Un Miran's Theatke.— floiin Hood continues to immense audiences, and the interest the performance created on the first night increases with each successive repetition. As the music is heard oftener, its beauties become more apparent, and ! is rendered more distinct. This is the best compliment i be paid to the opera, and proves that its merits are not i, nor its attractions merely of the ad caplandum kind. So groat indeed is the*success, that it weakens in some respects the prestige of the alternate Italian nights, and Mr. Sims Reeves, Mad. Lemmens-Shtmogu>n,&c-,now warble to more multitudinous ears than Mile. Titiens and Signor Giuglini, even with the aid of Don Giovanni. It is lucky for Mr. Buckstone that the Haymarket Theatre is so near to Her Majesty's. The "overflows" to Robin Hood have helped to "cram'' the elegant little temple of comedy opposite.

Of the principal singers engaged in the performance of Robin Hood we cannot speak too favourably. Mr. Sims Reeves was never better suited, and, besides bis wonderfully spirited declamation of the tongs elsewhere quoted, gives the ardaous scene of the prison, late as it appears in the opera, with an enthusiasm that imparts itself to his audience, and encourages the belief that lie could go through the whole of his music again with the utmost ease, so fresh and vigorous is his voice, so unabated his energy. Mad. Lemmcns-Sherringtfln may fairly appropriate the well-known words of Byron— " I arose one morning and found myself famous." Her Childe Harold is Maid Marian; for, little known to the general public before Thursday night week, not at all, indeed, outof the concert-room, ber admirable performance of that part at once raised her to a high position—a position which we have no doubt whatever she will maintain. Without alluding to any other piece, the scene in Act II.—"Hail, happy morn,"—is enough to prove her a singer of the first class, her expressive rendering of the prayer and ber facile execution of the last movement, a bravura of uucoiiiuion dilliculty,showing her to be an accomplished mistress of two wholly opposite styles. She and Mr. Santley—whose voice alone would attract, even were he a less consummate vocalist— share, and' deservedly share, the applause with Mr. Sims Reeves; and it is gratifying to find them following the example set by that gentleman, in resisting the demands for encores. On Saturday, Tuesday, and Thursday—at the second, third and fourth performances, not one encore was accepted; and, if this apparently " dead set" thus made against an absurd custom be resolutely persisted in, the public, as well as the 'artists, will be gainers; the latter, not being tired of singing, will be able to keep fresh to the end, while the former, not being tired of hearing, will be able to enjoy the entire performance without lassitude. The composer, too, will be greatly benefited by the abolition of "encores," which, if numerous, cannot but divert attention from those parts of his work which have cost him the largest amount of thought and labour, and which he himself would naturally be most pleased to find appreciated. To conclude, Mr. Honey is invaluable in the comic scenes of the Sompnour. Mad. Lemaire is lively, industrious, and always correct, as Alice; while Messrs. Bartleman, Patey, and Parkinson do their best with the subordinate characters of Little John, Much, and Allan, the two former being in all respects competent. The orchestra, under the able direction of M. Charles Halle, works zealously; and the solos especially (awarded to oboe, violoncello, clarionet, and (lute, in various parts of the opera, arc invariably well played. Much has been done in the way of mite en scene and general stage arrangements; but nearly as much has been left undone that might with advantage have been effected for Robin Hood. It is something, however, to have produced such a work — more particularly as the present undertaking is a new one; and the reception given to the whole opera on each successive night has been so unmistakably genuine that there can be no question whatever as to the feeling of the public.

Don Giovanni was given on Wednesday by the Italian company, the cast differing from that of the regular season in two essential particulars only, Mile. Parepa appearing for the first time as Zerlina, and Hcrr Hermanns as the Commendatore. Mile. Pa

repa, we think, would have been heard and seen to far greater advantage in Donna Elvira than in the peasant girl, although she sings the music well, in spite of the uncalled-for alterations and intruded shake in "Batti, batti." Mile. Parepa is too good an artiste not to pay proper respect to the greatest of all dramatic musicians, unless she had been advised to the should like to know who it was counselled the lady to Mozart. Herr Hermanns has a deep bass voice, of power, and fine quality, admirably fitted to such music as that of Marcel in the Huguenots, and Bertram in Robert le Diable. He sang the part of the Commendatore with decided effect, and was very impressive in the last scene. Of Mile. Titiens' Donna Anna, Mile. Vanirps Elvira, Signor Giuglini's Ottavio, Signor Violetti's Leporello, and M Gassier*8 Don Giovanni (one of Itie best now extant)—performances all so well known, it is needless to say anything in this place. Perhaps Mile. Titiens was grander than on any previous occasion in Donna Anno, and certainly Signor Giuglini never sang the lovers' music with more winning sweetness. It was pleasing to observe the stand the Italian company, following the example of the English artists, headed by Mr. Sims Reeves, made against the encores, every demand for a repetition being refused, except in the case of "H mib letoro," which nevertheless Signor Giuglmi might have declined repeating with perfect good grace. Don Giovanni was repeated last night, and is likely to run some nights in alternation with Robin Hood.

Royal English Of Era.Dinorah was given for the first time this season, on Wednesday, and introduced Mr. Chappie, a barytone of provincial name, in the port of HoeL Mr. Chappie may be congratulated on his first appearance. His voice, not powerful, is very agreeable in quality, and of considerable compass in the upper register, as the music of Hoel necessitates. He has evidently had stage experience, as he] walks easily and without being constrained, and his gestures and movements are unforced. Some allowance must be made for a first appearance, but, taken altogether, the new barytone was a decided bit. The part of the male goatherd was sustained by Miss Lefller, who sang the air written for Mad. Nantier-Didee very charmingly. The young lady, however, must learn to infuse a little more vivacity into her action. A goatherd is not necessarily a tame person, more especially when addressing his companion on so exciting a subject as that of love. Miss Leffler is a novice, and therefore we tender her our advice, hoping she will profit by it. Miss Louisa Pyne never sang more delightfully. She warbled indeed like a lark, and gave the shadow song to perfection. Mr. Harrison's Coventino is perhaps his best performance, hilarious without being obstreperous' humorous without coarseness, and quaint 'withoat queerness, to speak in Johnsonian phrase. Miss Thirl wall played the part of the female goatherd, and Mr. St. Alban that of the reaper, both creditably; and Mr. H. Corri gave the hunter's song with infinite spirit. The band was inimitable throughout, and the whole performance one of the most satisfactory given by the Pyne and Harrison company. We are sorry to add that the theatre was by no means full.

Peckiiaw.—The concert given by Mr. Howard Herring, at the Assembly Rooms, on Thursday evening, was exceedingly well attended, the only contretemps being the absence of Miss Eliza Hughes, from illness. Miss Palmer was the principal lady vocalist. She sang with great taste several ballads, and in the popular soog of "The skipper and his boy," obtained a unanimous encore. Mr. George Tedder was the principal tenor. He sang with greater care than usual, and was deserved by encored in a ballad by F. Romer. The principal basso was Mr. Leonard, who is becoming a great favourite with the suburban concert-goers. His reading of Rossini's "Largo al factotum" was capital, and in the popular "Beer song" from Martha ("Chi mi dira") he was vociferously applauded, and deservedly encored. There was no instrumental solo. Mr. Howard Herring, besides assisting in several concerted pieces with Messrs. Beckett, Everson and Osborn, accompanied the vocal music on the pianoforte, but he will require more practice before he will be a good accompanist, as he was anything but steady in keeping time with the vocalists. ,r x,, , .


Rtde.{From a Corretpandent).—Mr. Austin, professor of the cornet-a-pistons, gave two concerts at the Victoria Rooms on Monday and Tuesday. . The Delepierre fnmily and Miss Garland, with the concert-girer himself, sustained the solo parts of the performances, which were much applauded by the crowded audience assembled. Many pieces were encored; but the performers generally returned to the platform only to acknowledge the compliment; a course, indeed, which the true artist should invariably adopt. Mr. Austin introduced a selection from a mass by Dr. Holloway, of this town, arranged as a trio for pianoforte, cornet, and harmonium, and was performed with much effect by Messrs. Fowler, Austin, and W. Salter. The "et incarnatus," alto solo, was played with feeling by Mr. Austin, and greatly applauded.

Manchester.—The first of Mad. Clara Novello's two "farewell performances" attracted an assembly of more than two thousand persons to the Free Trade Hall on Saturday. The fair artist was greeted with thunders of applause, and appears to have created an immense sensation by her singing. She was assisted by the London Glee and Madrigal Union, under the direction of Mr. Land, who gave some popular glees and madrigals with marked effect. Herr Molique and Mile. Anna Molique executed some violin and pianoforte pieces in admirable style. The Italian Opera Company have been playing Don Giovanni and Rigoletto, Mario playing Ottavio, not the hero in Mozart's opera. Neither piece presents anything new to the readers of the Music Ai. Avorld, except the Zerlina of Mad. Viardot, which is represented as singularly novel and vivacious. Signor Drngonc, it would seem, is overrated by managers, since neither his Don Giovanni nor Jester in liigoletto has been accepted by the publio.

Belfast.(From our own Correspondent.)—Our musical season here has already commenced. Mad. RudersdorfTs company are now giving a scries of operas at the theatre in a very effective manner, and the principal artists receive much applause, and are nightly called before the curtain two or three times. The following remarks on Mad. RudersdorfTs singing is from one of our local papers — The Northern Whig — the excellency of whose musical criticisms has made it an authority:—

"la this lady's singing, speaking of it generally, the auditor is not less impressed by the actual power of her voice and vigour of her execution than by the intellectual earnestness, if wo may say so, which pervades it. Behind the highly-cultivated musician, singing the notes of the composer, we feel the intelligent woman interpreting and realising his ideas. A certain earnestness which always accompanies intellect, and which is much more at home in serious and tragic situations than in gay and trifling passages, renders Mad. RudersdorfFs dramatic singing, so far as it can do so, perfect, and would itself atone for large deficiencies in the voice, did such exist. Many voices arc sweeter ; a few more powerful and better regulated, but scarcely any among the present generation of singers have the same capability of being impressed with shades of feeling—the same rauge of varied accentuation. So much is this the case that Mad. Rudersdorff is constantly making her audience forget herself in the sympathies which she awakens for the ideal character she represents, and thereby attains what should be the artist's true ambition. Much more than the senses merely is gratified by her singing, which, so purely a bodily effort with some, is with her an exercise of the mental powers as well."

Mr. Elliot Galer and Miss Fanny Reeves also received a fair share of attention from the press. Mr. Benson's power is scarcely equal to the important part he fills, but he is painstaking and careful. The orchestra, under M. Randegger's baton, is very good, and though the chorus is weak, the tout ensemble is superior to anything we have had in the opera way before. Next week the Classical Harmonists' Society (what a terribly long and unmeaning name !) give their first concert, when Acis and Galatea, and a new cantata, England, Star of Freedom! written by Mr. William Ball, and composed by Mr. George B. Allen, will be performed by Miss Theresa Jefferys, Miss Winn, Mr. Montem Smith, and Mr. Winn, with a band and chorus of one hundred. Mr. T. Harper and Mr. R. Blagrove are among the instrumentalists. The Society, being anxious to infuse a love of the best music into the leas wealthy classes, are going to give another shilling night, when

the Messiah will be sung by the same company. Early in November, the Anacreontic Society open their campaign with two concerts, at which Mad. Novello will take her farewell of Belfast. Such a brilliant commencement augurs well for the season, and indeed there is reason to expect it will be one of the first on record. Perhaps in no town in the kingdom is music making more rapid strides.

Mr. Balfe's New Opera.—The patrons of the Royal

English Opera will be gratified to learn that the new opera of Mr. Balfe is completed, or at least very nearly Bo, and that one act is already in the hands of the copyist.

Signoh Alart, re-arranger and improver of Mozart's Don Giovanni, has been created by the Queen of Spain a Knight of the Royal Order of Charles the Third, for services non-explained, but, though confidential, doubtless urgent.

New Yobk.—Mr. Brougham's new comedy, Playing with Fire, writes a New York paper, was produced at Wallack's theatre, on Tuesday evening, to the infinite delight of a large audience; it is undoubtedly the best comedv the author has yet written; and, although the plot is exceedingly slight, it is very cleverly elaborated, and the situations are arranged admirably. The dialogue sparkles with wit and bon mots, and is peculiarly epigrammatic. The plot is simple, that a Mr. Waverly is jealous of his wife without cause, and induces Dr. Savage, just as a test, to flirt with her. It is a dangerous attempt for the Doctor, this "playing with fire," and he does not altogether escape; but no particular harm is done, and all ends well. The acting could not have been better. The Herald says, "The piece made a thorough, undoubted, and genuine success, and we do not hesitate to pronounce it altogether the best of Mr. Brougham's comedies. That it will have a great run and an enduring place in the English drama is beyond peradventure." The Trwune considers it "one of the most clever and brilliant works of this versatile author," and says it u was received with unbounded approval by a crowded audience." The Times is equally complimentary, and remarks, "Only that the public crave for novelty, it ought to run for the rest of the season."

What Does This Mean ?—At the Crystal Palace, Clara Novello took leave of the Londoners, before whom she has been warbling the National Anthem long anterior to the coronation of the Queen, or that of her Majesty's predecessor, W.B., either. The farewell of the favourite was in the Messiah; but had it been the Dead March in Suul it could hardly have met with a more lugubrious accompaniment on the part of the audience, swarms of whom really did march about during the performance, far more intent upon Staple's cold pork pies and hot coffee than on the staccatocd and liquid strains of the syren, who seemed heartily glad when the affair was over. And a trumpery affair it was, as regards the projectors, the extraction anyhow of gold from the lady's notes being their one object. This they certainly attained so far as the allurement of a large crowd through most mediocre and inexpensive attractions can be deemed a success; but in any other than a sordid sense it was a failure. No experience, no number of repetitions of experiments, seem to give the managers the least idea, or the least desire of an idea, how to accommodate the public. The same higgledy-piggledy as of old still prevails, and promises to be everlasting. Muddle has made its homo beneath the transparent roof, and everybody can see the remedy, save these who should apply it, but who won't; nor will they make way for those that would. It is only a positive genius for mismanagement that could so counteract the national magnetism of the place, its site, grounds, &c.; for notwithstanding its distance, and the inconveniences of getting there, and on such occasions as to-day, the discomforts when reached, and the extortions and privations, and so on, still, scarcely any state of the atmosphere is rcpellant enough to prevent a large gathering, which generally separates grumbling at an administration of affairs nearly as bad as the conduct of public business in the House of Commons. That such a multitude as assembled to-day could be got together is a phenomenon it would take a whole Brougham to expound at a Social Science Congress ;—called social because the Lord Harry has it ull to himself; and capital company he is, according to all accounts;—said accounts very agreeable a long way off from the "transactions" recorded. — London correspondent of "The Liverpool Albion."

Clara Novello.—The centre of attraction wits the renowned soprano who will be heard no more in public after this season. To say that the regret at her departure will be sincero and universal, is merely reiterat- i ing the constant observation of all respecting her; and, in truth, there on be but one feeling upon the matter, since it is well known that Mad. Novello's place cannot be occupied by any known soprano of the present day. For many years past she has been the only lady capablo of singing oratorio music as it should be sung; and though many have tried to imitate her, all have been found wanting. Then, as regards such places as the Crystal Palace, it is not probable that many voices would arise capable of filling so large n space; and it certainly will be a serious drawback to the directors in case they pursue their course another'year of giving monster performances of oratorios, if no soprano can be found equal to her whose loss we now deplore. Mad. Novello's singing of the music in the Creation is too well known to require comment; but in hearing her wcll-rcmembcrcd strains, it is a further cause of regret to know that she is retiring while her voice is yet as rich, as clear, as powerful, and as exquisite as it ever has been. She has not lost one iota of her former qualities, and every year wo fancy she has improved in style, and in the development of musical genius. This, no doubt, arises from the extraordinary care with which her first efforts were trained, and from the cultivation of her wonderful powers in the most perfect and artistic manner. The chorus, though numerous, was by no means powerful, arising probably from the incongruity of materials, and the difficulty of getting so many voices together to practice, at this season of the year Musical Times.

A Portrait Of Shakst-eare.— Hanging on the staircase wall of Cotehele House, the ancient Cornish seat of the Edgecumbe family, on the banks of the Tamar, is an old painting, described by the female attendant who pilots visitors over the house, as "a portrait of Shakspcare." It is a stained and timcworn painting on panel—if I rightly remember— about two feet six inches high, and perhaps two feet wide. The dealers would describe it as "perished," for many years must have gone by since any protecting varnish coated it over. The frame is a narrow wood one, rudely carved and gilt, and, like the painting, injured by time and exposure in the dampest and worst atmosphere in England for pictures. Books from Cornwall can invariably be told by their dampness and earthy smell. The portrait more closely resembles the Jansen picture than any of the other supposed likenesses. There is the marble forehead, the dark and contemplative face tinged with melancholy, and the great lace collar which distinguish the portrait of the Dutch artist. Of its history, or of the length of time that it hat belonged to the house, nothing is known by the venerable housekeeper. Her remark, I think, was, that it has hung where it is now to be seen as long as ever she could remember, and that it has always been known as the portrait of Shakspeare. In many situations the painting would, perhaps, be passed unheeded, but associated with this famous old mansion, remarkable for its antique furniture, tapestry, and household implements, complete and intact since the days of Elizabeth and James, it deserves attention in these days of Shakspcrian inquiry and national portrait seeking. The dull and heavy Stratford bust cannot be considered as bearing any but the faintest resemblance to the great bard. The Lansdownc portrait, also, however well authenticated it may be, does not Impress the beholder that it is the veritable likeness of William Shakspeare, any more than the stiff and rude engravings which adorn the early folios. Whither, then, shall wo turn for another portrait? I answer, to Cotehelej and the claims of the picture on its staircase wall to a little attention I deem to be these:—It is old, its battered condition docs not in the least affect its historical worth, although to some minds this would help to a conviction of its genuineness. It forms part of one of the most curious and ancient household collections in England; it conveys something of the features that a person would naturally associate with a great thinking and imaginative mind; and, above all, as a fresh bone for Shaksperian contention, it has the good quality of being hitherto unpecked, and not growled over.—Jolin Camden Holten.


NINTH YEAR.— Trustees Viscount RANELAGH and J. C. COBBOLD, M.P. This Society was established 7th September, for investment of

Esq., M.I

capital and siTing*, and for securing eligible land investment! In counties, conferring the freehold franchise. Prospectuses explanatory of ihe Share, Deposit, Land and Borrowing Departments will be sent free of expense to any part of the world. Plans of estates Gd. each, or 7d. by post.

CHARLES LEWIS GRUNEISEN, Secretary. I Offices, No. 33 Norfolk Street, Strand, I-ondon, W. C.;

The present rate of Interest on Shares is 5 per cent, and on Deposits 4 per cent, per annum, payable half-yearly, with privilege of prompt withdrawal whenrequLred. No partnership liability, and the taking of land quite optional. ,

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Macfarren, G. A. Tliree Four-part Songs, for two Tenors and two Basses.

No. 1—" The fairy's evensong," G. Macfarren 2/0

2—" The world's festivals," Douglas Thompson 3/0

3—" The arrow and the song," Longfellow 2/0

Separate vocal part each, . 0/6 Meyerbeer, G. " The Lord's Prayer," for four voices, (in score)

Soprano, Alto, Tenor, and Bass, and Organ, ad lib. 3/0 Separate vocal parts, each . . 0/6 „ "Aspiration," for Bass solo, and chorus of three

Sopranos, two Tenors, and Bass, (in score) 4/0

Meyerbeer, G. "This house to love is holy," serenade for eight voices, (in score) two Sopranos, two Altos, two Tenors, and two Basses * J. Oxenford 4/0 Separate vocal parts, each . . 0/6 Monk, E. G. "The Battle of the Baltic," for four voices,(in score)

two Sopranos, Tenor, and Bass . Campbell 2/0 Separate vocal parts, each . . 0/6 Pech, Dr. J "The bridal morn," for four voices, (in score)

Soprano, Alto, Tenor, and Bass . D. Ryan 2/0 Vos, C. De, "God save the Queen," for four voices, (two

Tenors, and two Basses) in score . . 0/6

Lokdon: DUNCAN DAVISON & CO., Depot General de la Maison Brandus, de Paris; 244 Regent Street, corner of Little Argyll Street.

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To be Published Next Week, in Two Volumes, Handsomely Bound in Cloth, Price 108. 6d. each,



Of the Royal Academy of Music,





: Will be found the most perfect and correct of any published. It is Beautifully Printed on the Best Paper from newly Engraved Plates.



CONTENTS OF VOL. II. SONATA . . No. 1.-Op. 2.-F Minor. 1

Page Dedicated to Haydn.

Sonata . ; ; No. 2.-Of. 31.-D Minor, 226 SONATA

. . No. 2.–Op. 2.-A. . . Sonata . . . . . No. 3.- Op. 31.—E Flat . 244 ** Dedicated to Haydn. :

Sonata ·

. · 28

. . . . No. 1.–Op. 49.—G Minor . 262 erdin... SONATA.m · No. 3. - Op. 2.-C.

Sonata . . . . . No. 2.—Op. 49.—G. . . 268 Sonata . . . . . Op. 7.-E Flat . 46

. 274 SONATA · No. 1.-Op. 10.-C Minor.

Op. 53.-C. .

Dedicated to count de Waldstein
Dedicated to Mad. la Comtesse de Browne. *

· No. 2.-Op. 10.-F. .

. . .

. . . Op. 54.-F. . .

. 298 :.:. :. : Dedicated to Mad la Comtesse de Browne. *


Op. 57.–F Minor . 308

Dedicated to Count de Brunswick. SONATA .

• No. 3.—Op. 10.-D., . Dedicated to Mad. la Comtesse de Brownc.


Op. 78.-F Sharp . 330 Sonata PATHETIQUE.

Op. 13.—C Minor.

Dedicated to Mad. la Comtesse de Brunswick. Dedicated to Prince Lichnowski.

Sonata . . . . . .

Op. 79.-G. 338 SONATA. . . . . . No. 1.-Op. 14.-E. . . 112 SONATA CARACTERISTIQUE

Op. 81.-E Flat . 346 Sonata . . . . . No. 2.- Op. 14.-G . 120

Dedicated to the Archduke Rodolphe, SONATA. . . . . .

Op. 22.-B Flat


. 133 Dedicated to le Comte de Browne.

Dedicated to count Maurice Lichnowski, Op. 90.-E Minor · 358 SONATA, with FUNERAL MARCH Op. 26.—

Op. 101.-A. . Dedicated to Prince Lichnowski.

. 370

Dedicated to Mad. la Baronne Dorothea Ertmann. SONATA QUASI UNA FANTASIA.

Grand SONATA (Known as the Moonlight Sonata) No. 1.-Op. 27.-C# Minor. 165

Op. 106.-B Flat 384

Dedicated to the Archduke Rodolphe. Dedicated to the Countess Giulietta di Giucciardi,

Sonata SONATA QUASI UNA FANTASIA . No. 2.-Op. 27.-E Flat

.... . 176

Op. 109.-E. . . 420 Dedicated to the Princess de Lichtenstein.

Dedicated to Mlle. Maximiliana


188 | Sonata · · · · · Op. 110.-A Flat · 434 Dedicated to M. de Sonnenfels.


Op. 111.-C Minor. 448 SONATA . . . . . No. 1,-Op. 31.-G.. . 206 | Dedicated to the Archduke Rodolphe.





Printed by GEORGE ANDREW SPOTTISWOODB, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No.5 New-street Square, in the said Parish,

Published by JOHN BOOSBY, at the Office of BoUSEY & Sons, 28 Holles Street. -Suturday, October 20, 1860.

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