money by the Government, as is the case in many other they destroy the symmetry and form of a great and perfect countries; and Sig. Verdi, however much we may admire | work of art. It has been more than once suggested that, as his music, could never hope to receive in London anything some sacrifice was called for in presenting Rossini's maglike the myriads of roubles which the Emperor of Russianificent opera to the English public, it would be better to gives him, simply as an honorarium, for having written La omit the entire of the fourth act, and preserve the music of Forza del Destino for the Opera of St. Petersburgh. Nor do the first three acts intact. This proposition, we are aware, we imagine that Sig. Verdi attaches any undue importance would be utterly scouted by the audiences of the Grand to such pecuniary trifles. But he probably expected to find Opéra of Paris, who cannot dissociate Guillaume Tell from the Commissioners of the “Great Exhibition" endowed by the air of Arnold, « Suivez moi,” and the “ut de poitrine" Providence with sense, and with some capacity for appre- of the reigning tenor of the theatre. In England, we think, ciating art and the intentions of artists. We are sorry for our audiences would willingly dispense with the tenor display, his sake, as the most popular composer in Europe, and for however exciting and energetic, and the high chest C, even our own as Englishmen, and the compatriots of those dis | though Signor Tamberlik himself were the exponent, proreputable Commissioners, to find that in both these very vided all the omitted ballet-music was restored and the first natural expectations he has been entirely deceived.

finale given without curtailing. We have an idea, too, that the opera would be heard with far greater pleasure and

satisfaction if the second and third acts were made to change TRENCH audiences have emphatically more faith, or more

places, and the performance to finish with the swearing I endurance, than English audiences. No opera or drama

of the Cantons. As the libretto is of the slightest conis too long for them, provided it is good. They seem never to

sequence, no harm would be done by this arrangement, and grow weary of what they like, and are as eager to applaud at

the story would not suffer in the least. In fact, after the the end of the most interminable performance as at the com

conflict between the soldiers and peasantry in the scene in mencement. The British public, on the other hand, are soon

the market-place, in the third act, the whole of the second wearied with even what they most admire; the most excel

act would follow naturally and consistent; there would be lent entertainment can only please them for a certain time,

no difficulty in supposing Tell to have escaped from his and the stimulant of novelty is necessitated. This remark

guards, when the meeting of the Cantons and the swearing able difference in the susceptibilities of the two nations was

of the oath would be events of course. The best of all reasons in all probability understood by Rossini, Meyerbeer, and other composers for the Grand Opéra of Paris. Undoubt

for this arrangement, however, is, that after the tremendous

“ Oath of Liberty” the mind is left no room for further edly an acquaintance with English feelings and English tastes would have prevented the authors of Guillaume Tell

musical sensation. From such an Alpine height of trans

| port it must needs descend. and the Huguenots, had they projected these great works for the London instead of the Parisian stage, from being so profuse and exuberant. But they knew for whom they | with much pleasure that Mr. Wallace is recovering from his late

MR. WM. VINCENT WALLACE.-Our musical friends will learn were writing, and perhaps never dreamt of concentrate

dangerous and severe illness. His medical advisers having reing their ideas or employing the pruning knife. The worst | commended change of air, he left London on Saturday for of this, to the real admirer of Rossini and Meyerbeer, is | Brighton, to remain a few weeks. that the masterpieces of these composers can never be heard M. ASCHER, whose pianoforte compositions are so well known, will in their interito in this country. in their integrity in this country. It is simply impossible.

It is simply impossible make his debut in London as a pianist at Mad. Puzzi's concert. No English audience would sit out an opera, under any con

Musical CHAT FROM PARIS. — “ We have now arrived at that season

of the year when the artistic world, including dancers, singers, and dition, if it lasted five hours ; and Guillaume Tell, the

pianoforte players, are taking flight. We have, however, a few arrivals, Prophéte, or the Huguenots, if executed according to the amongst whom is an American young lady, Miss Philipi, who, as a score, would consume that time at least in the representation, contralto, has been creating a considerable sensation in Madrid. We If therefore follows strictly speaking that the amateurs of have also amongst us the composer and pianoforte player, Mr. Brinley

Richards, whose compositions, as a rare exception, are being published London are unable to judge of any one of these works as an

in Paris by a musical establishment, which has been led to introduce effort of art. The management of the theatre where it is pro- Mr. Richard's compositions to the monde musicale here in consequence duced is obliged to cut down each opera to four hours' per- of their popularity in Germany."- Paris Cor. of the Morning Post. formance, and even then it is considered by the public too Mrs. MEREST'S Musical SOIREES.—The first of a series of three long. No care or reverential feeling can hinder the director

Soirées given by Mrs. Merest, formerly so well known as Miss Maria

B. Hawes, came off on Wednesday, at her residence, under the patronfrom committing, what the composer no doubt would call, an

age of Her Royal Highness the Duchess of Cambridge, Her Royal act of Vandalism or a sacrilege. Something must be cur

Highness the Princess Mary, &c. Mrs. Merest was assisted by Miss tailed, something omitted ; and in every act of interference, Eleanora Wilkinson, Mad. Weiss, Herr Reichardt, Messrs. Carter, Dyson, and in every modification, an injury is inflicted. A great and Whitehouse, vocalists; and Miss Cecilia Summerhayes (pianoforte) work of art like Guillaume Tell cannot be meddled with

and Mad. R. S. Pratten (guitar), instrumentalists. Mrs. Merest sang

“He was despised," " O rest in the Lord," and a ballad of her own with impunity. As abridgement is imperatively demanded,

composition—"I heard thy fate without a tear,”—besides the trio “ Lift and as abridgement implies injustice, it seems difficult, if not thinc eyes." taking part in « When the winds breathe soft.” ( By Celia's impossible, to reconcile the wishes of the public with the Arbour,” and “ Blow, gentle gales,” the quartet, “Cast thy burden," respect due to the chef-d'ouvre of a master.

from Elijah, and Winter's trio, “Mi lasic, o Madic.” Mrs. Merest in the production of Guillaume Tell at the Royal Italian | sang most artistically, and in all her efforts, especially in the air from

Elijuh, was warmly applauded. Mad. Weiss, who had but just reOpera it was found necessary to leave out some of the music.

covered from an attack of illness, sang “ Hear ye, Israel," from Elijah, We cannot say the nicest judgment has been exhibited in in addition to her share in the concerted picces, and appeared in comthe omissions and curtailments. We think, for instance, plete possession of her fine voice. Herr Reichardt gave Mrs. Merest's that the ballet music, both in the first and third acts, has ballad to Lord Byron's words, " There be none of beanty's daughters,” been too unscrupulously dealt with, and that the necessity

with so much grace and expression as to obtain a unanimous and well

merited “encore.” The ballad and the singing were alike admired. for such wholesale excision might have been avoided by not

Miss Cecilia Summerhaycs played Beethoven's Sonata Pathetique exhaving recourse to repetitions. The cuts made in the finale tremely well, and Mad. Pratten proved herself an accomplished mistress to the first act are perhaps more objectionable, inasmuch as of the guitar in two pieces arranged by herself. The room was very full.


ness and precision, some idea may be formed of the excellence of the

choral force which the Sacred Harmonic Society had succeeded in NOTWITHSTANDING the many difficulties that scemed to stand in the way, bringing together on this great occasion. Nevertheless, M. Sainton the music—“ special music ” (to employ the language of the commis went through the Ode a second time, and as a matter of course, with sioners; as if the music of Handel was unspecial, and as if unspecial proportionately good results. Of the “ Hallelujah" and " Amen," which meant anything at all)—for the opening of the International Exhibition were to follow (under Mr. Costa's guidance), wo need say nothing. has turned out a decided success. On Tuesday morning a grand re Both conductors were welcomed with reiterated plaudits from the whole hearsal of the instrumental portion took place in Exeter Hall. The place | multitude of singers, the reception accorded to M. Sainton amounting usually devoted to the orchestra was filled to the roof by a distinguished to little short of what, in the glowing and occasionally fantastic language company. The large gallery was also crowded with visitors. The of musicians, is termed an “ovation." orchestra--consisting of 148 violins, 50 violas, 45 violoncellos, 45 double- The second rehearsal, which took place on Wednesday morning in basses, 6 piccolos, 10 flutes, 10 oboes, 10 clarinets, 12 bassoons, 12 horns, the gigantic building where the musical performance was to be held on 6 cornets, 6 trumpets, 9 trombones, 3 ophicleides, 4 serpents, 4 bombar- | the following day, passed off with entire success. All the music, vocal dons, 4 euphoniums, 12 side drums, 3 sets of kettledrums, including and instrumental, was tried (under the direction of Mr. Costa and M. those (together with the gigantic “big drum") manufactured for the Sainton); and the acoustical qualifications of the International ExhibiHandel Festival-408 in all-was stationed in the area. The first piece tion building were put to proof. That they might turn out favourable tried was M. Meyerbeer's grand overture, the illustrious composer him was heartily to be desired. No ingenuity and no labour had been self (who, on being recognised, was greeted by the whole assembly, spared to insure success. The arrangements for this grand ceremony, singers, players, and audience, with prolonged and enthusiastic cheers) the structure and position of the colossal orchestra erected under the superintending its rehearsal, and Mr. Costa wielding the “ baton." The eastern dome, and the expedients invented for aiding and enhancing the overture was played through twice; and long before the first perform general effect of the music having been already more than once deance had come to a conclusion, the conviction must have been unanimous scribed, it is unnecessary to enter into further details. The coup d'ail that so magnificent a body of instrumentalists on so unprecedented a presented by the orchestra, filled to the extremities by a vast host of numerical scale had never been heard till now. M, Meyerbeer himself, singers and players, was scarcely inferior 1.2 bat at the Handel Festival whose suggestions to the conductor were “ few and far between," ap-| in the Crystal Palace. Mr. Costa, with his accustomed military puncpeared fairly taken by surprise at hearing his elaborate composition so tuality, was at his post to the second. At ten minutes after noon (the marvellously executed “at first sight.” When the overture had been appointed hour for commencement), the chorus and orchestra being once gone throngh, Lord Granville rose and addressed a complimentary stationed in their allotted places, and thanks to the well-known expespeech to M. Meyerbeer, thanking him, in the name of the Queen and dition and business habits of Messrs. Peck and Horton) the music-parts the Royal Commissioners, for having lent the aid of his distinguished being distributed to all who had a claim to them, the rehearsal was intalent towards enhancing the lustre of our International Exhibition, and augurated with “God save the Queen." As soon as M. Meyerbeer for the production of a work so calculated in every way to do honour to was observed seated near the Duchess of Cambridge, applause broke the occasion. M. Meyerbeer also, in a short and modest speech, ex out from all sides, and the great composer was compelled to rise and pressed his sense of the efficient manner in which his composition had acknowledge the honour that was paid him. His Grand Overture was been executed à prima vista, by so vast an assembly of players. The then rehearsed twice, under the vigorous direction of Mr. Costa, who orchestral accompaniments to Professor Bennett's Ode were then was evidently determined to obtain, as nearly as possible, a faultless rehearsed, under the direction of M. Sainton, whose delicate and not execution of this remarkable composition. The next piece was Provery enviable position was thoroughly appreciated. No foreigner who fessor Sterndale Bennett's Olde. This was, of course, under the direchas made this country his home has ever conducted himself more tion of M. Sainton. who, on appearing in the orchestra, was welcomed uniformly well than this French gentleman; and the hearty plaudits with reiterated cheers—a just tribute, under the circumstances, as none that greeted him on entering the orchestra were neither more nor less can deny. After the Ode had been gone through once, a general cry than a testimony to the unanimous good opinion he has earned among for “ Bennett " was raised, and the Professor, at length making his apus. The overture of M. Auber--in which the wit and gaiety of the pearance, was led into the orchestra by M. Sainton. The greeting he brilliant nation he so worthily represents in his musical capacity seem received was such as he will possibly never forget. We remember noto be embodied - followed the accompaniments to Professor Bennett's thing more hearty, nothing more spontaneous. There was one uniOde, and, the slow movement (for brass instruments) excepted — which versal burst of cheering, accompanied by waving of hats and handkerappeared, however, to need more supervision than anything else -- was chiefs, the thousand ladies of the chorus being conspicuous in their twice gone through under the direction of Mr. Costa.' The accompani manifestations of enthusiasm, which was as prolonged as it was deafments to the “ Hallelujah" and “Amen” choruses (joined together, by ening. About the extraordinary popularity of Professor Bennett, if the way, in a manner, that would have astonished Handel himself, had there had ever been a doubt, this would have dispelled it. The Ode he been present), and those to the National Anthem, were last rehearsed; was twice rehearsed. M. Auber's splendid overture was then perimmediately after which the company, orchestra and all, dispersed. A formed (under Mr. Costa's direction), and so admirably that it was more interesting ceremony in its way was probably never witnessed; a thought quite unnecessary to try it again ; the “ Hallelujah" and more splendid orchestra, as we have hinted, was never heard.

“ Amen ” choruses from The Messiah followed ; and the whole conIn the evening of Tuesday, between 7 and 8 o'clock, the International cluded with a repetition of the National Anthem. The "effect" of the Exhibition Chorus (about 520 to a part-in all little short of 2,500 music, under such exceptional conditions as are furnished by the pecusingers) assembled in the same hall, which they so completely filled liar conformation of the International Exhibition Palace, was far better that, except in the gallery and side balconies, there would have been no than had been anticipated. That the vibration was excessive may room for visitors, had any been invited. The Conductors, MM, Costa | readily be understood, and that this militated against the exact transand Sainton, were stationed on a platform in the centre of the area, mission of details, leaving an impression of unique grandeur rather nearest the orchestra. Nothing but the choral music was tried, and the than of finished and delicate execution, may as readily be believed. only accompaniment was on the organ, at which Mr. Brownsmith, of Slow progressions of choral harmony-such as abound in the Ode of the Sacred Harmonic Society, presided. First we had the National | Professor Bennett, sonorous passages of orchestral combination, unacAnthem, the melody of which was sung alternately by the different companied by anything in the shape of intricate contrivance, of which sections of the chorus (sopranos, tenors, &c.) in unison, till at last the there are many striking examples in M. Meyerbeer's composition; and familiar strains barst forth in ample harmony. What has been said of broad melodious phrases exhibited in the higher register of the violinsthe orchestra, in alluding to the morning rehearsal, applies to the chorus instances of which are inultiplied in the overtures both of Meyerbeer with even stronger emphasis. The deputations from the Sacred Har- | and Auber-sounded clearest, best, and most intelligible. On the monic Society, appointed to select the most competent singers from the other hand, rapid movements and extreme " fortissimo" passages were various country districts, have performed their difficult task with re drowned in reverberation, and, consequently, were more or less difficult markable judgment. If the chorus of Tuesday evening is to be the to appreciate. That inportant influence, however, would doubtless nuelens of the Handel Festival chorus at the Crystal Palace, all the be exercised by the enormous crowd which was likely to invade the preprodigies yet achieved at those gigantic exhibitions will be far excelled. cints of the Palace on the following morning, was generally felt; and We remeinber no such chorus. The National Anthem is, of course, -as Exeter Hall, St. James's Hall, and most especially the Crystal child's play to practised amateurs ; but the unfamiliar harmonies of Palace, have shown there is no better medium for the concentration of Professor Bennett's Ode—a work in every sense new and original- | musical sounds than the resistance offered by a densely packed multitude, offered a severer test. When we say that, with but few stops (and those One thing is certain-viz., that those who looked for massive grandeur generally occurring at the pauses between the different movements), it and excessive brilliancy in the musical performance of Wednesday was sung at this first rehearsal from end to end with the utmost smooth- would be satisfied to their heart's content.

The ceremonial-music on Thursday was a triumphant success. As seemed to waver. The effect of the trumpets, giving out the melody of was expected, the enormous crowd of people exercised a salutary infu the corale in unison with the upper voices, was extremely solemn and ence in checking and concentrating the body of sound. In the verses impressive. The next movement, in the minor keyof the National Anthem, which should have preceded the address de

"O silent father of our kings to be, livered by Lord Granville (but were really sung while he was delivering

Mourned in this golden hour of jubilee, it at the other end of the building), and the procession up the pave to

For this, for all, we weep our thanks to thee!" the eastern dome, the women's voices came upon the ear with a clear -must have made its way to the hearts of all the vast assembly. Had and silvery tone that was eminently musical and delightful. In the re an illustrious lady, whose gentle rule is one of the dearest privileges of sponses with full chorus and orchestra, it is true, the reverberation might this great country, been present at this performance, she could hardly be described as excessive, if placed in comparison with what it would fail to have been moved by a passage in which poet and musician have be in an ordinary concert hall, on however large a scale; but this draw. vied with each other in giving forcible expression to a sentiment that is back, which all musicians knew to be inevitable, was condoned in a unanimous among us. We know of nothing more pathetic than the great measure by a peculiar mellowness, softening the asperity of the treatment of the last line, where the words “ We wecp” are reiterated, louder instruments, and by a certain indefinable grandeur to which it in touching and plaintive harmony, as though the asseveration could not were vain to seek a parallel, except at the Handel Festival in the Crys

be made too often. Here the power of embodying deep feeling pos. tal Palace. But the National Anthem to English ears sounds gratefully sessed by music is strikingly exemplified. Mr. Tennyson was happy in and well under any conditions, always accepting those to which it is being associated with a musician able to appreciate a thought which in occasionally submitted at our Italian Opera Houses. The real test, both delicacy he himself has rarely surpassed, and, moreover, to give it of chorus and orchestra, was to come.

ample and sympathetic expression. The members of the chorus, too, The “special musical performances" commenced with the magnifi seemed to enter into the sentiment both of poetry and music, and decent piece which, under the name of “ Ouverture en forme de marche," livered the passage from beginning to end as if they thoroughly felt the most celebrated composer now living, and still incessantly and busily its significance. The enumeration of the wonders of the Palace, which engaged in the pursuit of fame, has contributed to our great industrial comes next, was not quite so satisfactory, although one part of it (and festival. Though perhaps, on the whole, not more carefully executed, that the most melodious and graceful) or with more precision, than at the rehearsal on Wednesday, the effect

“And shapes and hues of Art divina," &c. of the overture was, for obvious reasons, at least thrice as great ; and was irreproachable. The choral recitative à la Mendelssohn (" And this must have been admitted by M. Meyerbeer himself, not the least | is the goal so far away ?"); the reference to the opening corale . remarkable personage among the brilliant assemblage near the eastern

"Oh ye, the wise who think, the wise who reign," dome. The “Triumphal March,” with which it opens, played as it was

and the whole of the final chorus-in which the composer borrows the by the giant-orchestra of picked musicians and first-class amateurs,

theme of the corale, to extend and develope it into a movement of suswould have roused the ardour of ever so phlegmatic and unwilling a hero. The "clang" of the wind instruments, imposing and superb,

tained beauty and interest, as melodiously flowing as it is full of sentinevertheless, allowed the “ strings" high and low, to speak out and be

ment-offered no point for criticism. A marked impression was created heard. The richly developed melody of the “trio "- where the army

by the passage in unison to the words— of violins sounded as a single fiddle, with such close precision were

“ Breaking their mailed fleets and armed towers,

And ruling by obeying nature's powers," they handled, while the bright touches which the master has laid on so delicately in the “wind” parts brought out the leading -one of the most original and impressive in the Ode. The orchestral theme in all the stronger prominence-was felt as an exquisite relief,

accompaniments were beyond reproach ; and indeed the general executhe war-marche on its re-appearance seeming to have gathered two-fold

tion of Professor Bennett's unaffectedly beautiful work was creditable to pomp and splendour. The Marche Religieuse was played to absolute

all concerned-in an eqnal degree to singers, players, and conductors. perfection. At the end-where the sounds die away into “pianissimo,"

The overture of M. Auber wound up the “special music " with exthe violins dwelling upon the highest notes of the register had an effect

traordinary spirit. Mr. Costa (who after tho Ode resumed his position quite novel and delicious. Notwithstanding the rapid pace at which

at the head of the orchestra) directed the performance with his wonted Mr. Costa took the last movement, the “Quick March” (or “Pas

energy ; and certainly had the renowned French musician been present Redouble")-its crisp and lively theme assailed the ear with marked and

he would have found little to complain of. The slow movement, for singular distinctness. In the exciting passage of "crescendo" - which cornets and trombones, was almost as clear in its details as if the peraccumulates force at every step, until the proudly defiant air of “Rule

formance had taken place in the Hanover Square Rooms or St. James's Britannia” proclaims the triumphant climax, the shrill tones of the

Hall. The tones of the brass instruments, softened and mellowed, inpiccolo, the serried roll of the kettle drams, and the penetrating notes

deed, by the vastness of the arena over which they were compelled to of the clarion deciding the martial character of the ensemble--the happy

travel, had a peculiarly charming effect. The March, so broad, vigordevice by which the composer gradually announces the advent of our

ous, and inspiriting; the beautiful phrase of melody for the violins, which naval Song of Victory came out almost as emphatically, and with as contrasts with it so gracefully; the stirring ritornelle, with its trills in much point, as at the first rehearsal in Exeter Hall. Such, at least, was the acute register of the first fiddles, and its quaint “ pizzicato" for the our own impression from the south-eastern gallery. The fugue, too, of

rest of the stringed instruments; and, lastly, the gay and animated coda, which“ Rule Britannia” constitutes the leading subject-amid all its

which officiates as “pus redoublé"-in a work not only brilliant as a elaborate contrivances of counterpoint, ingeniously distributed among whole, but piquant and lively in every part, the composition of which the various instruments-was just as clear; and the coda, where the by one something more than an octogenarian is a feat without parallel host of fiddles, screaming, as it were, for predominance, strive with

-were, one and all, brought out with remarkable point and clearness. continually augmenting power to drown the familiar phrases of that

Nothing could have been written better calculated to occupy the place noble melody—but vainly, inasmuch as it is heard in all sorts of un. assigned to this very capital overture, or to leave that sense of unalloyed expected places, vigorous and invincible as when it first bursts forth

and pleasurable enjoyment which it is so frequent a privilege of M. wound up with brilliancy a performance that, even regardless of the

Auber's music to crcate. “To him, as to M. Meyerbeer and Professor

Sterndale Bennett”-says the Times—“ the thanks of Her Majesty's exceptional conditions under which it took place, was one of the

Commissioners in particular and of the public generally are due. Never grandest we remember, and which must assuredly have satisfied M. Meyerbeer.

were tasks gratuitously undertaken accomplished more worthily, or with Mr. Costa now yielded the baton to M. Sainton, but remained in the

a more evident desire to show that the labour, though gratuitous, was orchestra near the conductor's place, while that gentleman directed the one of love. From Professor Bennett, as an Englishman, this was to performance of the Ode which our Poet Laureate and our Cambridge

be expected as a matter of course; but from the distinguished foreigners Professor of Music conjointly furnished for this memorable occasion.

with whom he had the honour to be associated, although it was pretty The new composition of Professor Sterndale Bennett loses nothing by

sure we should get nothing indifferent, we had scarcely a right to look closer familiarity. The admirable verses of Mr. Tennyson could hardly

for compositions so far above the ordinary mark as to encourage a behave been wedded to music in a more kindred spirit. The execution of

| lief that they may be destined to a place among the lasting products of the work was happily all that could have been wished. The opening


How Handel's mighty choral hymns—the “Hallelujah" and "Amen” corale " Uplift a thousand voices full and sweet,

from the Messiah – which coming directly after the prayer of the In this wide hall with earth's inventions stored,

Bishop of London, formed a portion of the religious ceremony, towered And praise the invisible, universal Lord,”.

above everything else in sublimity, it is almost superfluous to relate. ---the appropriate thank-offering at this important festival was sung The multitudinous shouts of praise and glorification ; the tremendous with remarkable decision, and a justness of intonation that never declarations of faith, in those most impressive and wonderful of choral unisons-“For the Lord God omnipotent reigneth,” and “He shall chorus without animadversion. The scenery and mise-en-scène were reign for ever and ever," the reiteration of the attributes and dignities effective, if not magnificent--one scene, that in the third act, where the of the “ Almighty," where the voices, soaring upwards, scale by scale, moon is shown under a cloud, mirabile dictu, being new and beautifulconvey an idea of limitless aspiration, in the “Hallelujah ;” and the and the general performance augurs well for the success of the new astonishing grandeur of the “Amen,”-an instance of power accum venture. At the conclusion of the opera, the National Anthem was mulating and advancing through successive stages up to an overwhelm- sung, the solos by Mlle. Tietjens and Mad. Lemaire, the house, with ing climax, unparalleled in choral music - made their accustomed its rows of clustering beauties, presenting a truly imposing aspect. impression, edifying and delighting all hearers in an equal measure. On Tuesday the Ballo in Maschera was repeated, and on Thursday That they were superbly delivered will be at once believed. With an Rossini's Semiramide was produced for the Sisters Marchisio, who made orchestra and chorus of such unusual magnitude and unprecedented their first appearance on the stage in England. A new bass, Signor efficiency, this could hardly fail to be the case. Why, however, they Laterza, also made his first appearance, and M. Gassier sustained the should be joined together at the expense of the “Hallelujah," upon part of Assur. Of this performance we have not room to speak at which imperishable masterpiece profane hands have been laid, to fit it | length in this number, and must therefore reserve particulars, We may, to the emergency, it is difficult to say. The two choruses, which belong | however, state in advance, that the “Sisters Marchisio” achieved a bril. to different parts of the oratorio, have nothing in common but their liant success; that they were recalled after each act, and fêted, at the sublimity. Moreover, being bothg both in the same key of D, they end, with bouquets, laurel-wreaths, &c. M. Gassier's Assur, too, may could have followed each other in due course, without either being cut be named as admirable, both in acting and singing. and maimed ; or if this was found impracticable, one of the two should have been dispensed with. After the “Amen” the National Anthem was again sung, and with

ROYAL ITALIAN OPERA. this the music to the religious part of the ceremony came to a conclu The Prophète was repeated on Saturday and Tuesday. The cast is sion. The Duke of Cambridge then rose, and in a loud voice said, the same as last season, comprising Mad. Csillag, as Fides ; Mad. by command of the Queen, I now declare the Exhibition open.” The Rudersdorff, Bertha ; Jean of Leyden, Signor Tamberlik ; Oberthal, trumpets of the Life Guards saluted the announcement with a pro Signor Tagliafico ; and three anabaptists, Signors Neri-Baraldi and longed fanfare, and the crowd echoed it back with a cheer, which was Polonini and M. Zelger. taken up and speedily spread from one end of the building to the other. M. Meyerbeer, who has arrived in London for the purpose of hearing

The Sacred Harmonic Sociey, with Mr. Bowley as presiding chief, his new march-overture, written for the Exhibition, must surely be have done their work admirably. A more striking example of what gratified to find his operas in such favour with the fastidious audiences may be effected in a short space of time by well-planned measures, of Corent Garden. Four consecutive evenings, indeed, have been ocstrict discipline, and unwcaried industry could hardly be cited. How cupied with two works, Le Prophète and Dinorah, by the greatest of much of the general result is due to the skill and energy of Mr. Costa now living and active composers, and the very contrast between these may be well imagined, and for him and Mr. Sainton, who aided him two operas, cach a perfect masterpiece in its way, testifies to the wide so efficiently, no praise could be excessive. The arrangements for the scope of English appreciation of music, as well as to the extraordinary orchestra were perfect. The mere task of bringing so many singers versatility of the gifted composer. But the characteristic beauties both and players together without the slightest disturbance was one of no of the grand historical tragedy and of the elegant idyll that we have small difficulty; but all this was achieved with military cxactitude; named, are so thoroughly well known that we need attempt no new while the labours of the 150 stowards, under the able and diligent parallel between them. superintendence of Mr. Simms, were performed with a regularity, Meyerbeer's Dinorah, was given on Monday night for the first time promptitude, and courtesy which can hardly be over-estimated. Thus, this season, and introduced Sig. Gardoni in his original character of and thus only-as the directors of the Sacred Harmonic Society and the Corentino. The cast was, we believe, identical with that when the managers of the Handel Festival are well awarc-can such colossal opera was first produced, and included Mad. Miolan-Carvalho, as schemes be undertaken with any chance of success. In Mr. Costa, Dinorah; M. Faure, as Hoel; Mad. Nantier-Didiee, as the female, and happily, they have a musical conductor whose instinct of order is as Sig. Neri-Baraldi, as the male goatherd. Sig. Gardoni made his first lively as their own.

appearance these two years, and received the welcome due to his abili.

ties. Sig. Gardoni made his first appearance in England in 1847 - the HER MAJESTY'S THEATRE.

Jenny Lind epoch -- at Her Majesty's Theatre, and was then very

young. His voice now appears in as good condition as when first we The season was inaugurated on Saturday night with complete success. heard him. This is to be attributed to an excellent method — the true Mr. J. H. Mapleson, the new lessee, did well to open his campaign with Italian method -- and to the fact that he has never sung in any of the the opera which he was last year the first to introduce to the English grand French operas. That Sig. Gardoni sings the part of the halfpublic, during his brief season at thc Lyceum.

witted piper in Dinorah to perfection no one will deny, nor that he The general performance of Saturday night we can praise with little shows greater vocal skill in the music of Meyerbeer than in that of reserve. In the first place, however, we must pay a tribute to the ap- Rossini. His forte lies in the sentimental line, and his voice, in its pearance of the house, the famous amber curtains to each tier of boxes sympathetic quality, seems to have been intended by nature for love investing the thcatre with a rich and handsome appearance, while the essays. Mad. Miolan-Carvalho has made her reputation in England in approaches are carpeted. The cast was almost the same as at the Ly- the character of Dinorah. Dinorah, in fact, is her cheval de bataille. ceum. It would be impossible to find more capable representatives of M. Faure's Hoel was as masterly as ever, nor did he ever sing the music Amalia and Riccardo than Mllc. Tietjens and Sig. Giuglini. The more admirably. The house was not full, but it was an “extra" night, prima donna does not appear in the first act ; but when she first walked and the Easter holidays were not quite over. on the stage, in the scene of the sorceress's cave, she was received with loud applause; and her voice, her singing, and her dramatic energy, completely enraptured the audience. The singing of Mlle. Tietjens in the

Letters to the Editor. duet with Riccardo on the place of Execution, as well as in the succeeding trio, contributed even more to the success of the third act than her

THE ENGLISH OPERA ASSOCIATION (LIMITED). version of the less interesting solo. Sig. Giuglini, who does not give the SIR,-In reply to the letter which appeared in the MUSICAL WORLD least intimation of his recent illness, sang the tenor solo of the charming | last Saturday, signed JOHN BULL, I beg to inform the writer and the quintet, “E scherzo ed è folli” - one of the best concerted pieces writ. ) public that the English Opera Association is increasing in wealth and ten by Verdi - with such spirit and entrain as to win an enthusiastic strength daily, and that the prospectus will be shortly issued. The encore. Sig. Giuglini shows unmistakeable signs of improvement as an shares already taken amount to some thousands of pounds. The list of actor. Of the new barytone, Sig. Giraldoni, we can only report at shareholders embraces the names of a great many of the most eminent present that his voice is rather powerful than clear or musical, and that composers and artists in the United Kingdom, and may be seen at their his style of singing is more remarkable for expression than for delicacy office daily. The directors have been anxious not to appear before the or finish. He was not cncored in the favourite baliad “Sei tu che public without first being assured of success. They do not feel them. macchiar. The part of Oscar, the page, was entrusted to Mlle. Dario, selves justified in taking Drury Lane or any other theatre for only three a new comer, of whom we may speak another time. M. Gassier and or four months, and then having to relinquish it ; their great anxiety is Sig. Bossi were both singularly cffective as the two conspirators ; to establish a permanent house for English Opera. - I am, Sir, yours and Mad. Lemaire was careful as cvcr in her part of the sorceress. The faithfully, orchestra, consisting of at least seventy performers, was remarkably

MARTIN CAWOOD (Secretary). efficient, under the direction of Sig. Arditi, and we may name the April 24, 69 Regent Street.

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ETTERER, E. Il Bacio (Valse d'Arditi). Price 4s.
D Fantasia on the beautiful melody sung nightly in the drama “ The Peep o'day,"

La Stella
2nd ditto.

Price 48.
at the Lyceum Theatre. Price 3s,
Ashrown & PARRY, 18 Hanover Square.

ELLER, S. Deuzième Canzonette. Price 4s. PRINLEY RICHARDS.-THE LASS O'GOWRIE.


Réveries d'une Promeneur Solitaire. Price8. Price 43.


Douze Valses, in three Books, each, 2s. 6d.
A Shrown & PARRY, 18 Hanover Square.
RRINLEY RICHARDS. — YANKEE DOODLE. CH, J. S. Gavotte in G Minor, and Musette in G
Price 4s.

Major, performed by CHARLES HALLE. Price Is. 6d.
Asudown & PARRY, 18 Hanover Square.


Sarabande in E Minor, Passapied in E Major, and Gavotte in

G Major, performed by CHARLES HALLE. Price 2s.6d.
NANZ. — QUI VIVE! Grand Galop de Concert,
V played by the Composer with extraordinary success. Price 48.

URY, MADA ME. Fantaisie (Robin Hood).
ASHDOWN & PARRY, 18 Hanover Square.

Price 3s. 6d.

Ashdown & Parry, 18 Hanover Square.
QOLLMICK. - DIANA. Grand Galop de Concert.

U Price 4s.
ASHDOWN & PARRY, 18 Hanover Square.

RROWNE T. Tam o Shanter Galop (Illustrated).

Price 3s.
D Played by the Composer daily at his Pianoforte Recitals at the Crystal Palace
with unabated success. Price 4s.

MONTGOMERY, W. H. Ye Whittington Polka
Ashdown & Parry, 18 Hanover Square.

(Illustrated). Price 38.
T Price 2s. 60.

UCALOSSI, P. Moonlight Galop (Illustrated).
Ashdown & Parry, 18 Hanover Square.

Price 3s.

Water Lily Waltzes (Illustrated). Price 4s.
T Price 25. 6d.
ASHDOWN & PARRY, 18 Hanover Square.

ROBERTS, H. S. La Belle Russe Waltzes (Illustrated).

Price 4s.

Lass o' Gowrie Quadrilles (Illustrated). Price 3s.
FLOWER.Price 3s.
ASHDOWN & PARRY, 18 Hanover Square.

UVAL, E. Star of India Waltzes (Illustrated).

Price 4s.

Ace of Hearts Waltzes (Illustrated). Price 48.
melody sung by Mrs. Boucicault in the drama " The Colleen Bawn.” Price 3s.
ASHDOWN & PARRY, 18 Hanover Square.

ROAL, G. Old England Quadrilles (Illustrated).
RRISSAC.- T'AMO, SI T’AMO. The Mazurka from

Price 48.
Verdi's " Un Ballo in Maschera.” Price 3s.

Ditto :

Old Scotland Quadrilles (Illustrated). Price 48. ASHDOWN & PARRY, 18 Hanover Square.


Old Ireland Quadrilles (do.) Price 4s.
ASHDOWN & PARRY, 18 Hanover Square.

RICARDO LINTER. – TALLY HO! Fantasia (à la
LU Chasse). Price 3s.

MART, H. " Thro? every Chance and Change," Sung
ASHDOWN & PARRY, 18 Hanover Square.

by Madame Laura Baxter. Price 28. 6d. Ditto

“ Tell me, sweet Zephyr," Song. Price 23. 60. RUMMEL. — ESPOIR DU RETOUR. Nocturne. Ditto

" I'll tell you why I'd like to be a Rose.” Price 28. 6d. I Price 3s.


“ I dream of thee at Morn.” Price 28. 6d.
ASHDOWN & PARRY, 18 Hanover Square.
RUMMEL, -- SOLITUDE. Nocturne. Price 3s

RI, F. “Tho' all should forsake thee," Song.

Price 2s.6d.
Ashdown & PARRY, 18 Hanover Square.
A DOUARD DE PARIS.-MEZZANOTTE. Fantasia RAMSDEN, A. “I love none else but thee,” Song.
on the favourite quartet from Flotow's opera “ Martha." Price 4s.

Price 2s. 6d.
ASADOWN & PARRY, 18 Hanover Square.

AND, E. “ Thou, whom to love is all my care,” Sung

by Mr. WALTER BOLTON. Price 25. 6d.
« Come where my love lies dreaming." Price 38.
ASHDOWN & PARRY, 18 Hanover Square.

CEMERILE, G. “Io canto e remigo,” Barcarole.

Price 2s.
Caractéristique. Price 38.
AsupowN & Parry, 18 Hanover Square.

PILETTA, E. " Il Lago di Garda,” Barcarola for Four

Voices. Price 45.
BRUGES. Price 2s.6d.
ASHDOWN & PARRY, 18 Hanover Square.


A Fairy Tale. Price 3s.




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