comedy in the accurate delineation of the Irish serf, as exemplified in the character of Danny Man. The voice kept down to a perpetual semblance of servility, the stoop occasioned as much by the bowed mind as by the broken back, the agonies of the death-bed, aro all admirably true, and without a particle of exaggeration.

Nor is it too much to say that in the Colleen Bawn we are first made acquainted with the capabilities of Mrs. Billington,—a lady who, when she has attempted parts more than commonly conspicuous, has generally suggested the notion of over-weight. But in the very powerful scene in which Mrs. Cregan curses the captors of her sou, she completely rises to the level of the position, and astonishes by her newly-marked force.

Mrs. Bourcicault is an amiable, pleasing actress, who sings and dances very prettily, and is thoroughly unaffected and enthusiastic in all she undertakes.

Thus, altogether, the Colleen Bawn is not only a welcome apparition at a season which is dull even for September, but is an earnest of theatrical improvement. Two new artists are added to our histrionic force, and several who are well known develop new capabilities.

Its Rise Akd Progress.

MONSIGNY AND PHILLIDOR. The first of these was simply a musical amateur, born at Fauquemberg, a village near St. Omer, on the 17th of October, 1729. He was destined for a financial career, and obtained a post in the office of ecclesiastical accounts. It was while hearing a performance of La Serva Padroiu., by Pergolcse, that he felt the musical chord within him vibrate. lie had learned to play the violin at the Jesuits' College of St. Omcr, and after having heard the chef cCamvre of the Italian master, he took some lessons of a double bass player at the opera, called Gianotti, who taught him the principles of thorough bass, which the latter had learned from Rameau. He studied only five months with Gianotti, and it was after having received this elementary instruction that he set to music a little libretto entitled Les Aveux indUcrets, played at the Theatre de la Foire St. Laurent.

At this period the orchestra 'of the Italian Theatre {Comedie ltalienne), in which the greater part of Monsigny's works were to be played, consisted only of five first and five second violins, two altos, three violoncellos, to which were added later two double basses, two.flutes or two hautboys (the same artists being engaged to play both instruments), and lastly two miserable horns and two bassoons, who by no means piqued themselves on playing in tune. The performers in this incomplete orchestra were inferior to our most humble provincial artists, and the actors of the company of singing comedians were after the fashion of those of the vaudeville theatres of the present day. It may be guessed, therefore, what the performances of these " fair theatres" (theatres de la foire) were like in which our Opera Comique took its rise.

The following year Monsigny brought out on the same stage on which his first piece had been played, Le Cadi dupe, of which the words were by Lemonnier.

Even in this early work there are several pieces deserving mention. The air of Zelmire for instance, "Toi que mon coeur adore," by no means deficient in tenderness of expression; the duo, "Qu'en dites vous, monseigneur?" the trio, "Entrez done," &c. The music of these pieces is well adapted to the sense of the words.

Sedaine, attracted by these qualities, got himself introduced to Iklonsigny, and became his recognised collaborator. They brought out in 1761, Le Roi etle Fermier, which produced a great sensation

two hundred representations bringing in 10,000 fr. (£400) to

the composer 1 (An enormous sum for the period.) This piece met in the first instance a cold reception on account of the musical

element preponderating more than had been previously known. The poem of Sedaine had not taken the fancy of the audience, and it was not until after it had been heard several times that it was perceived Monsigny's music was marked by a strain of touching melody well suited to the sentiments expressed in each scene, a necessary condition of success with a French audience.

Two years later Sedaine and Monsigny gave the world a village opera (paysannerie), Rose et Colas, the graceful and simple songs of which charmed the public. In Le Deserteur the talent of Monsigny developed itself and reached its crowning success.

The fine wits of the time criticised this poem, and Sddaine's origin was cast in his teeth. His education had been ill cared for; his pieces were faulty in their style. Errors in French and spelling were as frequently met in them as dramatic situations which he sought after, rather than refinements of language, his chief object being to stir the emotions of the public. He knew the personage he had to deal with, and was convinced that to be made to cry or to laugh was all he asked for, which explains the introduction into his operas of characters for whose appearance no motive can be discovered. Thus in Le Deserteur, perceiving that the sentimental scenes were drawn out to too great a length, he introduced in the third act, in the most gratuitous manner, but with the utmost felicity, the character of Montauciel, which still preserves its charm in the eyes of the present generation. Clairval in the character of Montauciel, and Caillot in that of Alexis, gained the greatest applause.

"Monsigny,"—to borrow a passage from M. Adolphe Adam's interesting book, Derniers Souvenirs (fan Musicien —" worked with difficulty. Not only was he too unskilled a musician not to experience great difficulty in marshalling together his ideas and apportioning them between the vocal parts and the orchestra, but being endowed with extreme sensibility he was impelled to identify himself in some sort with his personages, and to place himself in their positions in order to excite and kindle his genius, and stir it up to emit the sparks of fanciful inspiration. Frequently while he was working at Le Deserteur it was found necessary to take the manuscript away from him on account of the excessive nervous excitement he experienced. This sensibility never left him. Choron relates the following anecdote:— Monsigny being then eighty-two years of age, while explaining to us the manner in which he wished the situation in Le Deserteur to be rendered, where Louise is gradually recovering from her swoon, and her stifled accents are interrupted by orchestral passages, shed tears of sympathy and fell himself into the same state of overwhelming emotion which he was describing in so expressive a manner."

M. Fdtis, who quotes this trait on the authority of Choron, adds with much justice :—" This sensibility constituted his genius, for he was indebted to it for a multitude of touching melodies which must always render his works deserving of attention from instructed musicians."

Next to Le Deserteur, the works of this composer which obtained the greatest success were La Belle Arsene, June 1773, and Felix ou VEnfant Trouve, 1777. From the latter work should be quoted the quintet, the trio, and the air, so well fitted to the situation— "Qu'on se batte, qu'on se dechire"

Although Monsigny was at that time only 48 he refused ever again to compose anything, and resembling in this one of our great contemporary geniuses, rested upon his numerous laurels. Ho alleged as his reason for thus prematurely reposing from his labours, the prohibition his physician had laid him under from ever again writing^ on penalty of losing his sight. On this subject, however, M.Fetis remarks,—"I knew this respect-worthy man, and I asked him in 1810, that is to say thirty-three years after the production of his last opera, whether he had never felt a craving to write since that time: 'Never,' said he; 'from the day that I finished the score of Felix, music has been as it were dead to me; I have never had an idea since.'"

He died in Paris, on the 14th of January, 1817, at the age of 88, being forty years after the last performance of Felix.

His music—notwithstanding the inspiration of which it bears the immortal impress—betrays constantly the want of an adequate musical education; a glance at the scores of Monsigny will show at once that his modulations, although for the most part simple, have been effected -with difficulty. Such was not the case with his contemporary—Francois Andre Phillidor.



Bohn at Dreux, on the 7th of September 1726, this composer was admitted at the age of six among the children choristers of the chapel choir of Louis XV. His first musical studies were under the direction of Cambra.

He was still a chorister when his passion for the game of chess declared itself. The musicians, while awaiting the hour for the king's mass, were in the habit of playing at this game; one day, one of them finding himself alone with Phillidor, was regretting the absence of an opponent, when the child offered his services in that capacity. His offer was accepted as a joke in the first instance, but soon led to the discovery that he possessed the most surprising aptitude for the game. He had divined its rules and the combinations of which they were susceptible while watching the play of his comrades. This love for chess was the most serious obstacle he had to encounter to his success as a composer.

lie would at any time throw aside his music, and devote himself not only to devising extremely complicated problems, but to writing works on this game. He went to Holland, where his chessplaying talent developed itself by contact with adepts of great skill. It befel him, especially towards the close of his life, when he was blind, to play several games at once, but these feats of strength, which required a great tension of the mind, weakened his intellects.

From Holland he went to England, and it was in London that he received from Diderot a letter upbraiding him severely for squandering his mind on the study of chess, thus depriving the world of the fruits of his musical genius. As a composer he would be esteemed; as a chess-player he could only excite a curiosity but moderately honourable to himself.

He returned to Paris, where he had a.'Lauda Jerusalem executed at Court, with which the queen was but little pleased; Maria Leczinska, it is known, did not like Italian music, and it was in that style that Phillidor had written his psalm.

Four years later, on the 9th of March, 1759, he brought out at the Foire St. Laurent Theatre his first opera, Blaise le Savetier. This opera had some success, and its composer showed himself a much better harmonist than his contemporaries. But as I said previously, his melodies had not the touching gracefulness of Monsigny's. The trio, however, "Le ressort est, je crois, mele," is in a pleasant style.

On' tne 18th of September he produced L'Huitre et les Plaideurs; this piece is inferior to the first, but he recovered himself in Le Soldat Magicien and Le Jardinier et son Seigneur, which were played, the first in 1760, the second in 1761.

In this last score, Phillidor advanced one step as regards instrumentation; his orchestra exhibits more signs of care than was the case with contemporary works. The duo, "Un maudit lievre," manifests a remarkable elegance and skill of handling. Nevertheless the works of this master are known only to the antiquarian and the professional singer.* His most successful operas were: Le Martchal Ferrant, in two acts, represented for the first time on the 22nd of August, 1761, every piece in which work might be deservedly mentioned, the most remarkable in my opinion being, however, the trio, " Oui, oui, ie le dirai;" the duo, "Premierement buvons," the trio, "Que voulez vous : "—Le Sorrier, which first saw the blaze of the footlights (if I may be excused this pompous expression to denote the few candles which illuminated tne front of the stage in those days) on the 22nd of January, 1764 :—and, lastly, Tom Jones, which appeared the 27th of February, 1764, and was his first piece in three acts. This departed from the usual style, and, as happens with all innovations, it was in the first instance hissed, because it was not understood, and then the same persons

* Grimm was wont to say that his music was wanting in ideas, and that he had more genius for chess than for music. After the first performance of Tom Jones, however, he granted him nervous strength, and a warm and vigorous style. Further on he calls Tom Jones the finest work on the stage.

who had hissed on the first night applauded at the subsequent performances.

In his resentment the innovator returned to London to apply himself again to chess; and when he once more visited Paris he found his own works and those of his contemporaries eclipsed by the success of a young citizen of Liege, for whom Phillidor had himself previously attempted to jirocurc a poem in vain.

The first opera of the young "Liegeois,' Le Huron, performed the 20th of August, 1768, had caused a complete revolution in the public taste. The name of this composer was Gretry.

Phillidor, however, composed two more works; a grand open, Themistocle, which he brought out first at Fontaincblenu, in 178.;, and afterwards, in 1786, at the ltoyal Academy; and L'Amitii ait Village, a comic opera in one act played on the 31st of Octolm, 1785, and on account of which he was called upon the stage, an honour extremely rare in those days. The Kepublic then supervened and he returned to London, where he died the 30th of August, 1795.

To complete the list of bis comic operas we must mention Sancho Panza and Le Bucheron, both in one act, and both played in 1762; Zelidc et Melide and Ernelinde, in 1766; in 1768, It Jardinier de Sidon; in 1769, L'Amant Deguise and hi Nwtdk Fcole des Femmcs; in 1772, Le Bon Fits; and in 1775, hi Femmes Vengees, the words of which were by Sedaine.

In the time of Phillidor the Comedie Italienne began to hare singers. The most renowned of these were M. and Mad. Trial, M. and Mad. Laruette, Caillot, Clairval, &c.

Trial was from Avignon. After having sung on several provincial stages he made his first appearance at the Comedie Italienne in 1764, in the character of Bastion in Phillidor's Sorrier. He was a good actor but had little voice. After having laughed and made others laugli so often in his various characters, he ended his career in a tragic manner. The public having made him endure some humiliation he went honie and poisoned himself. He had married the widow of one Comolet, Mad. MandetiUe. Comolet left her side only when she went on the stage. At home he locked her up when he had to go out. This kind of life had naturally exerted an influence over the temper of the young actress, and when her husband died she recovered all her natural gaiety of spirits. Everything here below has its compensation.

Though Laruette had no voice, his wife, on the other hand, who had sung at the Opera when she called herself Mile. Villette, was an agreeable singer.

Trial and Laruette created those buffo tenor parts, to endow which French authors have exerted their comic vein, and hue thus made them celebrated.

Clairval was an agreeable tenor. He was no musician, but his voice was pleasing. Besides his characters in comic opera, he frequently took parts in drama and comedy.

Caillot was the son of a goldsmith who had failed in business. As a child he played Cupids at the Court theatre; when his voice broke he retired into the country. He was playing the violin in the orchestra at La Rochelle, when an actor being taken ill he took his part on the stage. Subsequently he met with success at Lyons, and went thence to the Comedie Italienne, where he made his debut in Ninette d la Cour, on the 16th of July, 1760. His voice was of wide compass, and similar in character to that of Martin, of whom I shall often have to speak. Ihese actors, however, had no chance of pleasing the public but by an effective delivery; purely musical singing was in the second rank. Caillot retired from the stage in 1772.

Let us now sum up our opening remarks on the first foun&»<>^,,1 of the Opera Comiquc.

The work commenced by Dauvergne, roughly shaped out by Duni, polished by Monsigny and Phillidor, had reached a' *" latter period to a degree of perfection which permitted its 3!" suming an equal rank with the Grand Opera. The opera bntfs of the Italians, the lyrical drama of the Germans, had a rival, or rather a younger brother, iu the French Opera Comique, which, like its ciders, was destined to perform the tour of Enrope. Voltaire had predicted that the French would never have a muse of their own, that our language was opposed to it; and scarce!/ had this prophecy dropt from the pea of the great writer, than mu3ic, really of French origin and character, came into tho world, possessed of a constitution which ensured it a long life.

(To be continued.)


The following are particulars relative to the recently-discovered manuscript opera of Rita. One day, as Donizetti was walking along tho Boulevard dcs Italians, depressed and sad, he was accosted by his friend, M. Gustave Vaez (author of the libretto of La Favorite). "I die with ennui," he exclaimed; "pray suggest something to occupy my mind, even if it be but one act." A comic subject was agreed upon; two days after, the first act was brought by the author to the composer, who soon accomplished his task; to be brief, within the week the opera (Rita) was finished. It was accepted with eagerness by the director of the Opera Comiquc, M. Crosnier, but never produced, for the following cause. M. Auber, at that time the presiding deity of the Opera Comi«[ue, had been vainly solicited to have his work ready at tho period named, but replied that it was impossible, and chose the month of March following for its performance. In this dilemma, M. Crosnier addressed himself to Donizetti, and an agreement was duly drawn up between them. M. Auber, who was in ignorance of this agreement, wrote a few days afterwards to the manager, retracting his first decision, and fixing November as the precise period he wished his opera to appear. Great was M.Crosnier's embarrassment; but by employing a little tact, he hoped to extricate himself. Donizetti, who did not at all understand theatrical diplomacy, was at first much puzzled by the manager's preliminary eloquence, but a light flowing into his mind, he divined the real state of the case, and coming at once to the point, said, "Oh, now I see: it is tho engagement with me that is the difficulty in question; I am not in the habit of using a magisterial order to enforce a performance of my music," and taking up tho paper he tore it in pieces. Feeling, however, much hurt, he refused to part with the score. Unfortunately for M. Crosnier, Auber within a few days again altered his mind, and gave notice that he should adhere to his original arrangement of producing his opera in March. Meantime tho management of the Opera Comique devolved on M. Basset, and the latter, finding au entry of the piece in tho books of the theatre, proposed to M. Gustave Vaez to put it at once into rehearsal. The illustrious composer was already attacked by the cruel disease of the brain which, alas! paralysed his fine intellect, and his brother—chief of tho military bands of tho Sultan, at Constantinople—did not judge it right, while the poor maestro writhed in his bed of agony in a Maison do Sante, at Issy, to deliver over the fruits of that intellect to the anatomical discussions of the critic. Donizetti was taken to Bergamo, his native town, in a dying state, where he yielded up his last sigh. A seal was put on all his papers, amongst which was the score of Rita. Adolpho Adam, who was aware of the existence of this MS., wished to produce it while he was director of the Opera Nationale, and M. Gustave Vaez wrote to M. Joseph Donizetti, and received the following reply, dated from Constantinople: "Sir,—It is out of my power to accept your polite offer at present, as no decision has yet been made of my poor brother Gaetano's effects, and I am only a co-inhcritant." The matter thus rested during several years. M. Joseph Donizetti dying, his son bought the rights of tho other inheritors, and came to Paris with tho score, which M. Gnstave Vaez proposed to M. Perrin, now manager of the Opera Comique. M. Perrin inquired into the authenticity of the work, and M. Gustavo Vaez pledged his word of honour to having seen each piece composed by Donizetti, according as the words were brought to him. "Your simple word is enough for me," replied M. Perrin, "but it will hardly satisfy those who may be tempted to surmise a speculation on our part." M. G. Vaez proposed forming a committee capable of pronouncing on the authenticity of the work. Tho proposal was at once carried into effect. Individuals were chosen, not only with reference to solving the question in an artistic point of view, but also those who were acquainted with his handwriting. Tho list included the following names: M. Duprez, M. Laborne, who had superintended tho copying of all Donizetti's music for the theatre from tho original MSS.; M. Vauthart, chief director of the choruses; M. Robin, chief copyist. The committee assembled under the presidentship of M Perrin. The question to bo solved was the following: "Is the score of the opera (Rita) complete as it has been found, orchestrated, and ready for the copyist, by the hand of Donizetti?" If the committee do not come to a satisfactory conclusion on this point, M Perrin's agreement is null and void. Tho score was carefully examined, and the judges unanimously pronounced that no possible doubt could exist of its authenticity. The committee signing their names, they further stated that

there wasj positive evidence that the music had been composed after the receipt of the words, and expressly for the French libretto.


(To the Editor of the Athenaum.)

Last year, when the Pitch question was under the consideration of our English Committee, I ventured to call attention, by a letter published in the Journal of the Society of Arts, to the manner in which the finest ear may be deceived as to a particular tone, and to the fact, that notes identically the same may sound acuter or graver, owing to the quality of the voice or instrument transmitting them, or to the manner in which they are framed or set off by the composer.—A signal illustration of this came under my notice the other evening at Baden. It will be remembered that the Carlsruhe pitch was distinctly adverted to in the French report as wisely moderate. When M. Berlioz was directing the Carlsruhe orchestra in the chorus and "Dance of Sylphs" from his Faust, I chanced to be seated beside one of the most intelligent and accomplished professors living :—one, too, whose ear, by his occupation, must be rendered peculiarly sensitive to differences of tone, and timbre. "That is in E flat," said he.—"No," I replied, "it is in D ;" mentioning in support of my correction the fact of my having adapted English words to this chorus some years since, which made me able to speak to the point with some certainty. "Then it is transposed," was the reply, "for the pitch here is higher than it was in Paris." I was sure that no transposition, would be allowed in his own music by one so exquisite in his researches after sonority as M. Berlioz. But my neighbour was convinced that he was hearing E flat for », and n flat for A; counterassurances went for nothing—nor could he be satisfied as to the real state of the case, save by reference to the fountain-head, which proved that his ear had been deceived, and that the key was D after all. It may be the extreme brilliancy of the instrumental combinations of M. Berlioz which caused the mystification. In a more sober chorus by Gluck, given at the same concert, no such acute impression could possibly be received. The incident seems so instructive a comment on certain peculiarities influencing musical evidence and testimony, and to contain so strong a suggestion as to the impossibility and undesirableness of uniformity, that I offer it as a postscript to former remarks, which were not flung out from any wanton desire for paradox, but as the result of comparison and experience. , H. F. Chorley.

Frakkfobt, September, 1860.


Iierr Richard Wagner And The Ballet.—It is stated that, in order to adapt his great work to the Grand Opera of Paris, IIerr Wagner has consented to the interpolation of a ballet, for which he has written the music.

Music In France.—The French are "stepping out" in many musical paths formerly untrodden by them. The Orpheonistes showed us only a few weeks since- how remarkable has been the advance made by them in part-singing. The other day a traveller loitering on the way betwixt Strasbourg and Paris might have fallen in with choral meetings of men, accompanied by wind instruments, 200, 250, and 500 executants strong,—singing and playing^ their best in aid of the persecuted Syrian Christians,—at Metz, Luneville, and Nancy. In the last-named clean and courtly town (which has a sort of Dresden air, without the lifelessness and dejection of the Saxon capital) the vesper service in the cathedral, chaunted by a large portion of the congregation, in antiphony with the priests at the altar, is impressive;—the body of voices clear in tone and well in tune. Nothing so good was to be heard in Paris, when we first knew it, on high days and holidays. Lastly, as to accompaniments, France, in its military bands, is beginning to tread close on the heels of Prussia and Austria. The presence of a marshal in the great hotel at Strasbourg gave occasion for a serenade of "harmony music," not equal, of course, to that produced by our late guests, the band of Les Guides, but ricn in

sound, crisp in time,—the players playing with that real manly expression which overlooks—but, also, which "ovcrdoc?—no point where taste can show itself. This was expressly to be felt in the delicious introduction to M. Auber's overture to La Sirene.Musical Correspondent of the Atheneewm.

Pahis. — There is some talk of erecting a new place of amusement, and the project, it is said, has already obtained the ministerial consent. The building in question is to be a theatre of grandiose proportions, under the name of the "Theatre Anglo-Francaise ;" thus called because English capitalists would contribute towards the cost of erection, and, besides the other kinds of dramatic entertainments included in its patent, there would be the performances of a company of English pantomimists, who would import the celebrated choreographic fairy pieces so popular on the English side of the Straits of Dover. The new theatre would be situated at the corner of the Faubourg Saint Denis and the Boulevard Bonne Nouvelle, and built on a circular plan, the better to ensure facility of ingress and egress. A magnificent facade, thirty-one metres high, would decorate the main body of the building, to which would be attached two pavilions; that on the right would be in a line with the Boulevard, and that on the left run down the Faubourg Saint Denis. A lane would separate it from the adjacent houses. We are promised all the improvements required in the construction of new theatres. The facade, the audience part of the house, and the saloons, would be arranged in an entirely novel manner. There would be a pit, an "entre-sol," and four tiers of boxes and galleries. There would be a permanent exhibition of contemporary pictures in one of the saloons. Comedy, vaudeville, pantomime, and grand choreographic fairy pieces would make up the programmes. Historical dramas, taken from French history more especially, might be admitted; a system of literary competition might, too, be established, and prizes awarded, even to authors whose productions might have been rejected, but who should have been honourably mentioned by the jury. The originator of this project is M. Ituiz de Fye. (Believe it who will I)

Music In Gehmant.— Every inquiry and research made in Germany yields, for the present, only one result so far as music is concerned. Not a name of the slenderest promise in composition Is to be heard of. Even the open air bands (delight of enthusiastic English travellers unused to home music in the open air) which fifteen years ago were always giving out something new (for better for worse), must now, for overtures, recur to the weary platitudes of Reissiger and Lindpaintncr, while a good new waltz, or polka, or polonaise, or mazurka, is no more to be heard. The spell of Strauss and Lanner, magicians of dance-music, has died with them. Most of all (we are assured) is the decay of the art to be felt in Vienna, in the management of whose splendid and subsidised opera-house there has been as much malversation of Imperial money as in other more important branches of Austrian finance. The German town, north or south, in which the greatest variety of operatic music may possibly now be heard, is Frankfort. There only, during many years past, has the repertory of the theatre included Clierubini's magnificent, though difficult opera of Medea. Cherubini is elsewhere only known in opera, throughout Europe, as having written Les Deux Joumees. At i rankfort, for a Cherubini centenary, to be held this very day, his Fanisha has been announced; an opera rich in idea and science, though these were somewhat encumbered by the perverse nature of the rugged Italian, to whose career, as a predominant composer, tact alone was wanting. There may come a Cherubini revival as well as a Gluck revival, though the former may possibly involve the necessity of a re-consideration, which the latter does not. Herr Silcher, one of the pleasant Suabians (and how pleasant the Suabians are as poets, singers, musicians, and comrades, from llerr Uhland downwards, every one conversant with Germany must know), is gone. His collections of national tunes should keep his name alive among all who love national music—Musical Correspondent of the Athenaum.

Hob Ace Mat Hew has returned from a tour in the United States and Canada. We hazard the inference that he will give the public, in light and pleasant form, some record of his travelling experiences.—Illustrated News.


•i I i

Leeds Musical Festival, 1861. — A meeting of the general committee was held on Monday, when Mr. H. Ludolf, Mr. J. W. Hill, and Mr. Fred. Spark were added to the list previously published, and the finance, orchestral, and general purposes committees, with their respective chairmen, were appointed. Messrs. J. W. Atkinson, G. Buckton, and Walker Joy were elected, the' honorary secretaries, and it was decided to communicate with Dr. Bennett, with a view to his appointment as conductor.

Leeds.Jullien Festival.—The grand concert for the benefit of Mad. Jullien, in the Victoria Hall, passed off as well as could be desired. The orchestra comprised the members of the lite M. Jullien's band, and this alone gave sufficient assurance of excellent music, the enjoyment of which was enhanced by the spirited and able conducting of Prince George Galitzin. Two or three of the Prince's compositions were played, and displayed great beauty and spirit, as well as originality. The oboe solo by M. Lavigne, and the flute solo by M. Swensden, were exquisite performances. The vocal portion of the concert was sustained by Miss Poole, who sang with great taste and sweetness, and by the Leeds Festival Choral Society in a selection of choral glees and part songs, conducted by Mr. Burton.—Leeds Intelligencer.

Manchester.—The first Saturday concert of the season took place on Saturday evening, at the Free-Trade Hall, when there was a large though not crowded audience. Of the artists engaged the attractions were Mesdames Gassier and Viardot Garcia, Signors Graziani and Ciampi; the last making his debut before a Manchester public. Sign or Ciampi is apparently almost youthful;.he possesses a fine deep voice along with great facility of execution, and an evident taste for humour of the smart, lively, Italian buffo class. He was encored in the air from Cenerentola. Mad. Gassier gave a brilliant rendering of the rondo finale from Sonmmbida, and when encored, substituted the " Venzano Waltz." She also sang the bolero, "Merci, jeunes amies," from Verdi's Vespres Sialieimei. Signor Graziani won the suffrages of the public in a plaintive romance by Stanzieri, and the eternal "II balen." Mad. Viardot Garcia sang Schubert's "Erl Konig''with greateffect. Anew tenor, Signor Angelo Luise, attempted " La donna e mobile." Some portion of the concerted music was well given, but the "Zitti, zitti" could scarcely have been worse. Mile. D'Orvill, who took a part in the " Din, din,"—better known to us as "Bon soir"—is a pupil of Mad. Viardot Garcia, whilst the young lady who accompanied the "Erl Konig" is a daughter of the latter, in whose features we recognised a great look of poor Malibran, if our memory serves us correctly, in a face it would be difficult to forget

Italian Opera At Manchester.— After a lengthy h>ter" regnum, the Lyric Drama once more makes its appearance amongst us, in a series of Italian operas. Four out of the five works constituting the series are of the modern school; the fifth is the unmortal Don Giovanni. The series commenced on Monday with // Trovatore. The cast was as follows:—Leonora, Mile. Titiens; Azucena, Mile Lemaire; Manrico, Signor Giuglini; the Count, Signor Valsovani; Ferrando, Signor Vialetti. The Lconara of Mile. Titiens is a performance of extraordinary excellence. From her first appearance to the death scene, she sustained the part with unflagging energy, singing the music only as a great artiste can sing it, and rising in the fourth act. Signor Giuglini's Manrico is wanting in power. In the delineation of the gentler emouons —in the "Ah! si ben mio ;" the " Ah, che la Imorte;" and the duet, " Si, la stanchezza," he is unrivalled in delicacy and refined expression. The Ferrando of Signor Vialetti merits considerable praise. Signor Valsovani in the character of the Count was totally inefficient.

La Favorita was given on Tuesday, with Mad. BorghiMamo, Signori Giuglini and Vialetti, as Leonora, Fernando, and Baldassare. Mad. Borghi-Mamo comes before us for the first nine, and therefore claims a special recognition. Her voice is a meiiosoprano of considerable range, delicious when subdued, or, using the language of Italian art, as sotto voce. Her style is good, her acting natural and graceful, rising easily into the impassioned. Her singing of the air, "Oh! mio Fernando," exhibited large powers of expression and great vocal skill. The most satisfactory part of the opera was the fourth act. Both she and Signor Giuglini here won their greatest triumphs. The "E fia vero ?" was encored with acclamations.

The performance of Don Giovanni on Wednesday was of a mixed character. Mile. Titiens as Donna Anna was everything that could be desired, and we do not hesitate to express our conviction that the character was never more efficiently represented, nor Mozart's music more conscientiously nor more faithfully rendered. The fine scene in the first act, the great scene with Don Ottavio, containing the difficult air, "Or sai chi l'onore," and the "Non mi dir" of the second act, were all in the highest style of lyric art. Scarcely inferior was the Zerlina of Mad. BorghiMamo; the "Battibatti being re-demanded with enthusiasm, and the "Vedrai carino" was faultless. The "Delia sua pace" and the "II moi tesoro" of Signor Giuglini, pieces exactly suited to the character of his voice and his refined style, were received with great enthusiasm. Signor Gassier's Don Giovanni, considering that he is a bass rather than a baritone, was not without merit; Signor Vialetti's Leporello was better; and Signor Mercuriali made a passable Masetto. The orchestral accompaniments, considering their strength, were on the whole satisfactory.

The fourth opera of the season, Lucrezia Borgia, was brought out on Thursday night, with the following caste :—Lucrezia, Mile. Titiens; Orsini, Mile. Lemaire; Don Alfonso, Signor Vialetti; Gubetta, Signor Mercuriali; and Gennaro, Signor birchia. This was another triumph for Mile. Titiens, whose acting and singing Were both of that high character which entitles her to rank as one of the very first of lyric artistes. One of her most striking characteristics is the perfect equality she maintains throughout every performance. Nothing is sacrificed or slurred over; while she possesses the rare qualification of keeping a brilliant and facile vocalisation in entire subjection to expression. This is remarkably exemplified in the part of Lucrezia, in which numberless graces of vocal skill are thrown off in profusion, and yet seem to belong naturally to the feeling expressed; being the reverse of what is often heard from skilful vocalists, viz: a complete sacrifice of expression to vocal grace, which thus ornament nothing. The perfect equality of Mile. Titiens' performance prevents us from making any special references to parts, all being equally excellent. The Orsini of Mile. Lemaire was creditable, Signor Vialetti's Duke was excellent, while Signor Mercuriali's performance was careful, and, upon the whole, praiseworthy. Some parts of Signor Sorchia's Gennaro indicated considerable talent. As it is, we can only augur good things from him. To the opera was added the last act of La Favorita, for Mad. Borghi-Mamo and Signor Giuglini.—(Abridged from the Manchester Weekly Times.)

Kensington Park Church.—Travellers from the west and north-west of England, upon their approach to London by the Great Western line of railway must have observed a very beautiful church standing- out in the fields adjoining the confines of the line. This splendid fabric, founded by the Rev. Dr. Walker, rector of St. Columb Major, Cornwall, and which for seven years, owing to legal difficulties, has remained in its present unfinished condition, is forthwith to be completed. Up to the present time it is said to have cost upwards of twenty thousand pounds. The elegance and beauty of this miniature cathedral in all its details has only to be seen to be greatly admired. The Kev. Jolin Light, M.A., of Ashton-under-Lyne, has been presented to the living. A daily cathedral service, morning and evening, is to be performed by a very efficient staff of singing men and boys, and Dr. James Pech, of New College, Oxford, and Mr. William Sudlow, will be the organists and choir masters.

Presentation To The Rev. Dr. Miller, Vicar or Belfast. We had yesterday the pleasure of inspecting, at the warehouse of Mrs. Hart, Castle Place, a grand drawing-room pianoforte of seven octaves, by the presentation of which to the Rev. Dr. Miller the members of the congregation of St. Anne's Church, and other friends, intend to show their esteem for that respected clergyman. The instrument was manufactured specially by Messrs. J. Kirkman and Son, London, and fully sustains the high character borne by the firm in the musical world. The tone is remarkably pure, rich, and powerful. All the latest improvements have been attended to in the construction, and the style of ornament adopted is exceedingly chaste and elegant. The initial

letter of Dr. Miller's name has been introduced in the fret-work with excellent effect, and altogether the piano, in appearance and power, could scarcely be excelled. A silver plate in front of the stands bears an inscription to the following effect:—" Presented to the Rev. Thomas Eitzwilliam Miller, D.D., Vicar of Belfast, by members of the congregation of St. Anne's Church, and other friends, as a token of their regard and esteem —1860." The cost of the instrument was 130 guineas, and the subscriptions to meet it were contributed some months ago, but the presentation was delayed till this time, as the instrument could not sooner be completed by the makers.—Belfast Paper.

Miss Kate Ranoe.—The following extract from the Plymouth Mail will no doubt be read with interest by many of our subscribers :—" At the theatre the other evening, Miss Kate Ranoe, the adopted daughter of the late M. Jullien and Mad. Jullien, made her debut as the Minstrel Graceful, in the extravaganza of the Fair One with the Golden Locks. She is a very pleasing young actress, and has evidently received a highly finished musical education. Her acting was very spirited, but graceful and natural, and entirely free of all 'buskin affectation.' Her easy walk across the boards would be worthy the notice of older actresses. Her singing is that of an accomplished artiste, and the taste and knowledge she displays makes much amends for the present state of her voice, which, it is to be regretted, is rather defective. What makes the matter the more to be deplored, is that it is stated that her natural very fine voice has been damaged by excess of practice. With this drawback, her 'Power of Love' was given with great sweetness. With her natural attractions, fine acting, and inllucntial introductions to the musical world, a high position for her among the favourites of the public is next to certain." In another Plymouth paper, the Western Morning News, we find the following :—" A young lady, Miss Kate Ranoe, of no mean pretensions to future theatrical celebrity, has made her debut at the theatre in the part of Graceful, in the amusing burlesque by Planchc, the Fair One with the Golden Locks. Miss Ranoe's acting betrayed more knowledge of the stage than was to be expected from so young a debutante. Both her acting and her singing were truly artistic; she had, however, to contend with a break-up in her voice, evidently brought on by overworking of the organ; still she contrived to win golden opinions from the audience by her intonation and pure style of singing. She had evidently been well taught, and her acting was natural, very engaging, without effort, and extremely effective."

Grisi And Mario In Dublin. — Flotow's Marta had the effect of crowding the Theatre Royal last evening with a brilliant assemblage of rank and fashion. A German by birth, the composer was not insensible to the charms of Irish melody, when he introduced into one of his operas the "Last Rose of Summer," under an Italian garb. Who could hear the matchless Grisi's rendering of it last evening, and not be moved? It developed all the sweetness and sustaining power of her voice. As she warbled with true feeling note after note, she seemed to bring her listeners with her into an Elysium of delight. The tenor part of Lionello was sustained by Signor Mario, and few characters, musically speaking, arc better suited to test his powers. The exquisite aria, "M'apari," now so familiar to the public ear, seems a most exacting song on the great tenor, from the fact of its being difficult of execution, with a certainty of having to repeat it. Signor Mario's rendering of it was fully equal to public anticipation. It brought forth the rich and finer qualities of his voice, and he successfully endeavoured to win the deserved encore which was given. A great feature in the opera was the dramatic representation and admirable vocalism of Mad. Viardot Garcia in the role of Nancy. It is difficult to say whether her dramatic or vocal genius is the greater, for she is unrivalled as an artiste in her peculiar sphere. Signor Graziani gave the popular beer song, and had to repeat it. The spinning-wheel quartet was warmly encored. At the close Mesdames Grisi and Garcia were called before the curtain, and retired amidst loud cheering, laden with offerings of the choicest flowers.—Irish Times, Sept. 15.

Effect Oi Music On The Sick.—The effect of music upon the sick has been scarcely at all noticed. In fact, its expensive

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