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INA KLOSKING worked night and day upon "Siebel" in Gounod's "Faust," and upon the songs that had been added to give weight to the part.

She came early to the theatre at night, and sat, half dressed, fatigued, and nervous, in her dressing-room.

Crash the first coup d'archet announced the overture, and roused her energy, as if Ithuriel's spear had pricked her. She came down dressed, to listen at one of the upper entrances, to fill herself with the musical theme, before taking her part in it, and also to gauge the audience, and the singers.

The man "Faust" was a German; but the musical part "Faust" seems better suited to an Italian or a Frenchman. Indeed some say that, as a rule, the German genius excels in creation, and the Italian in representation or interpretation. For my part I am unable to judge nations in the lump, as some fine fellows do, because nations are composed of very different individuals, and I know only one to the million; but

VOL. CXX.-NO. DCCXXIX.

I do take on me to say that the individual Herr who executed Doctor Faustus at Homburg that night, had everything to learn, except what he had to unlearn. His person was obese; his delivery of the words was mouthing, chewing, and gurgling; and he uttered the notes in tune, but without point, pathos, or passion; a steady lay-clerk from York or Durham Cathedral would have done a little better, because he would have been no colder at heart, and more exact in time, and would have sung clean, whereas this gentleman set his windpipe trembling, all through the business, as if palsy was passion. By what system of leverage such a man came to be hoisted on to such a pinnacle of song as "Faust," puzzled our English friends in front as much as it did the Anglo-Danish artist at the wing; for English girls know what is what in Opera.

The "Marguerite " had a voice of sufficient compass, and rather sweet, though thin. The part demands a better actress than Patti, and this Fraulein was not half as good: she

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