The Opera. attributes with which he has been invested by De Balzac. There is not a defective place in the entire drama. PRINCESS'S THEATRE.-Although, in representing those sympathetic twins who have been famous in London ever since Mr. Charles Kean presented the public with a version of Les Frères Corses, Mr. Fechter has not the same scope for his genius as when he delineated the enthu siastic and impassioned Ruy Blas, he makes us aquainted with a new form of his artistic skill. To define his conception of the characters, apart from his talent in producing those melodramatic effects which are so essential to the piece, we would say that it is based on a combination of the qualities proper to a rude state of society with those of a nature eminently susceptible of conventional polish. His Corsican is a Corsican heart and soul, with a love for the wild condition of his fatherland, but he is not without a feeling for a higher state of civilisation, and this is eminently shown when he reconciles the quarrelsome peasants, and appears as a true gentleman amid a fraternity of ruffians. Still his cultivation has not penetrated much below the surface, and when his passions are roused they speak out with a native frankness that distinguishes him from those who have been trained in great cities. Fancy a country gentleman of the old school placed in a metropolis, and you have an approximation to Mr. Fechter's idea of the Dei Franchi. The piece has been remodelled from the shape which it originally wore in Paris, and also in London, the incidents of the masked ball being transferred to the commencement, so as to introduce all the other events, both of the natural and supernatural classes. This arrangement, at the first glance, has in its favour the law of cause and effect, for the logical mind will be more easily satisfied by seeing a gentleman's ghost follow his deccase than by seeing the ghost come first and the death afterwards. But then, on the other hand, it will be recollected that, contrary to dra matic precedent, the incidents in two acts of the Corsican Brothers are supposed to be not consecutive, but simultaneous, the spectre being less a posthumous ghost than a "wraith," and we may add that the oldfashioned plan had this advantage, that it interrupted the sequence of supernatural gloom with the fun and brilliancy of the Parisian carnival. The piece is generally well acted, and capitally put upon the stage, a new and effective dance being introduced in the masquerade scene; but we must regret that Mr. W. Lacy did not play his old part of Chateau Renaud. Mr. A. Harris is a lively and agreeable actor, but there is an obvious HER MAJESTY'S THEATRE. On Tuesday night Mr. Sims Reeves made his first appearance in public since the loss of his father deprived the theatre of his invaluable services. We constantly hear reflections made on the capriciousness of artists, and as in most cases these observations are totally unfounded, we are always glad of an opportunity to give full credit to those who do their very utmost to keep faith with the public. It ought to be made known that Mr. Sims Reeves has throughout the season strained every nerve in order to avoid disappointing his audience. During the run of Robin Hood he has contracted no other engagement; indeed, he has never once sung at the concerts at which he usually appears -as he was expected to do on the off-nights of Macfarren's opera -fearing lest the additional exertion might possibly prevent his doing full justice to the part he had undertaken to perform. Mr. Reeves has thus made real and tangible sacrifices for the sake of aiding the success of national opera, and this proof of self-denying devotion to his art will be fully appreciated by all. Certainly the warmth of the reception accorded to him last night seemed to express sympathy with the man as much as admiration of the artist. Mr. Sims Reeves was in splendid voice, the enforced rest having exerted an evidently beneficial influence, and he never sang with more expression and effect. "Thou art my own, my guiding star," was deliciously rendered and vehemently applauded, while the spirited drinking-song was given with immense vigour; it was, however, in the long and arduous scena in the prison that the exquisite taste and consummate skill in vocalisation of the great tenor were both most remarkably displayed. But we have dwelt at such length on Robin Hood that we need not recur to it; suffice it to say that Madame Lemmens-Sherrington sang so charmingly - although she was suffering from a severe attack of influenza - that the preparatory apology seemed needless; and that Madame Lemaire was artistic, Mr. Santley as full-voiced and admirable, and Mr. Honey good-humour about him which recoils from the impersonation of the as comic as ever. Of the orchestra the praise must still be as restricted and qualified as usual; and of the chorus the less said the better.-Daily Telegraph. The Theatres. as OLYMPIC THEATRE.-The revival of Mr. Palgrave Simpson's Daddy Hardacre at this house, after its performance at Windsor, enables the public once more to appreciate to its full extent the genius of Mr. Robson, which for some time was confined to the delineation of merely farcical personages. This is the first great part of what is called "domestic interest" in which he ever appeared, and his acting in it is still pre-eminent as one of the most remarkable instances of characteristic impersonation ever witnessed on the stage. In the miser Daddy Hardacre, who is perhaps a more legitimate descendant of the Euclio of Plautus than of the Grandet of De Balzac, the most diverse peculiarities are brought together, and Mr. Robson not only grapples with them all, but brings them into the most perfect harmony. Daddy Hardacre is facetious, in his rough way, when he has the best of a bargain; his love for his daughter imparts an exceptional tenderness to his nature; his grief when he is robbed rises to a tragical demonstration of intense agony. Every one of these peculiarities is pursued to the minutest detail, and the chuckle which accompanies his dealings with his less astute neighbour, Jobling, is as effective in its way as the frenzy of rage with which he assails his too charitable daughter. But, although Mr. Robson's representation of Daddy Hardacre stands alone among the theatrical phenomena of the day, the general excellence with which the entire piece is played is too remarkable to pass observation. As the miser's daughter, devoted to her father, and only sinning from excess of kindliness, Miss Hughes acts with that appearance of gentleness and goodness which renders her one of the most valuable performers in domestic drama. Mr. George Cooke is, of course, at home as the village lawyer, one degree less sharp than the overreaching Daddy; and his nephew, the rustic beau, is endowed with all that eccentricity which Mr. H. Wigan knows so well how to bestow when he has to deal with a sketch of decided character. Mrs. Stevens thoroughly renders the hearty qualities of the old servant, and Mr. Walter Gordon is a satisfactory representative of the interesting cousin, who is deprived of the unamiable cold-blooded duellist. MR. BALFE'S BIANCA.-Mr. Balfe's new opera is an unquestionable success. On Saturday night, at the third representation, a very crowded audience confirmed the favourable verdict which had been unanimously awarded on the Thursday previous, and the composer was again loudly summoned at the fall of the curtain. Having already glanced at the general merits of the performance, our remarks at present must be confined to a brief examination of the work itself. Mr. The old German drama, by Zschokke, entitled Abällino, the origin of Monk Lewis's romance of The Bravo of Venice, and of Monk Lewis's play of Rugantino both at one epoch the delight of our forefathers-is also the origin of Bianca, the Bravo's Bride. In how much Mr. Palgrave Simpson is indebted to the German original, in how much to the English adaptation, and in how much to his own invention, would take too long to examine, and indeed would scarcely repay the pains. Enough that he has manufactured an effective operatic libretto out of a subject once universally familiar, now almost universally forgotten. Simpson's Bravo (Mr. Harrison) is a gentleman of sufficient ingenuity to pass muster creditably for a considerable period as three different personages. His object is to win the heart of Bianca (Miss Louisa Pyne), daughter of the Duke of Milan (Mr. Alberto Lawrence)-the scene, for some not evident reason, being changed from Venice to Milan and to accomplish that object he undergoes two successive formations. The bona-fide Duke of Ferrara, he has been selected by the Duke of Milan - against the wish of Bianca, who has a leaning towards some one else -as a son-in-law; but, anxious to obtain the goodwill of the young lady, who has never seen him, on the strength of his own personal merits rather than by the weight attaching to his rank and dignity, he appears at the Court of Milan as a young soldier, under the name of Odoardo, winning at one and the same time distinction in the Duke's armies and a place in the affections of Bianca. At the head of an expedition organised against the renowned brigand Fortespada (Aballino-Rugantino)-whose name, in consequence of many daring and successful escapades, inspires a kind of supernatural terror-he traces that worthy to his lair, and from Fortespada's dying words gleans information of a conspiracy, in which the bravo himself was to have taken part against the life of the Duke of Milan, who, together with his daughter, his ministers, and others connected with the Court, is to be assassinated at a certain place on a certain day. But, though Fortespada's aid was reckoned on as an important element of the plot, with the easy indifference to probability belonging to a particular class of romance, we are given to understand that his person is unknown to the heads and promoters of the conspiracy. Informed of this, Odoardo, passing himself off for the bravo, penetrates into the counsels of the conspirators, and prevails on them by threats of discovery to acknowledge him as leader, eventually frustrating their plans and handing them over to justice. The various and startling manoeuvres by which the catastrophe is brought about, the lives of Bianca and her father saved, the heart of the lady won not merely for the soldier but for the bravo, and ultimately even for the dreaded Duke of Ferrara - much to the satisfaction of the highminded ruler of Milan, whose objection to Odoardo is founded on scruples about birth and extraction had best be witnessed. To recount them, step by step, would be a thankless task, while to view them, one after the other, through the attractive medium of Mr. Balfe's music, which scarcely for an instant allows the interest to sleep, is quite another matter. Suffice it, the audience, perfectly satisfied at the end that Odoardo, Fortespada, and the Duke of Ferrara are one and the same person, experience no surprise that the designing conspirators, the unsuspecting Duke of Milan, and the enamoured Bianca herself, should have been throughout so consistently deceived. In the last scene Mr. Harrison has only to perform a series of evolutions with the assistance of an accommodating cloak, which, according as it is assumed or laid aside, is allowed to stand for his credentials, and everybody accepts him for just what he pleases to declare himself,- Odoardo, Fortespada, or the Duke of Ferrara - which of the three he may find it convenient for the moment to impersonate. He has, however, subdued a bravo, baffled a conspiracy, rescued the state, won the hand of a princess, and afforded a popular composer a great many excellent opportunities of display; what more need be demanded of the hero of a romantic "libretto?" Mr. Balfe has written more ambitiously in Bianca than usual, and, it must be added, with a proportionate degree of success. His first act is a closer approach to what is termed "grand opera" than anything from his pen with which we were previously acquainted. After a brilliant, if not very coherent, overture, the curtain rises upon an introduction admirably designed and full of genuine beauties. This comprises, among other things, a prayer "To Thee above our hearts we raise" (with organ accompaniment)-remarkable for melody and grace, and an air with chorus "The demon of darkness"-for Beppo (Mr. St. Albyn), the comic personage of the drama, who narrates the legend of Fortespada's diabolical birth in music alike vigorous and characteristic. Not less remarkable is the scene which ensues-the conference of the conspirators, the chiefs of whom, Count Malespina (Mr. H. Wharton), a thorough-paced villain, and Memmino, a bit. of a coward (Mr. H. Corri), are effectively contrasted in the musical treatment. This scene, which emulates the declamatory breadth of Meyerbeer, contains an air of considerable merit for Malespina, the first and best part of which, "When cruel scorn and cold disdain," was omitted at the third performance, the quick movement only, "The vengeance cloud," being retained. The action of the first finale further developes the conspiracy, and introduces Fortespada, whose individuality here, as throughout the opera, is indicated and preserved with consummate skill. This finale is conducted in a masterly manner. Besides being thoroughly well knit, it includes one or two passages that stand out with vivid distinctness, and are remembered for themselves, independently of the framework that surrounds them. Instance the concerted piece where the conspirators swear never to rest until Milan is freed from its tyrant; and the drinking song, "Glorious wine," with chorus, with which Fortespada enlivens the ceremony -one of the most sparkling and exhilarating bacchanalians that modern opera has produced. The musical passage, too, which, whether the bravo is on the stage or not, illustrates, with more or | less prominence, every hint at his personality, is here presented in extenso, and cannot fail to impress by its originality. Mr. Balfe has, perhaps, laid himself open to the charge of excess in his employment of this peculiar means of individualising his principal character (invented, if we are not mistaken, by Weber, who thus everywhere identifies Zamiel in his Der Freischütz); but the intention is good, and we are not disposed to criticise what, at the worst, may be arraigned as a stretch of consistency. At all events, in the first finale, often as it is alluded to, the Fortespada passage is never out of place. The second act is shorter than the first, but hardly less interesting from a musical point of view. It opens with a delicious chorus for women's voices-" As slowly fades the light of day"sung at the door of the cathedrals by the ladies of Bianca, who is about to perform her orisons in the interior of the sacred building. A duet for Bianca and Malespina-" Although with cold disdain' contains several fine passages, the last movement being none the less agreeable on account of its slightly approximating to the manner of Verdi. The accompaniments to this offer some new and striking combinations; and it may be remarked en passant that in almost every scene of Bianca Mr. Balfe has zealously endea voured to distinguish his orchestral arrangements by bold and suggestive colouring. If occasionally, as now and then with the stringed instruments, he may be accused of transgressing the conventional limits of experiment, in the majority of instances he is eminently successful. This onward tendency in a composer so unreservedly acknowledged that it is unnecessary for him, in order to insure continued acceptance, to deviate from the path he has hitherto been accustomed to tread, merits honourable acknowledgment. Another very happy example is revealed at the commencement of the second finale, when Fortespada, disguised as a beggar, solicits the aid of Bianca, whose life he subsequently preserves from the dagger of Michele, a hired assassin of Malespina. Here the combination of the tenor voice with the bass clarionet in the orchestra recals the scene of the pretended miracle in Meyerbeer's Prophète, of which, nevertheless, it is in no sense a plagiarism. The second finale includes other good things, among the rest a graceful phrase addressed by Fortespada to Bianca, after the death of Michele, by the hand of the assumed beggar, and the chorus of the "Gratias Agimus" from the chapel of the cathedral. "Look up, look up, my dearest," indeed, if it occupied a more isolated position, might aim at becoming a popular ballad. The whole finale is cleverly built, and although the Verdi-like coda is scarcely up to the mark of its more original precursor, at the end of Act I, it is always animated and dramatically effective. The introduction to Act III. is a masterpiece of tuneful, light, and sparkling music. Zeffirina (Miss Thirlwall), Bianca's principal attendant, is preparing for a masque about to be held in the palace, and instructing groups of dancers in the parts they are destined to play. A comic vein is elicited by the co-operation of Beppo (Mr. St. Albyn), an emissary of the Duke of Ferrara (Fortespada), whose mission is to sound Zeffirina about the state of her mistress' affections, and who is compelled to ferret out the desired information while being drilled severely in a pas de deur set down for him to execute at the masque with Zeffirina herself. The stage effect is as ludicrous as the music is irresistible, and, coming immediately after so much that is serious and even gloomy, nothing can be more happy or to the purpose. The occasional interpolation here and elsewhere, however, of snatches from the chorus, "As slowly fades the light of day (Act II.), has no evident meaning, and may be justly stigmatised as a musical non sequitur, unlike a similar expedient already defended, which stamps the individuality of Fortespada. In the same scene Bianca sings a ballad "Twas he, my only thought "-for its catching melody and expressive character to be compared with the "Power of Love," which made the fortune of Satanella, and upon the orchestral accompaniments to which the composer has bestowed equal pains. The Duke of Milan's song, "Oh crown of power," bears a faint resemblance to one of the only real tunes in Herr Wagner's Tannhäuser; but we are loth to charge the composer of The Bohemian Girl with any intention of emulating so eccentric a model and must put the resemblance down for an unanticipated "coincidence." From my childhood"—a somewhat laboured and spun out, though undoubtedly clever, duet, in which the Duke endea 66 vours to mould the heart of Bianca to his wishes with respect to the Ferrara alliance-commences with a very original declamatory phrase; contains further on a passage unquestionably suggested by Verdi, in his Trovatore; includes another and even finer phrase of declamation, where Bianca pleads the cause of Odoardo-"His manly form, his beaming eye," &c.-and winds up with quick movement, which, but for one or two somewhat uncouth transitions near the end would be unexceptionable. The third finale, embodying Fortespada's unexpected apparition before the Duke of Milan, his recognition by Bianca, and his sudden flight when just within the grasp of his baffled pursuers (described in the book as "tableau of confusion and consternation "), is ingeniously contrived, ably written, and full of animation. The response of Fortespada, however, to the contemptuous reproaches of the Duke ""Tis not purple and gold that ennoble the man"—is so like "The fair land of Poland" (Bohemian Girl), both in sentiment and melodic outline, that the least practised ear can hardly fail to detect the plagiarism. Mr. Balfe may, of course, plead that he only repeats himself; and, as many will in all probability prefer the new version to the old (if only because it is new), the energetic outburst which reveals the patriotism of Thaddeus may have to give place, at least for a time, to a successor. The fourth act opens with a grand scena for Bianca, the last movement of which-"A torrent roaming "-as florid, brilliant, and difficult to execute as the first "Yes, I shall see him once again"-is unaffectedly expressive. A piece of very unequal merit comes next, comprising a duet for Bianca and Fortespada— "One only boon on earth I prized;" a ballad for the last named -"Once more upon the path of life," and a trio in which the Duke of Milan makes up the complement of singers. The duet is extremely pretty, and charmingly instrumented; the ballad opens promisingly, but does not fulfil its promise; the trio is dramatic and effective. As a whole, however, the undue length of this miniature trialogue is scarcely atoned for by the amount of musical interest it presents. The next scene has been considerably abridged since the first representation. This was, perhaps, inevitable, in order to bring the duration of the performance as nearly as possible within the limits of four hours; but some very fresh and charming music of the Auber cast has thus been necessarily relinquished, the pretty chorus, "While twinkling stars," and the not very lively ballad of Malespina, "Chiefs on might relying"-only the last verse of that, by the way-being all that remains of the original structure-with which, if we do not greatly err, the composer himself must have been well pleased. The last finale opens with some capital ballet music, including a galop (the lively and picturesque arrangement of which, by M. Pettit, has been noticed) set to a tune once heard not easily forgotten. It was said of Auber's Gustave III.-"At least there is a galop in it ;" and as much be remarked of Mr. Balfe's Bianca-which, when it is remembered what a crowd of beautiful things, besides the famous galop, are contained in the masterpiece of the French musician, will not be misconstrued into a sneer. Another feature of this last finaleless solidly constructed, by the way, than the others (in accordance with a custom only disregarded as a general rule in the scores of Mozart, Beethoven, and Cherubini)-is the chorus, "Seize him! seize him!" occurring just after Mr. Harrison, as Fortespada, has accomplished his first metamorphosis with the cloak, a chorus marked undoubtedly by vigorous dramatic expression, but apparently modelled after (without plagiarising from) the "Guerra! Guerra!" of Bellini's Norma. The last concerted piece for the principal characters, immediately preceding the betrayal of the conspirators by Fortespada, is in keeping, if not startlingly new; the last two phrases of recitation put into the mouth of Fortespada, and the words of which, as affording a sort of bird'seye view of the imaginary bravo's self-imposed mission, we subjoin : : "The bravo-band I crush'd. Fate led me then, On death-bed lay, and with his dying breath Confess'd the foul conspiracy of death. As bravo, then, disguis'd, I sought to learn The traitors' plans, and thus their schemes o'erturn; (pointing out the conspirators) may I swore my fate to bind to her alone, Whose heart of love, unconscious of my throne, Should love me for myself-whate'er betideAnd now my bride I've won-the Bravo's Bride;" (when, after the final cloak-transformation, Fortespada, as Duke of Ferrara, claims the hand of Bianca), are declamatory, if nothing more; while the last piece for Bianca, a so-called “rondo-finale,” "What sunshine bright, Through murky night, Upon my wakening soul doth glide! What heavenly joy, Without alloy, To own myself the Bravo's Bride!" is a tuneful, sparkling, and brillant display (original to boot-something uncommon in a "rondo-finale") for the heroine of the opera, enough to make the fame and fortune of a "prima donna" capable, like Miss Louisa Pyne, of executing it to absolute perfection. From the foregoing it will be concluded that in our opinion Mr. Balfe's reputation is likely to be increased rather than diminished by his Bianca. The recent example of honourable emulation has clearly not been lost upon him. The genuine reception accorded to Lurline and Robin Hood, and the revival of the Night Dancers, followed up with another success achieved by the most fertile of our dramatic composers, looks well for the future. National opera seems now to have a chance of being established on a firmer basis than it ever previously reposed on. The musical public will anticipate with interest Mr. Wallace's forthcoming Amber Witch, Mr. Macfarren's Sleeper Awakened (which was surely never originally intended for the concert-room), Mr. Frank Mori's Lambert Simnel, Mr. Benedict's Esmeralda, and last, not least, Mr. Howard Glover's Ruy Blas-all of which are promised, and from all of which great things are anticipated. Formerly an opera-by which is not intended a mere ballad opera,-from the pen of an English composer, was regarded in some sort as a phenomenon'; but it would appear from what is now on hand that our musicians have progressed with the times.-Times. Provincial. A musical phenomenon has appeared in BRIGHTON in the person of Mlle. Carlottina Badia, aged four years, and-if we are to accept the verdict of the local authorities as correct-with extraordinary success. This young sapling of the tree of art is daughter to Signor and Mad. Badia, whom we have heard playing and singing respectively at the Crystal Palace Concerts last season. Our readers are well aware that we put no faith whatsoever in the forcing system, which we have always found in the animal economy to be deleterious, if not entirely ruinous. We have followed the career of numerous phenomenons, and invariably found they never arrived at greatness, in most instances, indeed, sinking into utter incompetence. Morally and physically speaking, a child of four years old cannot escape the effects of rigid training, but must succumb either to toil or thought. The pity is that the parents will not wait for the young and promising bud to put forth its blossoms, but must have recourse to all kinds of didactic guanos to urge it into premature growth. The leaves look green, the flowers expand, the colours seem bright; but, alas! it is at the expense of life and health. Nature, just mother, frowns at those who despise her gentle and sure ordinances, and will not interfere to save the poor tortured ba be who has been kidnapped from her supervision. In speaking thus, we say nothing directly regarding Miss Carlottina Badia, but argue from example, that no amount of talent can justify the parents in bringing the child before the public. What the Brighton public thinks of the child may perhaps be gathered from the following notice taken from the Brighton Guardian :— "The principal novelty of the soirée was the appearance of the child, Carlottina Badia, whose advent had exalted her into something approaching a phenomenon.' She is an interesting child, and perhaps may well lay claim to some extraordinary capabilities when she stands beside a piano, to the key-board of which her head hardly reaches, for the purpose of performing operatic solos before a fashionable audience. She had to be lifted on to the platform, and when there, paternal encouragement had to be given to her before she would begin. The audience could not be anything else than sympathetic, and the little lady, on her second essay, got off into 'La donna e 'mobile' in sparkling style. She sang it most correctly, and even somewhat artistically. The latter quality was, however, more apparent in Di quell' amor,' from La Traviata, her second song, which she sang immediately after the first. During this performance her imitations (we hope the word will be forgiven; it is the most correct one occurring to us) of the usual attitudes adopted by stage and platform singers drew forth loud laughter and applause. When she retired, the audience wonld fain have further tested her musical attainments, but she declined the honour with an orthodox curtsey, thus still further increasing the good opinions she had gained. Her voice has that beautiful freshness only found in a firstclass child's voice, and the simple efforts of which possess an inexpressible power of charming the ear, even when one would turn uninterested from the laboured roulades of a prima donna. Mixed opinions are held as to the advisability of introducing children in this way at such a tender age; but, apart from this, the appearance of Carlottina Badia on the present occasion seemed to give unmixed gratification to the audience." There is also a glowing eulogium in the Brighton Gazette, so that the success of the "phenomenon" can hardly be doubted. The Caledonian Mercury informs us that Mr. Howard Glover's cantata, Tam O'Shanter, has been produced at the Popular Concerts, given at the Music Hall, Edinburgh, with eminent success, in spite of a very indifferent performance. As its reception, according to the writer, "is likely to ensure its repetition at an early period," it is to be hoped a little more pains will be taken with the rehearsals. The nationality of the Scotch should be enlisted in the cause. The tenor music, written especially for Mr. Sims Reeves, does not appear to have fallen into inefficient hands in Mr. Kennedy, whose singing and acting (?) are much praised. At the Saturday Evening Concerts, the sixpenny public was last week tested with Beethoven's Pastoral Symphony, a classical overture, and a fugue on the organ, with most satisfactory results. The audience were most attentive and reverend, and applauded with discrimination. That the "land o' cakes" was also the "land of song" we never doubted.-The first concert of the Birmingham Musical Union is thus alluded to in the Birmingham Journal :The first concert of the present series took place at Dee's Hotel, and was well calculated to maintain the prestige of these enjoyable gatherings. The attendance was numerous, although scarcely attaining the average of previous years. The performers were Miss Armstrong (vocalist), Messrs. H. and G. Hayward (violins), Mr. R. Blagrove (viola), Signor Piatti (violoncello), and Messrs. Duchemin and Flavell (pianists). The vocal selections, consisting of Blumenthal's song, "The Orphan," and Weber's "When the thorn," were rendered by Miss Armstrong with characteristic sweetness, but a perceptible deficiency of expressive power. Mr. Duchemin played one of Heller's "Wanderstunden," and a capriccio by the same master, on a theme of Schubert, and Signor Piatti a violoncello fantasia on popular airs. Both gentlemen experienced a hearty reception. The selection embraced Beethoven's instrumental quartet, No. 3 (Op. 18), executed by Messrs. H. and G. Hayward, R. Blagrove, and Signor Piatti; Mozart's quartet, No. 2, in E flat, pianoforte and strings, and Mendelssohn's second grand trio, for pianoforte and strings, (Op. 66), by Messrs. Duchemin, Hayward, and Signor Piatti, may be described as the most remarkable performance of the concert. Devonshire has been more than musical of late. Miss Arabella Goddard and the English Glee and Madrigal Society have been delighting the amateurs of Devonport, Torquay, Plymouth, and Exeter with a series of concerts (two at Exeter), all of which were well attended; all of which went off brilliantly, and as a specimen of the style of which on each successive occasion the following programine may suffice: Union. Part I. Quintet, "Come see what pleasures" (Elliott), by the Glee (four voices), "Discord, dire sister" (S. Webbe), by the Union. Song, The voice that we love" (S. Glover), Mrs. Lockey. Pianoforte Solo, "Grand Sonata" in F. Major, No. 2, Op. 10 (Beethoven), Miss Arabella Goddard. Quintet, "Blest pair of Sirens' (S. Smith), by the Union. Four Part Song, "The hunt is up" (Hatton), by the Union. Recitative and Air, Genevieve" (Hatton), Mr. Montem Smith. Pianoforte Solo, "Songs without words," by par ticular desire (Mendelssohn), Miss Arabella Goddard. Quintet, "To my lute" (R. Cooke), by the Union. Part II. - Quintet, "Blow, gentle gales" (Bishop), by the Union. Song, "True love" (Macfarren), Miss Banks. Quintet, Mark'd you her eye" (Spofforth), by the Union. Song, "The maid I love* (J. L. Hatton), Mr. Lockey. Pianoforte Solo, Grand Fantasia, on the Quartet from Il Rigoletto, first time of performance (Listz), Miss A. Goddard. Duet, "The exile's home" (Romagnesi), Mr. and Mrs. Lockey. Glee (four voices), "Here in cool grot" (Mornington), by the Union. Song, "The blacksmith's son" (Hatton), Mr. Winn. Glee (four voices), "Lo, the day's champion" (Bishop), by the Union. Catch (three voices), "Ah! how Sophia" (Dr. Callcott), by the Union. Mr. Ashe was, as usual, the entrepreneur, and on Monday evening, at the first concert (of which the foregoing was the programme), Public Rooms, Exeter, which presented, according to the Exeter a crowded and fashionable audience was attracted to the Royal Western Times, a brilliant appearance. The following is an extract from the article published by that paper: The vocalists included Mrs. Lockey, Miss Banks, Mr. Wilbye Cooper, Mr. Montem Smith, Mr. Winn, and Mr. Foster, but the greatest attraction, and sole instrumentalist, was Miss Arabella Goddard, the first of English pianistes. Mr. Lockey was also to have been present, but was prevented by illness, and Mr. Wilbye Cooper was his substitute. The first two glees were warmly applauded, Mrs. Lockey sang Glover's song very sweetly, and the correct style, and clear enunciation of this charming vocalist must have been most pleasing to the refined ear. Miss Arabella Goddard, on entering, met with a cordial greeting, and her pianoforte solo was a wonderful piece of execution. The quintet was rendered by the Union with thrilling effect, and met with an encore which was readily conceded. Mr. Hatton's "The hunt is up," was given briskly, and with effect. The same composer's ballad of “Genevieve" was a perfect success in the hands of Mr. Montem Smith for whom it was expressly composed. Miss Arabella Goddard riveted the feelings of her audience on Mendelssohn's expressive "Songs without words," which were warmly applauded. The glee "To my lute" was given with exquisite sweetness by the "Union." The quintet “ Blow gentle gales," met with a spontaneous encore. Miss Banks, who possesses a delightful soprano voice, gave Macfarren's exquisite "True love" with great taste and feeling. The glee," Mark'd you her eye," was the least successful in the programme. Mr. Lockey being absent, the song set down for him was passed over, and Miss Arabella Goddard performed her grand fantasia (Liszt's Rigoletto) with matchless power, case, and delicacy of touch. The rapidity and brilliancy of execution created a furor, and an encore was inevitable. The pianiste returned and treated the audience to the ever favourite "Home, sweet home," by Thalberg, which was loudly applauded. Mr. Wilbye Cooper, who gave a song in lieu of Mr. Lockey, and Mrs. Lockey and Mr. M. Smith in "The exile's home," and the Union in "Here in cool grot," were all received with much applause, while "The blacksmith's son," by Mr. Winn, sung with great spirit, received an encore. The concert closed with "God save the Queen," by the Union. The performers arrived at Exeter by the down express on the South-Western Railway, and had had an uncomfortable journey. Owing to the overflow at Coombe Water, the train was delayed a couple of hours, and did not reach Exeter till six o'clock, just two hours before the commencement of the concert. On Friday there were two concerts at Exeter, one in the morning at half-past one, and the second in the evening. Both were well attended, and we trust that the result may induce Mr. Ashe to treat the city and neighbourhood to a repetition of such admirable concerts in due season. It may be remarked that a more classical tone was given to some of the concerts by the introduction alternately of Beethoven's admirable sonatas in C sharp minor (Moonlight), and in F major (Op. 10), played to perfection by Miss Arabella Goddard, and thoroughly appreciated by the audience. A correspondent from Gloucester sends us an account of the first concert of the Philharmonic Society, which is far too long for insertion. The programme indicated a feebleness on the part of the directors not easy to be accounted for. The performance of the first movement only of a symphony is a bad example set by an important institution. Miss Clari Fraser, the solo vocalist, acquitted herself admirably, singing "Vedrai carino," "Where the bee sucks," and the ballad from Lurline, "Sweet spirit, hear my prayer," in her most charming manner. Our correspondent writes warmly of the young lady's efforts, and says she was the real attraction of the concert. HERR BECKER.-Our readers are doubtless aware that, in consequence of an unfortunate and vexatious accident, we are de prived for a time of the presence of one of our most welcome musical guests, the excellent violinist, Herr Becker. This accomplished artist has been unfortunately suffering so severely from the effects of this accident (the snapping of a string, which struck, though not, it is apprehended, seriously injured, one eye) as to have been prevented from fulfilling several public engagements, and to render it prudent for him to abstain from playing altogether for a while. He has therefore left England for the purpose of spending a short time at his residence in Strasbourg, and reckons upon returning to London towards the end of January. FUNERAL OF RELLSTAB, THE CRITIC.-Berlin, December 2. -The funeral of Ludwig Rellstab, who was well known in the literary and artistic world, took place yesterday, and was attended by a vast number of eminent men, representing the arts and sciences and literature. The deceased was not less renowned for his ability as a musical critic than for the various services he had rendered society by his exertions to promote useful works, and especially for the part he took in the question as to how Prussia might be best furnished with a railway system some years since. Among the mourners at the funeral, science was represented by Professor Bockh; art, by the General Musical Director, M. Meyerbeer; the public institutes, by the Intendant-General von Hulfen; the press, by the chief editors of two of the Berlin papers; and there was besides a great concourse of public men and officials of all grades. The procession was of immense length, and comprised the members of several choral societies and the bands of a dragoon regiment and of the Cuirassiers of the Guard, who at intervals along the route sang and played solemn music, and again at the interment, which took place at St. Peter's Cemetery. CHRISTMAS DANCE MUSIC. Illustrated by BRANDARD and PACKER, in Colours, published by BOOSEY AND SONS, HOLLES STREET. Laurent's Bianca Waltzes. Laurent's Bianca Quadrilles. Laurent's Bianca Polka. Laurent's Bianca Galop. Laurent's Spring Buds' Waltzes. Laurent's Margaretta Waltz. Laurent's Christmas Waits Quadrille. Laurent's Daisy Waltz. Burckhardt's Ramsgate Sands Quadrille. EVAN Boosey & Sons, Manufacturers, 24, Holles Street, London. VANS' HARMONIUM, at 107. 10s., is in a handsome French Polished Oak Case, and possesses that rich organ-like quality of tone so peculiar to all Evans' Instruments. Boosey & Sons, Manufacturers, 24, Holles Street, London. EVANS' ENGLISH HARMONIUMS.-An Illustrated Catalogue of the whole of these well-known Instruments, with one and two Rows of Keys, the Percussion Action and Pedals, at prices ranging from £6 6s. to £147. -May now be had upon application to the Manufacturers, Boosey & Sons, Holles Street, London. NOTICE. Boosey and Son's Editions must, in every case, be ordered, as other works have been arranged by persons totally unacquainted with the above Instruments. BOOSEY & SONS, 28, HOLLES STREET. |