eight or ten of the more adjacent provincial theatres—supported by the accompaniment of an organ of transcendent depth of tone and fulness of great register harmony, would—bearing in mind, too, at the same time, the choice nature for that particular purpose of the whole vocal material employed—be a celebration calculated to afford the lovers of our orthodox church service the most intense delight.

And what an opportunity would then be afforded of producing at these performances, perhaps the most sublime and soul-stirring musical effect within the province of the " divine art" to achieve! That is by adopting the arrangement of a double quire, one with each organ, at opposite ends of ths church, chanting the service antiphonally after the ancient manner of decani and cantorus sides, and culminating to a climax by both choirs joining together with the two organs in bursts of joyful exultation in the doxologies. Although the distance in the separation of the choirs will be great, yet the necessary precision in the performance could be insured by the precentor (conductor) being placed midway along the nave, elevated so as to be visible at once to each choir and its organist. This idea, of course, contemplates not only the erection of the new organ at the western end of the nave, but also the old organ being restored to its old placo on tho choir screen, or, as suggested in my former paper (Musical World, Dec. 17), organ and scueen being sot back to the line of tho junction of the choir with the dome, that is about 25 feet west of the old position.

A grand sacred choral gathering like this, or even doubled as the choral band might be by making it to embrace all the cathedral establishments of the Kingdom, would recuscitate the musical portion of the Festival of the Sons of the Clergy, now fast expiring; changing the usually public exhibition at once to a performance in the last degree attractive. At tho same time transferring the operations of the treasury department from an exhausted mine to new and more productive diggings, whenco the corporation may becomo enriched with, possibly, several additional thousands a year, with which to extend its usefulness.*

• There are two charitable societies under analogous names. The "Corporation of the Sons of the Clergy," and the "Society of tho Festival of the SonB of the Clergy." They work in separate spheres, but to the same great charitable ends—viz., the affording of pecuniary aid to incapacitated clergymen, necessitous widows, and offspring of deceased clergymen, and the providing of educational grants and apprentice premiums. The first-named—tho principal one—was established in 1678, and administers the funds of both, which amounts to about £3,800 per annum, arising from endowments, voluntary contributions, and the proceeds of the annual festival. The other society, though subsidiary to the last, is nevertheless the older one. It dates from 1655, when it was instituted for the benefit of those widows and orphans of tlio established clergy who hod been reduced to indigence by the parliamentary sequestrations which were enforced against the clergy, consequent on the great rebellion. Its operation is merely to raise funds for the before-mentioned purposes, and consists in an anuual assemblage of the highest authorities in the church and state. When divine service is held (full choral, with additional music by a choir composed of the establishments of the Chapel Royal, Westminster Abbey, and St. Paul's), in the cathedral church of St. Paul, and a sermon preached, to which the public are admitted by free tickets from the stewards, but tho persons who use them must present a donation at the door of entrance. At a certain door the donation is expected to be not less than gold; at other doors, not less than half-crowns, &c. In former times this may have yielded a good fund, but of late years this has much declined, the performance being now totally devoid of anything like public interest. The anniversaries passing over year after year, without anyone knowing anything of their occurrence, except that, perhaps, on "the day after the fair," when the newspaper notices of the performance tell that it has taken place.

In the year 1855—a year selected for example from no other reason but that of chance having brought the fact to the notice of the writer —the money taken at the doors amounted to only £119.

A dinner, however, after the service, at Merchant Tailors' Hall, appears to be much more productive. In these combined ways, something like £1,000 or £1,300 is onnually added to the corporation funds. The stewards to the festival are expected to contribute at least thirty guineas (and which qualifies the donor for a governor of the corporation), out of theso latter donations are paid t he expenses of the musical performance, &c, so that the proceeds of tho day is handed over to tho corporation intact. Now it must be felt by all who will for a moment think on the matter, that the proceeds of the sacred musical performance—considering the importance of the chority, and the extent and influence of the interest that might be brought to bear to its furtherance and support, is extremely insignificant. And

Nor is it irrelevant to the matter under discussion, I think, to remark that by making these meetings the occasion of a grand annual ecclesiastical demonstration, the general interests of the church may be materially served.

As respects tho other musical performance referred to—viz., the annual assemblage at St. Paul's of the London Parochial Schools, such an instrument would be brought into admirable use, and its utmost power not more than sufficient for the occasion. The psalmodic portion of this service, rendered by the myriad choir of sparkling infant voices—if the very peculiar effect of such a mass of shrill unisonous treble as the performance now presents wero toned down and harmonised by the ponderous and mighty bass that would roll from such an organ, would, aided by the influence of a most imposing spectacle, produce an effect oil an auditory impressive and wonderful beyond conception; and surely the power to draw this would create, might be turned to some account to the furtherance of the work the meetings are intended to promote.*

the question arises: could not much more be made of the performances by shaking off the antiquated proceedings by which they continue, year after year, to be silently conducted, and adopting instead a more business-like and enterprising procedure in tho management, and so produce performances that will, of their own merit and due publicity, draw tho public

Out of these societies arose, in 1749, "The Incorporated Clergy Orphan Society," whose establishments aro at St. John's Wood and Canterbury, and is still connected herewith, though separately worked.

* This exhibition consists in tho assemblage at St. Paul's of the children of the numerous parochial schools that are clothed and educated by charity. One first took place in 1782, and has been annually repeated ever since; tho object being twofold, viz., to popularise tho maintenance of charity schools, and to obtain funds for the assistance of the more necessitous schools attending. The picturesque aspect of some 7,000 or 8,000 children dispersed on raised platforms round tho gigantic nave of the cathedral, the tiers of benches gradually elevated to moro than half tho height of the pillars upon which tho dome reposes— decked out in party colours with banners to represent the various schools, from which they are sent as missionaries—the boys separated from the girls, and the whole mass arranged with an cyo to symmetry and pleasing contrast, presents a spectacle tho magnificent effect of which could not be matched throughout the world. In the central portion of the domo area and navo provision is made forthc accommodation of an auditory of about 10,000 persons. Divine service is performed, and tho children all join in tho singing of the psalmodic portion of tho service (in which they arc previously well tutored in sections), aud tho effect of this combined song is most extraordinary. The immortal Haydn, visiting St. Paul's on tho occasion of one of these gatherings, and hearing a "hymn" sung by tho whole assemblage of children, was moved to tears, and declared that the simple and natural air had given him tho greatest pleasure he had ever received from music.

This incident is drawn from JI audit's Diary while in England in 1791 and 1794. The *' hymn" here alluded to is what is now known as Jones's double chant in D. Jones was at the time organist of St. Paul's, and the piece of music was composed by him expressly for the purpose, and the manner of its performance is thus described in a note by the Editor of the Diary. "The first strain (which it will be remembered is A, the reciting note descending afterwards by three stops, a 3rd twice, and a 4th to tho octavo below) was sung by the choir, accompanied by the organ, the 4,000 children assembled, and who were well instructed for the purpose, responded in the second portion; the third strain was then given in the manner of the first, and the fourth by the children in a similar way to the second: altogether producing an effect that bnffles description, and which could not have failed to operate with extraordinary force on such strong religious feelings, united to such susceptibility of musical effect, as the great composer possessed."

This remarkable exhibition is, however, now languishing for want of support, and likely soon to be discontinued altogether, unless something be started that will infuse fresh vigour, and bring now interest into them. Of late (probably excepting tho last two years) the anniversaries have produced little or no funds for the schools; the whole receipts being usually swallowed up in the expenses, Take tho 1855 meeting as an instance (a year selected for no other reason but that of the fact referred to, accidentally coming to tho knowledge of the writer) the receipts were £390, which after defraying tho expenses of tho constructions, left a deficit, on account of the meeting, of £2 to be made by the stewards. It is rumoured that the dean and chapter have long been inimical to tho cathedral being used for this exhibition, but can a more legitimate use of tho Metropolitan Church bo conceived?

The erection of such an organ might involve an expenditure of £10,000. Where, it will bo asked, are the funds to come from, since all tho money that can be got for the cathedral is insufficient to do even a modioum of the contemplated works of embollishmcnt to tho exterior? If, howover, it could be seen—and the thing is far from being without the range of possibility—that by tho means just adverted to, the Corporation of the Sons of the Clergy might bo enriched with an augmentation of income to something like £2,000 a year, the immediately raising a fund for the purpose of such work by special subscription might bo matter worthy the consideration of that body, and little difficulty in tho accomplishment, one might suppose, seeing that there aro eighteen thousand clergymen in the kingdom; all interested (or ought to be, since the benefits of the charity are open to all), in the success of the society. The money so laid out would be, as it were, laying on endowment on tho terms of a five years' purchase.

One suggestion more in conclusion. The cathedral choirs being the primary material for the carrying on of such festivals, an additional annual performance might with advantage bo given, and tho proceeds appropriated in aid of a superannuation and widow and orphan fund for that muoh-neglectod and ill-requited body, the lay-members of the cathedral establishments. F. C.

65, Regent-street, Feb. 6lh, 1860.

(From a Correspondent.)

On Sunday (May 13th), three sermons were preached in St. Mary's Church, Mellor, those in the morning and afternoon by the Rev. J. Watson, M.A. (Rector of St. Peter's, Chester), and that in the evening by the Rev. J. P. Murphy, LL.B. (Chaplain to the Preston House of Correction), when the organ recently erected was opened with full cathedral service. Mr. J. Greaves, organist of the Preston parish church, presided at the organ, and tho choir of tho samo church gave their assistance. On Monday ovening (May 14th), there was divine service, at halfpast six o'clock, when the Rev. D. F. Chapman, M.A. (curate of Preston) preached, and Mr. J. Walton, organist of Walton-ledale Church, presided at tho organ. Au efficient choir was in attendance, and a selection of Bacred music performed.

After each sermon a collection was made to meet the deficiency iu tho organ fund, and towards defraying the expense of repairing and beautifying the church.

The new organ for Mellor Church, which has been so long talked of, was erected by Messrs. Kirkland and Jardine, or^anbuilders, Manchester. It has two rows of manuals, and contains the following stops :—

Oremt Organ.Compass from CC lu F in Alio, 51 notes.

No. Register

of Ptpaa. of Tone.

1. Great Open Diapason 5-1 ... 8 feet.

2. Sniull Open Diapason ... ... 54 ... 8 „

3. Stopped Diapason ... ... 64 ... 8 „

4. Principal ... ... ... 64 ... 4 „

5. Flute 54 ... 4 „

6. Twelfth 54 ... 2} „

7. Fifteenth 51 ... 2 „

8. Sesquialtra (3 ranks) ... ... 162 t ... various.

9. Trumpet—Bass... ... ... 7 „

10. Trumpet—Treble j 04 0 »

Total No. cf Pipos in Ureal Organ 594

Swell Organ.Compass from Tenor C to F in Alio, 42 notes.

11. Opon Diapason ... ... ... 42 ... 8 „

12. Stopped Diapason ... ... 12 ... 8 „

13. Dulciaua. 42 ... 8 „

14. 1'riucipal ... 42 ... 1 „

15. Mixture (3 ranks) 126 ... various.

10. Oboe 42 ... 8 „

Total No. of Pipes iu Swell Organ ... 336

Choir Bass (id meet the Swell Organ) CC to J), 12 notes.

17. Opeu Diapaion 8 Ft. ... 12 Pipes.

18. Stopped Diapason 8 „ ... 12 „

It). Principal 4 „ ... 12 „

20. Bassoon 8 12 „

Pedal Organ.Compass CCCto C, 25 notes.

21. Grand Open Diapason 16 Ft. ... 25 Pipes.


22. Swell to Great Manual.

23. Great to Pedals.

The organ has three combination pedals to change the stops; also, twenty-five pedals extending from COC to C. The swell has Venetian shutters and graduating action. Tho bellows are double feeding and double leathered. The whole is inclosed in a handsome case with gilt front pipes. The height of the organ is 19 feet 2 inches; the depth, 8 feet 3 inches; the width, 13 feet.

Nkw Organs In The Provinces.—On Sunday, May 13, was re-opened, the organ at All Saint's Church, Bolton, which has had the additions of swell (tenor C, 5 stops), pedal diapason, 16 feet, and couplers; and on the same day, the organ in the parish-church, Stoke-upon-Trent, which has had a thorough repair, now pedals, swell, &c, &c.

... Weber.

„. "Santa Lucia."

... Donizetti.

... Beethoven.

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NEW PHILHARMONIC CONCERTS. At the fourth, on Monday, the attendance was more numerous than at any of its precursors. Tho following was the selection :—

Pabt I.

Overture, (Medea) Cherubiui.

Aria, " Questi avvonturieri" ... Mozart.

Aria, "AU! come rapida" ... ,., ... Meyerbeer.

Symphony (Jupiter) Mozart.

Scena, "II mio piauo" (La Uazza Lodra) ... Rossini.
Aria, " Assisa a pio d'un Salico" ... ... Rossini.

Overturo (Kgmont) Beethoven.

Pabt II.

Conoert-Stuck, Pianoforte

Aria Nazionale Napolitaine

Solo, "Bravo, il mio Belcore" ...
Overture, (Men of Prometheus) ...'

Conductor—Dr. Wylde.

Four songs in the first part were just two in excess; two overtures by Beethoven in a miscellaneous programme were hardly advisable; and, to conclude, the two songs by Rossini should not have been placed together. The performance of the symphony was splendid, and but that the minuet was taken too fast, irreproachable. The three overtures were finely executed, Beethoven's Promet/ieics especially. We have seldom heard this last played with greater vigour and point.

In the Coiiccrt-ib'tiick Herr Lubeck was the pianist. His execution was vigorous and his'power remarkable. We cannot, however, admire his reading of this very familiar work. He was loudly applauded at the end, and recalled to the platform.

Madame Borghi-Mamo and Signor Belletti were the vocalists. The lady, in the willow song From Otello, obtained the same success as at Her Majesty's Theatre. Her Neapolitan air was no less successful, and the singer was summoned back at the end. Signor Belletti gave the fine air from the Oazza Ladra with great effect, and was equally happy in the florid piece from Donizetti's Elisir d'Amore.


The eighth and last concert of the season was given at the Hanover-square Rooms, on Monday evening, when the following selection was performed to a very large audience :—

Programme.—Part I.—Sjmphony in C, No. 1—Mozart. Song, "Alpine Shepliord's Song," Madamo Rieder.—S. W. Waley. Dnettino concertante, for oboe and pianoforte, Mr. A. A. Pollock and Mr. S. W. Walcy.—T. A. Walmisley. Song, "0 beauteous daughter of the starry race," Mr. Wilbyo Cooper.—Bethoven. Overturo (Zampn)— Herold.

Part II.— Overture (Lurlinc)—Wullaee. Carnaval do Venise, Madame Rieder. Andante and rondo capriecioso, pianoforte, Mr. S. W. Waley. — Mendelssohn. Coronation March (lb Prophete) — Meyerbeer. Ballad, "Under the groenwood tree," Mr. Wilbye Cooper. —Hatton. Overture (Egmont)—Ileethoven. Conductor, Mr. Henry Leslie.

Mr. S. W. Waley appeared to great advantage in the triple capacity of composer, pianist, and accompanyist. His playing of Mendelssohn's Andante and Rondo was exceedingly good, and he, in conjunction with Mr. Pollock, was all that could be desired in the late Professor Walmisley's clever duettino. The vocal music was excellent. Madame Rieder with her light and flexible voice displayed both style and execution in the Carnaval de Venise, the performance of which was frequently interrupted by the well-deserved applause of the audience. That clever and rapidly rising artist, Mr. Wilbye Cooper, earned fresh laurels by the chaste and classical stylo in which ho sung Beethoven's beautiful song.

The appearance of Mr. Wallace to conduct his overturo to "Lurline " was the signal for a hearty and enthusiastic welcome on the part of both orchestra and audience, and at the termination of its performance the applause was renewed with increased vehemence.


St. Jameb's Hall.—An excellent concert was given at St. James's Hall, on Thursday, the 10th inst., the programme of which was agreeably diversified by the performances of Miss Augusta Thomson, Miss Leffler, Mr. Santley, Mr. J. F. Barnett (pianist), and Mr. Henry Leslie's Choir. Mis3 Thomson was encored in Wallace's "Take this cup," from Lurline, and Mr. Santley received a similar compliment in "The Bellringer," by the same popular composer. Mr. Barnett's playing was distinguished for its thoroughly artistic character, and he appeared to much advantage in a composition of his own, entitled Caprice Brillant. He was received with the utmost enthusiasm, and recalled after his first performance. We have heard Mr. Leslie's Choirto more advantage, but we think this was in a great measure owing to its beiug their first appearance in St. James's Hall, and their consequently not having any experience of the room or of its acoustic properties. The concert was given for the purpose of raising a fund towards the completion of the musical education of a member of Mr. Henry Leslie's Choir, and as the artists above mentioned most kindly gave their services, and the room was exceedingly well filled, we are not surprised to hear that the object was fully attained.

Sacred Harmonic Society.—An unexceptionable performance of Haydn's Creation was given on Friday, the 11th inst. Mdlle. Parepa, Mr. Sims Reeves, and Signor Belletti, sustained the solo parts. In the two principal soprano airs," With verdure clad" and " On mighty wings," Miss Parepa was heard to greater advantage than in the more solemn and impressive strains of Handel or Mendelssohn; while Mr. Sims Reeves, thoroughly at home in all kinds of music—in the lighter productions of "Papa Haydn" no less than the more sublime works of the greater masters—sang with remarkable effect. He gave the air "In native worth" with incomparable taste and expression. Signor Belletti's artistic capabilities were called into requisition with the best possible effect, and the combined efforts of the principals in the concerted pieces were entitled to unqualified commendation. That the choruses were rendered with wonderful spirit and precision may be readily surmised from the familiarity of the singers with the mnsie, while the band was, ns usual, thoroughly up to its work.

The audience applauded without restraint, there being no warning ("in consideration of the sacred nature, &c.) in the programme—not that we find it makes the slightest difference when there is.

On Friday, June 1st, Elijah will be given, the first time for two years, at Exeter Hall.

M. Theodore RirrER.—This gentleman, well known as a pianist in the salons of Paris, gave on Saturday last a matinee d" invitation, when he was attended by an overflowing audience of musicians, professional and amateur. His playing is characterised by neatness and exactitude in execution, flexible and facile touch, and musicianly reading and expression. He wants nothing that a great artist should have, and he has that that

most artists, great and small, want, an unassuming manner and quiet demeanour, which leaves the music to produce its own effect; this latter is invariably impaired by the spasmodic and gymnastic gyrations which some of our best performers indulge in. In a trio of Mendelssohn with MM. Sainton and Paque, his appreciation of the refined beauty of the work drew down loud plaudits from the audience. The work was the Op. 66, in C minor, which ends with a vivace, a most fanciful working out of a beautiful idea. In a march of M. Ritter's own composition, considerable harmonic power in treatment is exhibited, and his rapidity and forcible fingering were exemplified in a ve/oce movement. But in the sonata of Beethoven, for violin and piano, Op. 30 (in C minor), he had a still greater opportunity for exhibiting his gifts and cultivation. It is at the standard of the greatest musician that ever lived that all candidates for popular suffrage must be tried; if they fail here, what avails their success elsewhere? If they succeed here, they have, ipse facto, passed all other tests. M. Ritter, then, is so entirely master of this work, which abounds in difficulty, that in neither of the simpler pieces he played did ho more freely develope his own perfect ideas of the composer's intentions. The slow movement, in A flat, was unimpeachable. The strings of M. Sainton in this work spoke with all his eloquent tone and poetry. The playing of the great French violinist was masterly in every sense. The vocal music included "Caugio d'aspetto," from Handel's Admetus, and " The skipper and his boy"—both sung by Madamo Sainton, who never fails to charm her hearers, and did so entirely on the present occasion.

St. Martin's Hall.—A new oratorio by Herr Johannes Hager, a Viennese amateur, entitled John the Baptist, was performed on Wednesday, under Mr. Hullah's direction, with his customary band and chorus. The principal singers were Miss Banks, Miss Palmer, Mr. Wilbye Cooper and Mr. Santley. The execution was praiseworthy throughout. The oratorio, however, made little impression. There were indeed two encores, but these in a great measure were attributable to the singers. As John the Baptist is not likely to be heard again in this country, we do not think it necessary to criticise it.

Miss Tiieresa Jefferys, one of our most rising sopranos, gave her first concert on Thursday evening at St. James's Hall. So many were the artists and so many the pieces, that the entertainment might be called a "Monster Concert." Among the. singers were Misses Parepa, Clari Fraser, Ransford, Palmer, and Laura Baxter; Messrs. Sims Reeves, Elliot Galer, J. W. Morgan, Ramsden, and Santley. The instrumentalists were Miss Arabella Goddard and Mr. Viotti Collins. The programme contained upwards of thirty pieces. Miss Jefferys particularly distinguished herself in Mr. Howard Glover's two songs, " Good Night" and "The Violet," both charming compositions, and both given with faultless expression. Miss Jefferys, also joined Mr. Sims Reeves in the duet "Tomami a dir," which was sung to perfection. Miss Clari Fraser gave Mendelssohn's "On Music's softest pinions" in her most graceful manner, and, in ''Huutingtowcr" achieved one of the true successes of the evening. Madame Laura Baxter sang, among other things, "Gentle Troubadour" (Lurline) with irreproachable taste. Mr. Sims Reeves was encored in Herr Molique's "When the moon is brightly shining," and Mr. Balfe's already popular "Margaretta," Mr. Santley receiving a similar compliment in "A father's love" (Lurline). Miss Arabella Goddard, with Mr. Viotti Collins, executed Beethoven's Sonata, in G, Op. 30, and Ascher's Fantasia on airs from Dinorah, the latter of which was received with tumultuous applause. There was a large attendance, and the concert, though too long, afforded unanimous gratification. Messrs. Adams, Marcellus, Higgs, and Mr. Henry Baumer were the conductors.

Royal Academy Of Music.—The second concert was given on Tuesday. The first part comprised a selection from Jcssonda and the first movement and minuets of Hummcl's septet, in D minor. In the septet, Miss Brinsmead, the pianist, distinguished herself by her brilliant execution and fine taste, and proved herself a worthy pupil of her eminent professor, Mr. W. Dorrell. The second part was miscellaneous. We may cite Miss Tasker's performance of the Andante and rresto, from Mozart's pianoforte Concerto in A major, as specially entitled to praise. Among the vocalists, Miss Henderson may be singled out for her capital singing of " Qui la voce;" and Miss Taylor, in M. Costa's quartet "Ecco quel fiero istante," showed the possession of a charming mezzo soprano voice. The Rev. Thomas Lambard His Grace The Duke of Lciu

Vocal Association.—The feature of the fifth "concert, on Wednesday, was the engagement of Mdlles. Bruuetti and Vaneri, Signors Mongiui, Everardi, and Ronconi, from Her Majesty's Theatre. Miss Stabbach and Madame Goldberg Strossi were the other singers. The ehoir gave Neithardt's Motet, "Misericordia, Domini," and several part songs and glees, among which Bishop's "Sleep, gentle lady " was encored. Mdlle. Brunetti, who made her del>ut on Saturday, introduced the scenafrom Der Freischutz, in which she displayed a powerful voice and considerable vocal skill; the French translation of the words, however, is no improvement on the original. Mdlle. Brunetti sang a cavatina by Boverino, with far greater ease. Signor Mongini created a furor in " Fra Poco." Being encored, he substituted " La donna d mobile," which delighted the audience even more. Signor Mongini also joined Signor Everardi in a duet from Mosi, which was sang with great energy and power, and obtained a recall for both artists. Signor Everardi sang the serenade from Don Giovanni, "Alia finestra," in an expressive manner, and Signor Sebastiano Ronconi contributed au eccentric version of "La Calunnia." Madame Goldberg Strossi gave a German song and Venzano's "Ah, che assorta," and was recalled after the former. Mdlle. Vaneri was encored in an air from L'Etoile du Nord; and Miss Stabbach, beside the soprano solos in Bishop's Tramp Chorus, sang Mr. Salaman's pretty ballad " Good bye! a long good bye!" Mr. J. F. Barnett played three solos on the pianoforte—Bach's Fugue, in C sharp major, Stephen Heller's "Auf Flugelu des Gesanges," and Chopin's Polonaise in A flat, with admirable spirit. Mr. Benedict accompanied.

LETTER TO THE EDITOR. BEETHOVEN'S "AH PERFIDO." Sie,—Can you inform me where Beethoven found the words of his scena, " Ah! perfido Spirgiuro."

A Subscriber.

HER MAJESTY'S THEATRE.—First Appearance ot Alboni.—Titicus, Alboni, Vialetti, and Momrfm.— This evening (Saturday, May 19), will be performed LUCREZIA BORGIA. ~Gennaro, Signor Mongini (his third appearance in that character); Gubetta, Signor Castelh; Duca Alfonso, Signor Vialetti; Maffio Ors'mi. Madame Alboni (her first appearance this season); and LucrczLi Borgia, Mdlle. Titicus. Conductor, Siguor Arditi. To conclude with the new ballet, composed by Signor Borri, and produced under his personal superintendence, entitled SCINTILLA, in which Mdlle. Focchini and M. Durand will appear. The opera commences at 8 o'clock. Pit tickets, 8s. 6d.; gallery stalls, 5s. ; gaUery, iis.


(Saturday), May 19. Fir.^t appearance of Madame Alboni. LUCREZIA BORGIA, and the new ballet SCINTILLA. Grar.d extra night on Monday next, May 21, IL TROVATORE and the new ballet SCINTILLA. On Tuesday, May 22, will be performed Rossini's opera, SEMIRAMIDE. Semirnmido, Mdlle. Titiens; Arsace, Madame Alboni (her first appearance this season): Idrcno. Signor Belart; Oroo, Siguor Vlalotti ; and Assur, Signor Everardi. Conductor—Siguor Arditi. Early application to insure places iB earnestly recommended, as being^ the only mcaus to prevent disappointment. Grand Extra Night—Titiens, Alboni, GiugHnj, And Vialetti. Monday next, May 21,—IL TROVATORE Maurico, Signor Giuglini; IlConte di Luna, Signor Aldighiori; Fcrrando. Signer Vialetti ; Azucena, Madamo Alboni; and Leonora, Mdlle. Titions. Conductor, Signor Arditi. To conclude with the new ballot, SCINTILLA fia which Mdlle. Pocchini and M. Durand will appear). Pit tickets, 8s. 6d. ; gallery stalls, 5s. : gallery, 3s. To be obtainod at the box-office of tho theatre, open daily from 10 till 6.

ROYAL ITALIAN OPERA^ CO VENT GARDEN.— On Saturday, May 19th, will bo performed for the second time these two years, Rossini's Opera,


Rosinn, Madame Miolau-Carvalho; Bertha, Madame Titgliafico; Figaro, Signor Bonconi; BarMo, M. Z-.iger; Basilio, Siguor Tagliafico; Fiorollo, Siguor Luccliosi; and Count Almaviv;), Signer Murio.

At the conclusion of the Opera, tho New Floral Hall will be illuminated.

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Grisi, Csilla^, Penco. Gardoni, Roncoui, Mario.—On Tuesday next, May 22,
will bo performed for the third time this soaaon, Mozart's Opera

With the following poworful cast:—Donna Anna, Madame Grisi (her last appear-
ance but six); Donna Elvira, Mdlle. Rosa Csillag ; Zerlina, Madame Penco; Don
Ottavio, Signor Gardoni; Leporcllo, Siguor Ronconi; 11 Commondatoro, Signor
Tagliafico; Masetto, Signor Foloniui; and Don Giovanni, Siguor Mario. The
Minuet by Mdlle. Zina and II. Desplaces.

EXTRA NIGHT.—Not included In tho Subscription. On Thursday next, May 21, will be performed, for tho second time this season, Verdi's Opera


Principal characters by Madame Grisi (her last appcaranco but five), Mdlle. Rosa Csillag, Madame Tagliafico, Signor Groziani, Siguor Tagliafico, Signor Lucchcsi, Signor Rossi, and Signor Mario.

After which will be produced a New Divertissement, arranged by M. Desplaces, ontitled

LES AMOURS DE DIANA, Supported by Mdlle. Zina, Mdlles. Esper, Maraquita, Mulot, and Laura, Mr. WH. Payne, and M. Desplacea.

First Appcaranco of Mdlio. DIDEE. On Saturday next, May 26, will be performed, for the first tlmo this season, Rossini's Opera


Principal characters by Madame Ponco, Madamo Tagliafico, Mdlle. Didieo (her first appearance thi3 season), Signor Ronconi, M. Faure, Signor Tagliafico Signor Lucchcsi, Siguor Tolonini, Signor Rossi, and Signor Gardoni.

At tho conclusion of tho Opera tho New Floral Hall will be Illuminated. Tho Band of tho Coldstream Guards will perform until twelve o'clock, by permission of Colonel Nowton, Every visitor to the boxes, pit stalls, or pit, will havo the prlvilego of entree freo of extra clmrgc. Carriages can take up at tho Bowstreet entrance of the Floral Hall.

Conductor—Mr. COSTA.

Doors open at eight o'clock, the Opera comemnces at half-past. Pit tickete, 7s.; amphitheatre stalls, 7s. and 6s.; amphitheatre, 2s. 6d.


THE illuess of M. Julllen having, with fatal rapidity, terminafed in death, it has been resolved that tho donations to the JULLIEN FUND shall be applied in tho manner which would have been most in consonance with the wishes of tho deceased had it been permitted him to express them, viz., to the relief of his widow and family, who, by his loss, are left totally unprovided for.

Committoo for the distribution of the Jullien Fund. Mr. John Mitchell : Mr. W. R. Sams; Mr. Tliomas Chappoll; Mr. W. Duncan Davison; Mr. Robert K. Bowley ; ani Mr. Jules Benedict.

Honorary Treasurers. Mr. John Mitchell, 33, Old Bond-street; Mr. Tliomas Chappell, 50, Now Bondstreet; and Mr. W. R. Sams, 1, St. Jamos's-street.


Mossrs, Couttsand Co., Strand; Hey wood, Kennards, and Co., Lombard-stroot; Loudon and County Bank, Hanover-square; who, as well as the Honorary Treasurers, have kindly consented to receive subscription*.

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Lady Mary Thompson
Lady Middleton
Lady Clifford Constable.
Lady Lechmcro ..
Lady Cook o
Mrs. Hall (Tcrrington)
Mrs. Marten (Beverley)
Mrs. Wainman (Carr Head)
Mrs. Pigot (Dublin) .. Howard, Esq. (Birken-

John Mackenzie, Esq. (Ediii


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ONE >HILLINQ SUBSCRIPTION. , Books to roceivo names are now placed at Mr. Hammond's (lato Jullion's), 214, Regent-street; Messrs. Cramer's, 201, Regent-street; Messrs. Baily Brothers, Cornhill; Messrs Parkins and Gotto's. 24, Oxford-street; Mr. Pask's, Lowtherarcade; Messrs. Keith. Prowse, & Co's., 48, Cheapside; Mr. Biguell's, Argyll Rooms; Deposit Bank, Leicester-square; Sunday Times Office; Messrs. Boosey & Sons, Holies-street; Mr. Austin, St. James's Hall; Duncan Davison and Co., 244, Regent-street; and at the principal music shops throughout the country.


"ROYAL ST. JAMES'S THEATRE, King-street, St.

XV James's. Lessee, Mr. F. B. Chatterton. FIRST SEASON OF THE IRESC1I PERFORMANCES, under the direction of Mons. ADRIEN TALEXY.

Mons. TALEXY has the honour to inform the Nobility and Gentry, that ho lias concluded arrangements to insure a permanent first-class French Dramatic Entertainment at tho Royal St James's Theatre. He respectfully submits the programme for the First Season, which is about to commence, and hopes that the selectiou of the following distinguished Artistes will be considered sufficient evidence of the care and attention devoted to the undertaking.

The following eminent Artistes from the principal theatres of Paris, will make their appearance during the season :—Mdllc. Delphino Fix, Mdlle. Adole rage, Mdlle. Duvcrger, Mdllc. Marie Basta, Madam0 Doche, M. Got, M. Brindeau, M. Leclere, M. Paul Devaux, M. A. Michel, M. Cadaux, Ohef-d'orchestro, M. Lambert Ednnery.

The permanent troupe will be on the most complete scale, and will comprise many of the most efficient Artistes of tho Parisian Theatres.

Prices of Admission :—Stalles d'Orchestre, 7s. 6d.; stalles de balcon, 5s, ; parterre, 2s.; gateries, Is.

Private Boxes from Two Guineas upwards,

The Season will consist of Sixty Nights, commencing on Monday, May tbo2Stli, 1860 Private Boxes and terms of Subscription may be obtained at the Box-office of the Theatre, at the Libraries and Booksellers.


The Musical "world may be obtained direct from the Office, 28, Holies-street, by quarterly subscription of five shillings, payable hi advance; or by order of any Neicsvendor. Advertisements are received until Three o'clock on Friday Afternoon, and must be paid for when, delivered. Terms :

Three lines {about thirty words) 2s. Gd.

Every additional line (ten words) . ... Os. 6d.


LONDON, SATURDAY, May 19in, 1860.

In a city, where no less a man than Hector Berlioz lives and writes, some curious matter in the shape of musical criticism frequently peeps out from the columns of the public press. Beethoven's one opera has recently been produced at the Theatre-Lyrique— being the last of M. Carvalho's sacrifices at the shrine of legitimate art. Unluckily, however, with M. Carvalho has departed the presligs of the establishment, which bids fair to sink once more into the position of mediocrity from which that gentleman, with indomitable spirit and eminent ability, delivered it. Had Fidelia been brought out at the Theatre-Lyrique while he was manager, success—nay triumph—would have been a matter of certainty; but ho having seceded, that sudden rage for the classical repertory which seized the Parisians some time since, and with which they themselves were even more astonished than their neighbours, lias abated. Now everything not French is intolerable, and even Mozart, Beethoven, and Weber—even Gluck (not to add M. Gounod)

—will be voted bores A few passages from a notice of Fidelia—in the columns of a journal, the name of which we shall not mention, and from the pen of a critic whose name is Delatouche, will illustrate our argument.

"Six years ago the Fidelio of Beethoven was performed, without much success, at the Theatre-Italien. Notwithstanding the talent displayed by Mdlle. Cruvelli in the principal part, tho work of the Germun master had no success. I fear it is likely to be the samo Vf itk Fidelio at the Theatre-Lyrique."

For "six years ago," read nine years ago. It was in 1851—when Mr. Luniley was impresario, and Ferdinand Hiller musical director, at the Theatre-Italien—that Fidelio was performed, with Oruvelli as Leonora. The success it achieved, it is true, amounted to no more than what our turbulent neighbours call a suecis cTeslime; but it must be remembered that a succes d'estime is a success after all, and (which is better), a success that lasts, and (which is worse) a success very rarely obtained in Paris—the way of tho Parisians being either fevered enthusiasm or freezing apathy. But to retoucher Delatouche. The critic of the —— likes not the story of Fidelio. Hear him describe it:—

"Let us speak first of the poem—it is absurd, anti-historical, and tiresome (ennuyeux). Wo are near the end of the fifteenth century. Ludovic Sforza has caused his nephew, Jean Oaleas, to be imprisoned in a fortress, and commissions the gaoler to poison his charge. The gaoler consents, and brings with him, into the poor Duke's dungeon, a very young man—Fidelio—enamoured of his daughter.* This young man is Isabelle de Naples, wife of Galeas. She makes herself known to her husband at the moment when Ludovic approaches to kill his nephew.4. To prevent this murder she seizes a bar of iron, with which she threatens Ludovic. The latter retreats terrified, and escapes. But the daughter of the gaoler comes to release from their prison, FidelioJ and Jean, who go and throw themselves at the feet of the King of France, Charles VIII., just arrived at Milan."

The foregoing—be it understood—is not Fidelio as the Teutons know it, but "cCapris" MM. Michel Carre and Barbier—a barbierous and Gallic Fidelio. No wonder Delatouche should be dissatisfied. Ecoutons ce gaillard:

*' Do you not see the improbability at once? How could Galeas have thrown himself at tho feet of Charles VIII., when history tells us that he died, poisoned, before the arrival of the King?"

Good; but the authors of operatic books (ask M. Scribe) are not invariably the most historical of poets. They worship Clio somewhat gingerly. We have no wish, however, to defend them in this instance, but leave them, willingly, to the trenchant stylum of Delatouche. Ecoutons encore ce gaillard:

"I have also a little observation to make. Since Madame Viardot" (why not Fidelio ?) "held Ludovic " (why not M. Quardi ?) "why did she not stun him incontinent P This would havo deprived us of tho last finale; but where would havo been tho harm?"

There woidd have been no harm anywhere to the audience of the Theatre-Lyrique (with M. B6ty as manager, be it clearly understood; the Th6atre-Lyrique with M. Carvalho was quite another thing), who can afford to do with as small a dose of Beethoven as might well be administered, and by whom the loss of a finale—even that incomparable finale —would be looked upon in the light of a bonus. Delatouche, nevertheless, is too modest in calling his observation "a little observation;" on the contrary, it is a big "observation," and mightily to the purpose. But now that we have examined Delatouche in re Barbier-Carre", their book, let us examine Delatouche in re Beethoven, his music :—

• 'The "poor DukeV daughter?

+ Just now, the nephew was to be poisoned by the gaoler. j Who imprisoned Fidelio?

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