor Belletti, in Rossini's "Sorgete;" the same gentleman with Mad. Rudersdorff, in the duet "Per piacere" (Turco in Italia), and Mlle. Parepa, in Auber's "Laughing Song." The attendance was about 900. This morning the Elijah has been given with enormous success. The same remarks that we applied to the Last Judgment will serve equally well with reference to the performance of Mendelssohn's masterpiece, which has seldom been heard to greater perfection. Mr. Weiss sustained the whole of the arduous part of the Prophet, and well as he sings upon most occasions, was never heard to greater advantage than on this day-his voice being in excellent order, and his delivery throughout being unexceptionable. He certainly has taken his revenge for the treatment received at the last Gloucester Festival, and at future meetings we can hardly imagine the conductors entrusting the part of Elijah to any other than Mr. Weiss. Of course, Mad. Clara Novello took the first soprano music, her fine voice producing the usual effect, especially in the duet with the Prophet, and "Hear ye Israel." Mr. Montem Smith sang the tenor part in the first, Mr. Sims Reeves in the second division, "Then shall the righteous" being magnificently declaimed. Mesdames Weiss and Sainton-Dolby were equally praiseworthy, and touchingly as the latter lady sang "O rest in the Lord," we are glad that its repetition was not requested "by authority," as was the case with the trio, "Lift thine eyes." We have protested so frequently and unavailingly against this barbarism (for it is nothing less, to destroy the chain of harmony in such a manner), that we fear until every one shall know the Elijah thoroughly there will be no chance of correcting such egregious want of taste. The choruses went admirably from beginning to end; and we cannot but compliment Mr. Done, the conductor, upon the excellent judgment displayed in taking the time as it is marked, and not accelerating or retarding, for the sake of producing effect. Upwards of 1600 persons were present, and to-morrow it is anticipated that there will be a much larger attendance, the Messiah always bringing immense numbers from the country, who regularly come every festival to hear that imperishable work. The collection to day amounted to £255. 5s. 1d., being £10 more than the Thursday of three years ago. This includes the £60 Worcester dividend on funds. In yesterday's return the name of J. C. Dent, Esq., who gave £50, was omitted. WHEN *La Dame aux Camélias was to have been played last summer at the St. James's Theatre, with Mad. Doche in the principal part; but its representation was forbidden by the licenser, rates the performance of La Traviata (which, we need Opera is music in a dramatic form; and people go to the One night, at the Royal Italian Opera, when Mario was playing the part of the Duke of Mantua, in Rigoletto, and was singing the commencement of the duet with Gilda, a man dressed in black and white like every one else, said to us gravely "I do not understand Italian: can you tell me what he is saying to her?" "He is telling her that he loves her," we answered. "What is he saying now?" asked our inquisitive amateur two minutes afterwards. "He is telling her that he loves her," we repeated. |