Sherrington, who had elicited such unqualified praise from management. We do not regret the ballet much. Let it every one who knew her in the concert-room, and about whose go. But if it is to disappear, we should like it to vanish dramatic future the best anticipations were formed in the high altogether; not merely as a separate entertainment, but est quarters. The fact, too, that the great theatre of the aris- also, and above all, as an element in our operas to which at tocracy would be opened for the first time for English opera present it seems to be considered indispensable. To have constituted a strong appeal to those who, standing up for the in the same entertainment one set of characters who express honour of their country, love to behold national amusements themselves not in ordinary speech, but in song, and another treated with as high regard as those of the privileged classes, who replace the spoken language of everyday life by and would be inclined to view such a circumstance as a break- gestures and dancing is too absurd. Let us have either, but ing down of one of the strongest and most invidious bar- not both-at least not at the same time or in the same piece. riers between the nobility and the people. Hundreds, no Such Hundreds, no Such a mixture is worse even than the confusion of speaking doubt, supported English opera at Her Majesty's Theatre with singing in the Opéras Comiques of France, of which, who never lent their countenance to Italian performances, by the way, the form was not invented by poets and musithere or elsewhere, either not caring about them, or acting cians, but was forced upon the French by the stringent on a false principle. When to the above unusual causes of government regulations in favour of the one recognised attraction it is added that the opera first produced was from Operatic Theatre. the pen of one of England's most accomplished living musicians, and that the libretto, founded on a popular English legend, was from the pen of one of England's most accomplished living writers, we have said enough to show that the success of Robin Hood was the direct result of natural ca uses. Therefore, we say again, if we are to have no more legitimate ballets-no more Esmeraldas, or Sylphides, or Almas, or Gitanas-let us gain what we can by this loss, and exclude divertissements of dancing from our operas, or at least not have the corps de ballet dragged into them by the head and shoulders as, in a figurative sense, is too often the case at present. Under these circumstances, what possible chance had the Italian Opera of succeeding? Everybody can now answer, But after all, why should the ballet die? We turn to none whatever;" and yet few, if any, were wise enough at our dramatic theatres and find Miss Lydia Thompson gaining the commencement to hint at such a conclusion. Nay, was wreaths of success at the Lyceum, while at the St. James's, it not predicted by more than one most sapient aristarch of bouquets of well-merited approbation fall to her imitator (or the stalls that it was injustice to English Opera and native at least follower) Mlle. Albina di Rhona, to whom, by the talent to place them side by side with acknowledged master-way, Mr. Owen Meredith Bulwer Lytton might appropripieces of the Italian repertory, and in approximation with ately dedicate one of his forthcoming Serbski Pesme, or two of the most eminent foreign artists of modern times? Songs of Sewid. Might not ballets, we mean legitimate Moreover, did they not augur utter annihilation to the na- ballets, containing nothing but pantomime and dancing, be tional speculation in consequence? Now, however, every- given with good results at the Royal Italian Opera and at body blames Mr. Smith for his want of foresight in Her Majesty's Theatre? The managers at both these estanot seeing that the establishment of Italian Opera at that blishments prefer pantomimes at Christmas, it will be said; period of the year was a mockery and a delusion. The ma- but why not get up ballets on pantomime subjects? The nager, nevertheless, did not act without some show of reason. cattle show, for instance, as we could have treated it, would Having engaged Mr. Sims Reeves as a first step towards the have been an admirable subject for a grand ballet in the establishment of English Opera, and finding that the great antique style. tenor would sing three times a week only, Mr. Smith was compelled to look for attraction on the remaining three nights, or, in point of fact, to sacrifice those nights. In an unlucky moment-no doubt thinking that he had thus the power of conciliating two distinct sections of the public at oncehe secured the services of Mlle. Titiens and Signor Giuglini, and announced a series of Italian operatic performances, to alternate with the English. This was the head and front of his offending. Had he not had to pay the two foreign artists exorbitant sums amounting almost to the entire expenditure on the English Company-he would at least have escaped scot free. The effects of the new coalition season may be stated simply thus: a great deal of money was brought to the treasury by the performances of Robin Hood, but the larger portion was required to reimburse Mlle. Titiens, Signor Giuglini, &c. ANGUISH. WHA - HAT has become of the ballet? We have two Italian operas, two English operas, and actually no ballet-or at least none that anyone thinks it worth while to stay and see after a long operatic performance. The ballet decidedly went out with Mr. Lumley. No choregraphic star of the first magnitude has been seen in London since Rosati and Pocchetti danced and mimed so admirably in the pretty ballet of the Somnambule, which was revived as if to give appropriate choregraphic brilliance to the last days of Lumley's "Did the ancients, then, have cattle shows?" it will be asked. "No; but the ancient Egyptians worshipped oxen, and danced before the sacred Apis, and fed him on oilcake like the bovine heroes of Baker-street; so that Apis, the holy prize ox of Egypt, might easily have been made the central figure in a ballet, which again might easily and naturally have been connected with the Baker-street cattle show. The dance of the Hebrews around the Golden Calf could also have been represented the Golden Calf being, of course, an infant heifer to whom a medal of gold has been awarded for his obesity. Could not something, too, have been done with Europa and the bull? But all these notions occur too late. Christmas is at hand, and the libretto of our pantomime-ballet, which we had entitled "Harlequin Prize Ox, or Columbine and her Calf of Gold," is not even begun. DINADAM. night week by a rehearsal of Mozart's Twelfth Mass. We cannot THE HANDEL FESTIVAL CHOIR Commenced its operations Friday fancy the work to have been well chosen for the purpose. It is all in vain, we suppose, but we cannot help putting in a word for Cherubini's Requiem, which (the Dies Ira, perhaps, excepted) is finely adapted to a mass of voices with only the organ.-Athenaum, Provincial. The Edinburgh Musical Association, according to the Evening Courant, last week gave a very excellent performance of Mendelssohn's music to a Midsummer Night's Dream, at the Music Hall, EDINBURGH. The play was recited by Miss Aitken, of Glasgow. The performance, however, did not prove attractive, whereupon the journalist thus denounces the public for their lack of taste:"The attendance was very poor. If the conjunction of such names as Shakspeare and Mendelssohn could not draw out an audience, we daresay that Orpheus himself, if a reality and alive, would have found in Edinburgh his skill and occupation gone.' It seems that people must blacken their faces, and deal in buffoonery, to enlist the interest and patronage of our enlightened and art-loving population!"-A correspondent, dating from MANCHESTER, sends us the following chatty letter anent the doings of the touring party composed of Mesdames Louisa Vinning and Baxter, MM. Tennant and Allan Irving, Herr Becker, &c., &c., which has been lately rapidly and successfully coursing the provinces :-" What a blessing for sinners as well as singers that the Lord's day comes once a week, and that the said day is not an exclusive luxury. Here we are once more in Manchester, with nearly two-thirds of our tour over, and still some twelve or fourteen concerts yet on hand. I don't know how it is, but the weeks and days on tours appear to me to have unusual length, at all events, our day is often a precious long one, a matter of seventeen hours, consequently the night on musical tours has only seven hours, a fact I have yet failed to see noticed in almanacks. It is also curious to note the perfect league that exists between the different hotels as to food. Twenty-eight establishments have I put up at, and never yet finished my dinner without an apple tart. Only imagine the whole twenty-eight to appear fresh and lively in a row before one some fine night! and as there are fifteen or sixteen more concerts, one has a sad look-out for the same number of the now detested pastry. Wonderful to relate, on this tour we have not only managed to get on right well with the public, but also-a far more difficult thing to do-with each other. Our ladies, Mad. Vinning and Mad. Laura Baxterthe latter singing for Miss Poole-have done wonders. I think Mad. Vinning's voice singularly improved since her marriage (not always the case), and her singing of the first violet' regularly brings down the public. Mad. Laura Baxter, although singing under a disadvantage (Miss Poole having been the lady engaged), makes matters all right with the public the moment they hear her really fine voice. Che farò' and Fanciulle che il core' are sure cards every night. Mr. Allan Irving and Mr. Tennant make up the rest of the vocal quartet, and do their best. Last, though not least, comes Herr Becker, who, I need hardly assure you, has made a grand success wherever he has performed, always playing genuine music, without resort to clap-trap of any kind. At Birmingham, the night of the day on which his accident took place, although quite blind and suffering tortures, the impression he made was positively enormous. He was recalled three times. I am delighted to hear through your columns that he is better. Mr. Chatterton (harp) and Herr Bohrer (piano) have joined the troup. There has been something to do since the tour commenced. Two concerts at the Crystal Palace, one at Chatham, Croydon, Leicester, Nottingham (engaged by the Robin Hood Rifles), Lincoln, Hull, Stockton, Edinburgh, Glasgow (with an audience of 3,500 to listen to music they would not have done ten years ago), Sunderland, Redditch (so called from the quantity of blood shed in the neighbourhood by one Cromwell, now celebrated for its needles, pins, and fish-hooks), Kidderminster, Leamington, Birmingham, Shrewsbury (where the party sang a local ode, with local orchestra, in honour of certain Wenlock games), Manchester, Worcester, Ashton-under-Lyne (with an hotel quite a caution to future tourists), Lancaster, Blackburn, and, last night, Manchester again. The rest of the tour will be taken out in Ireland, at Cork, Dublin, Armagh, and Belfast. Then Glasgow, Carlisle, and Newcastle, which will finish their peregrinations. From the Malvern News we glean the following account of the new organ just completed for Manchester Cathedral: Mr. Nicholson, of Worcester, has just completed a new and magnificent organ for Manchester Cathedral, the construction of which is carried out in a manner that more than sustains the reputation of the builder. The instrument is complete, and Mr. Nicholson has introduced a great many new inventions and mechanical contrivances, which are much desired by organists, and render it, as it was pronounced by Mr. Haynes, the most perfect instrument he had ever touched. It comprises upwards of forty stops, with three manuals, and gives to the organist full scope and power over the instrument. Among other additions there is a great improvement in the pneumatic lever, which makes it repeat as distinctly as the notes of the pianoforte. The plan of the pedal organ is quite new, and makes it easy to the organist to play upon. Instead of the pedals being flat on the surface and arranged in a straight line as the manuals, they are made concave and radiated, thus adapting themselves to the position of the performer, as the pedals will meet his feet as he is required to turn upon his seat. The diapason and reed stops are very fine, and the choir organ is particularly brilliant from its fine a one as we have heard. On Saturday last a large number of adsweetness and purity of tone, the solo flute in the choir organ being as Mr. Nicholson's manufactory, in Worcester, to hear the instrument. mirers of organ music and the elite of the neighbourhood assembled at The company numbered upwards of 100, and amongst those present were Canon Wood, Revs. R. Sarjeant, T. L. Wheeler, R. R. Fowler, R. Cattley, J. H. Wilding, Temple, Atkins (Ombersley); W. P. Price, Esq. (a great admirer of organs, who came specially from Gloucester to hear the instrument), J. W. Isaac, Esq., Osborne, Esq., &c., &c. The programme, the performance of which by Mr. Haynes, organist of the Priory Church, Malvern, brought out the many beautiful qualities of the instrument with admirable effect, was selected as follows:-Grand Organ Sonata in A major, Mendelssohn; Andante, 1st Symphony, Haydn; "Cujus Animam," "Stabat Mater," Rossini; grand fantasia, "Russian Hymn," Freyer; Benedictus and Gloria, "Twelfth Mass,' Mozart; fugue, in A minor, Bach; Andante, Symphony in C, Mozart; grand fantasia, "Partant pour la Syrie," pedal obligato, W. Haynes. fugue. Universal admiration was expressed at the brilliancy and purity The pieces most admired were "Stabat Mater," the Benedictus, and the of tone of the instrument. We are pleased to find that the rev the vicar, in his arduous task of promoting the restoration of the fine old Priory Church, has not forgotten the organ; and we are informed that he has given orders to Mr. Nicholson to rebuild the entire organ in the Abbey, and to make several valuable additions, from specifications furnished by Mr. Haynes. One of our Irish correspondents sends the following communication from ARMAGH, bearing date December 17, which we print entire : 66 "A very excellent morning concert was given here on Thursday last, by Mr. Allan Irving's touring party, consisting of Mad. Louisa Vinning, Mlle. Laura Baxter, Mr. Tennant, Mr. Allan Irving, Herr Bohrer, and Mr. Frederick Chatterton; in addition to which we had Mr. Thackeray, George B. Allen. Mad. Vinning's sympathetic voice told effectively a very good tenor, who has lately joined our cathedral choir, and Mr. in a room well adapted for sound; and Mad. Baxter's fine deep notes came out most powerfully. Both ladies received much applause, and were encored in several pieces. Mr. Tennant was encored in Blumenthal's ballad, "We are parted," which honour, however, he declined; and Mr. Irving's chaste interpretation of Salaman's song, "I arise from dreams of thee," was highly appreciated by the audience. Mr. Thackeray sang Sweet form, that on my dreamy gaze," from Lurline-a song, by the way, that few tenors would like to attack in the morning, its pitch being so very high-and proved himself equal to it. Herr Bohrer's playing of Liszt's grand fantasia on airs in Le Prophète was very fine, and established him as a first-class pianist. Mr. Frederic Chatterton gave two of his own effective solos in his own brilliant style, one of which was encored and was repeated, the audience not being disposed to let him off with merely a bow as they did the singers. Mr. Allen and Herr Bohrer alternately accompanied the vocal music in a musician like manner; and, altogether, the concert gave great satisfaction to a most aristocratic audience, among which we observed the Countess of Erne, Lord and Lady Crichton, Lady Molineaux, Lady Caroline Burgess, the Dean of Armagh, Mrs. and Miss Disney, Major Caulfield, Mr. and Mrs. Verner, and a host of other fashionables." ing a concert given by the same party at BELFAST, dated the day following which we also publish in extenso : From the same correspondent we have received a letter respect "Mr. Allan Irving's party gave two concerts here last week with great success, as far as excellency of performance went, but not as regards audience. The fact is we are all here members of some society, and we go to our own concerts, but we object to all others from principle This is very absurd but it is quite true; and it is but fair that touring parties of artists should be made acquainted with the fact. Our town MONDAY POPULAR CONCERTS.-The sixth concert proved by far the most attractive of this season, St. James's Hall being crammed to such an extent as to make standing room a matter of difficulty. Independently of the excellence of the selection, which included compositions of Beethoven, Mendelssohn, Haydn, Dussek, Macfarren, &c., there were other causes to account for the enormous attendance, the names of Miss Arabella Goddard, Mr. Sims Reeves, and Mr. Weiss no doubt exercising their influence, to say nothing of this being the last concert before Christmas, a month, indeed, elapsing ere the Monday Popular Concerts can be resumed. The quartets, Mendelssohn's in E minor (Op. 44), and Beethoven's in A (Op. 18), have already more than once been introduced at these entertainments; while Steibelt's sonata in E flat, for pianoforte solus (dedicated to Mad. Bonaparte), and Haydn's in F major, for pianoforte and violin (adapted from one of his string quartets), were heard for the first time. The pianoforte sonata of Steibelt was thoroughly welcome as a genial and interesting novelty, if not altogether, to be compared with many of those forming the extensive répertoire with which, thanks to the Monday Popular Concerts, the public are now familiar. Perhaps no small share of the applause it created may be attributed to the unsur passable performance of Miss Arabella Goddard, who made her first appearance this season, and was received with that genuine heartiness only accorded to special favourites, and unanimously recalled at the conclusion of the sonata. As a second sonata from the same pen (and in the same key) is hinted at, we may possibly have another opportunity of judging of a composer who has been undeservedly neglected of recent years. Without pretending (as some insist) to very marked individuality *, Steibelt's music seems to possess (does possess) a certain (an absolutely) graceful and even flow, which must satisfy, if it does not precisely entrance (how often is that the case?) the hearer; and we doubt not it will improve upon acquaintance. In the duet the honours were shared with M. Sainton, who, Frenchman though he be, shows himself thoroughly cosmopolitan in capability, and in every instance rendering the most ample justice to his composer, being noticeable was M. Sainton's playing in the quartets we have menalike at home in all and every school of music. Particularly tioned, firmness, vigour, and richness of tone characterising it throughout. Messrs. Ries, Schreurs, and Piatti, as usual, took the second violin, viola, and violoncello, and worthily maintained their reputation as executants of the highest class. From this our readers may infer that the whole of the instrumental part was, as it generally is here, little short of perfect. Nor was the vocal selection in any way less admirable. A charming canzonet by Dussek (the third of his that has been revived at the Monday Popular Concerts), "Gentle hope from heaven descending," was given by Mr. Sims Reeves with the utmost delicacy, and is sure to become as great a favourite as the two others that have preceded it. The John Oxenford, as in the other instances, present a marked immusic is as unaffected as it is charming, and the words, by Mr. provement upon the original. The "Adelaide," of Beethoven, has fairly exhausted all terms of praise, and Mr. Reeves' singing, sus The executants were Miss Armstrong (vocalist), Messrs. H. and G. Hayward (violins), Mr. R. Blagrove (viola), Signor Piatti (violoncello), and Messrs. Duchemin and Flavell (piano). The string quartet of Beethoven, a lengthy, elaborate, and beautiful work, but scarcely comparable as a whole to some other quartets of the same master introduced at former meetings, opened the proceedings. "In speaking of its performance, by Messrs. H. and G. Hayward, R. Blagrove, and Signor Piatti," writes the Birmingham Journal," criticism becomes almost a task of supererogation. Whether as regarded the conception or the execution, the precision of the individual artists, or the unity of the whole, the performance was equally irreproachable, and even the accidental flaws to which human instruments in human fingers are ever liable, so few and unobtrusive as to excite the astonishment of every intelligent observer." Some remarks on Signor Piatti's playing, by the same writer, are worth quoting: "Signor Piatti's playing is character. ised by great ease and fluency, and his tone by equal sweetness and power. He never seeks to dazzle but is content to delight, and evokes the sentiment of admiration more by the absence of all apparent effort in producing the most brilliant results than by the acrobatic dexterity which constitutes so remarkable a feature in the performance of other great violoncellists, especially of the famous Bottesini. With the same apparently limited expenditure of muscular effort he can produce the round, liquid tones of the flute, and the deep sonorous pealing harmonies of the organ, while in the more florid passages his roulades almost equal in ease, fluency, and emotional character the vocal execution of a brilliant songstress." Miss Armstrong, the vocalist, appears to have pleased more by her sweet voice and concert style, than her force or expression. At LEEDS Handel's oratorio Samson was chosen for perform-tained by the refined and exquisite accompaniment of Miss Araance by the Leeds Town Hall Concert Society, at their last Saturday evening's concert, and was under the patronage of the Mayor (J. Kitson, Esq.), and the Corporation. The solo vocalists engaged were-Miss Helena Walker (soprano), Miss Crosland (contralto), Mr. John Morgan (tenor), and Mr. Weiss (basso). The chorus was composed of the Madrigal Society's Concert Choir, and the band was that of the West Riding Orchestral Union, led by Mr. Haddock. Mr. Spark presided at the organ, and Mr. Jackson, of Bradford, officiated as the conductor. DR. MARK AND HIS LITTLE MEN, who are engaged by Mr. Mitchell, will make their first appearance in London early in January, at the large room, St. James's Hall, and will give a short series of their highly attractive Concerts. BERLIN. An intended performance of La Traviata, in Berlin, has been forbidden by the authorities on the ground that the libretto is unfit for the ears of a Protestant city; seeing that this drama in its original form of La Dame aux Camelias has been frequently performed on the stage there, this official interference is somewhat curious and inconsistent. bella Goddard, was the vocal " 'gem" of the evening. The audience would not rest satisfied with the eminent tenor's bowing his acknowledgments, but persisted in an encore, to which Mr. concession, we think, from one who has lately set his face resolutely Reeves responded by repeating the last movement, an unwise against the system so often justly decried as vicious. The Sompnour's song, "The monk within his cell," from Macfarren's very written, without curtailment, and those who know (and who does successful opera, Robin Hood, was heard for the first time as it is not?) the magnificent voice Mr. Weiss possesses, can well imagine how completely effective such a song would be in his hands. We hope to hear our great English basso repeat this at a future conThe pedlar's song from Mendelssohn's Son and Stranger has been so frequently sung by Mr. Weiss that we need do no more than his usual spirit and energy, and commanded the most hearty than say that upon this occasion it was rendered with even more applause. The concerts will be resumed on January 14th, when M. cert. *The exact contrary being the truth.-ANGUISH, ROYAL ACADEMY OF MUSIC.-A concert, for the exhibition of the students as composers or executants, was given on the 8th inst., at the rooms of the institution, Tenterden Street. The following was the programme :— PART I.-Selection from Idomeneo, Mozart; Overture; Coro, "Gediam la pace, trionfi amore," solo parts by Miss Sellman, Miss Flewitt, and Mr. Wallace Wells; Aria con coro, Tutti nel cor vi sente," Miss Robertine Henderson; Aria, "Se il padre perdei," Miss Armytage; Aria, "Idoi mio se ritroso," Miss Robertine Henderson; Marcia and recit. "Odo da lunge," Miss Robertine Henderson; Coro, "Placido è il mar," solo part, Miss Robertine Henderson; Tersetto, "Pria di partir O Dio," Miss Robertine Henderson, Miss Robinson, and Mr. Wallace Wells; coro, "Qual nuovo terrore," solo part, Mr. Wallace Wells; recit, "Solitudini amiche aure amarose," aria, "Zeffiretti lusinghieri," Miss Armytage; duetto, "S'io non moro a questi accenti," Miss Armytage and Miss Robinson; coro, "O voto tremendo," solo part, Mr. Wallace Wells; Marcia Funebre. PART II. Andante and rondo, from concerto in C minor (MS.), for pianoforte, Mr. G. H. Thomas, G. H. Thomas; cantata (MS.), "The Sea Fairies," H. C. Banister. For chorus of female voices, soprano, and tenor solos, orchestra, and harp-Prologue, tenor solo, "Slow sailed the weary mariners," Mr. Wallace Wells; chorus, "Whither away?" "Day and night to the billow the fountain calls;" song with chorus, "And the rainbow forms and flies on the land." Miss C. Westbrook (harp obbligato, Miss H. Condron). Ballad (MS.), "The parting Wish,' Miss Robertine Henderson, Miss Clint; coro pastorale, “L'Asia in faville' (L'Aureliano in Palmira), soli parts by Miss Bramley, Miss Spence, and Mr. Wallace Wells, Rossini. Mr. Lucas conducted. The concert was in every respect interesting, and in most respects satisfactory. St. MR. HENRY LESLIE'S CHOIR.-The sixth season was inaugurated on Friday evening in St. James's Hall, the destruction of St. Martin's Hall having rendered it necessary to seek another arena. James's Hall is much better adapted for a comparatively small number of voices than we should have expected. The area of the orchestra was contracted by means of a screen with projecting top, an arrangement by which much was gained. The following was the programme : PART I.-God save the Queen. Part-song, "Summer is flying," George Benson; part-song, "Shepherds up !" Fred. Clay; cradle-song, Henry Smart; sonata, for pianoforte and violoncello, W. S. Bennett; glee, "Once upon my cheek," Dr. Callcott; glee, for male voices, "O thou whose beams," John Goss; madrigal, "As Vesta," Thos. Weelkes. PART II.-Summer song, W. C. Macfarren; glee, "When winds breathe soft," Samuel Webbe; serenade, "In this hour of softened splendour," Ciro Pinsuti; part-song, "Welcome, spring," Henry Leslie; air with variations, for pianoforte and violoncello, Mendelssohn; partsong, "Ah! could I with fancy stray," J. L. Hatton; madrigal, "April is in my mistress's face," madrigal, "Now is the month of Maying," Thomas Morley. The part-songs, by Mr. Benson, Mr. Walter Macfarren, Mr. Clay, and Signor Pinsuti, were new, while Mr. Goss's glee, Weelke's madrigal, Morley's" April," and Mr. Hatton's part-song were novelties. There was, therefore, a good deal of freshness about the entertainment, though no special piece, on a large scale, was brought forward. The execution was almost uniformly good, the only exception being a slight trip in Mr. Leslie's part-song, which was, nevertheless, encored, a compliment also bestowed on Mr. Henry Smart's cradle song, Calcott's glee, and Pinsuti's serenade. The glee was sung by Miss Fosbroke, Mrs. Dixon, Mr. Regaldi, and Mr. Hodson, and created quite a sensation. Such finished part-singing is seldom heard. "When winds breathe soft" was well sung by Miss Annie Cox, Mr. Barrett, Mr. Matthison, Mr. F. Walker, and Mr. Henry. The instrumental performers were Signor and Mad. Piatti, whose execution of Mendelssohn's duo and Sterndale Bennett's sonata gained them the warmest plaudits. Mr. Henry Leslie conducted with his usual steadiness and decision. SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS.-On Thursday evening a lecture was delivered at the Architectural Gallery, 9, Conduit-street, by Mr. Alfred Gilbert, on Weber and his works, with musical illustrations, undertaken by the Arion choir. The conclusions arrived at by the lecturer appear to have been formed from a careful consideration of Weber's compositions. A comparative analysis of the pianoforte music of the greatmasters, in which the lecturer placed Weber as a writer for the instrument in a very exalted position, was perhaps the most interesting part of the discourse. The pieces performed by Mr. Gilbert, in exemplification of his remarks, were the slow movement and rondo (moto continuo) from the sonata in C Op. 24, and the Polonaise in E flat, Op. 50. The vocal illustrations were the Mass in G, the soli parts by Miss Charlier, Mad. Andrea, Messrs. Belton, Haughton, and Milne; a charming little chamber song, by Miss E. Gresham; "O Araby," (Oberon), by Mad. Andrea; and the soprano song from Preciosa, by Miss Fosbroke. "Softly sighs," (Freischütz) Madame Gilbert was eminently successful. The final chorus in Preciosa, and a selection from Euryanthe concluded a most successful evening. From the manner in which the members of the Arion choir acquitted themselves, we are inclined to think they will take high ground amongst our metropolitan choirs. The accompanists, Mr. W. C. Filby (pianoforte) and Dr. Bennett Gilbert (harmonium) added much to the effect of the choral parts. The lecture was largely and fashionably attended. In the scena, THE CRYSTAL PALACE.-(Communicated.)—The Crystal Palace is likely to be the scene of great gaiety this Christmas. The movement for making Monday a general holiday has met with so much success, that it has been determined to commence the usual Christmas festivities on that day instead of on Boxing-day, as before. The centre transept and naves of the Palace will be garlanded and festooned with holly and evergreens, and decorated with shields and flags of various nations, and coloured lanterns; and in the centre of each twenty-four feet girder is hung a banner with an appropriate Christmas inscription. In the great transept, a spacious stage is placed, on which a variety of amusements by many of the most popular artists of the day, will be continued from mid-day until dusk, when the shadow pantomime will be displayed on the great screen in front of the stage. Besides these, there is to be a "Tent of mystery," various sports and pastimes, and other matters calculated to afford abundance of amusement and entertainment apart from the other well known attractions of the Palace. The whole of these amusements are under the direction of Mr. Nelson Lee. The great Christmas Tree is erected at the junction of the north nave with the centre transept. The thousands of toys, bannerets, variegated lamps, &c., depending from its branches and sparkling in every ray of light, give it a cheerful and brilliant appearance. This is of course the characteristic attraction of the season; but hardly less attractive, especially to the juvenile visitors, are the exhibitors' stalls, running the entire length of the naves, literally groaning beneath a crowd of countless varieties of toys and articles of a better description, adapted for Christmas presents. At dusk every stall is lighted up for the evening promenade, and then the entire Palace presents one of the gayest scenes conceivable. It seems now pretty generally decided, that Monday the 24th, is to be a general holiday, and therefore, as we have already said, the Christmas entertainments will begin on that day. The London holiday makers are sure to gather here in great strength, and as additional facilities for railway communication are now offered by the opening of the Victoria Station, as well as the line to Canterbury, which passes through the Crystal Palace Station, a large accession of country visitors may be looked for at Christmas, particularly as the announcements of the Company truly state, that wet or dry, frost or snow, the Crystal Palace is the true winter resort for all classes. It is unnecessary to state that the Palace will be open as usual on Christmas day itself from nine till dusk. MR. BALFE'S BIANCA.-Mr. Balfe's new opera of Bianca was repeated on Saturday evening before a crowded audience with increased effect. Certain judicious cuts made the piece play "closer" than on the first night, and the performers were naturally more at their ease. Mr. W. Harrison, in the very arduous character of Fortespada, fully maintained the reputation he has so long enjoyed. His intimate knowledge of what is termed " stage business perhaps never called more largely into requisition than in this opera, where also his conscientious delivery of concerted music, in which he always takes care to be perfect to a note, proves particularly valuable, as the work abounds in morceaux d'ensemble, was and his vocal means are excellently suited throughout, but especially in two songs-the spirited "brindisi," "Glorious wine," and the thoroughly Balfian ballad, "Once more upon the path of life," both of which, we may state by the way, were heartily redemanded on Saturday as on the first night of the opera. The scenes where Fortespada confronts the conspirators, becomes master of their secrets, and forces them to recognise him as their leader; when the bravo, disguised as an old mendicant, saves the life of Bianca; and when he mysteriously enters the Duke's chamber to demand his daughter's hand in marriage, unquestion. ably demand from the principal tenor of the opera ability of no common order; and it was precisely in these trying scenes that Mr. Harrison acquitted himself most honourably, and gained the largest amount of applause. The three new baritones brought forward by the Covent Garden management during the present season are furnished with parts in Bianca. Matteo Visconti, Duke of Milan, is played by Mr. Alberto Lawrence; Count Malespina (the chief conspirator), by Mr. Henry Wharton; while Mr. Theodore Distin appears as 66 a herald." Mr. Wharton's best success was gained on Saturday evening, as on the previous occasion, in Malespina's scena, "Yes, proud Bianca," the slow cantabile movement of which he sings gracefully and with considerable feeling. Mr. Alberto Lawrence, as Matteo Visconti, gave fresh evidence of talent which, with study and practice, may eventually be turned to good account. The scena, "A warning scroll," the duets, "From my childhood," and "Demon more than man," require very high musical and histrionic talent from the executant; and it is therefore no small praise 'to Mr. Alberto Lawrence to state that his performance was in every instance satisfactory. Of those clever and experienced performers, Mr. H. Corri and Mr. St. Albyn, little need be said beyond remarking that they have both parts well suited to their abilities, and play with their accustomed excellence. It should perhaps be added, that Mr. St. Albyn made an unusual sensation, not so much by singing or acting as by his extraordinarily vigorous and agile dancing. So captivating indeed were his performances upon the "light fantastic toe," that the house applauded him most enthusiastically. It was doubtless something quite novel to see a tenor make entrechats and jettées sur la pointe. To Miss Thirlwall, one of the most promising of rising vocalists, very great praise is due. Her intelligent and genial performance of a somewhat ungrateful part contributed largely to the success of the opera. For Miss Louisa Pyne we have nothing but eulogy. Whether as singer or actress she shone with extraordinary brightness, and never, certainly, was her genius more thoroughly appreciated. Such transcendently-beautiful singing as her renderings of the ballad In vain I strove my heart to teach," the florid air, "Yes, I shall see him once again," and the rondo-finale, is rarely heard upon any stage; and as much may be said in honour of Miss Pyne's really fine musical declamation in the duet with the Duke in the third act, especially of the solo, "His manly form." We need scarcely add that Miss Pyne was enthusiastically applauded on every possible occasion, or that all her principal pieces were redemanded. Never, in short, did our great English soprano achieve a more legitimate triumph. The subordinate parts were well filled; and the band and chorus, under the able direction of Mr. Mellon, were all that could be wished.Morning Post, Dec. 10th. A THEATRE BEHIND THE SCENES.-A theatre is like a Hindoo household, and all the men and women before you are divided from each other by the law of caste. In one corner sits a "singing chambermaid". -a performer confined to acting such parts as waiting-women (with songs) and nothing else. If, in your ignorance as a young dramatic author, you were to wish her to take a character requiring the appearance of age, you would offend her, and the middle-aged lady sitting at her side, whose duty it is to play all the "second old women," and no others, upon that particular stage. On another couch is the "first old woman,"—an imperiouslooking lady of the mother-in-law class-who has her sphere of action as strictly defined as that of a chess-board queen. Near her you will observe a rather cheerful middle-aged gentleman, known only dramatically as the "first old man," supported on his right by another middle-aged, rather thin gentleman, who is similarly known as the "second old man." The slim, genteel gentleman, not very young, who is talking to a handsome com His manding lady, is the "light comedian," but nothing more. companion is known as the "leading lady;" while the two young men who are standing opposite to her on the other side of the room, are the "first and second walking gentlemen." Near them is that highly important person the "leading low comedian," almost faced by his more humble brother act or the "second low comedian." Two other gentlemen, in different parts of the room, are known respectively as "eccentric comedian" and "utility actor;" and they have corresponding companions amongst the ladies.—" Cornhill Magazine" for December. THE TRINUMMUS OF PLAUTUS. "Old Charmides, gone money getting, Returns a thorough explanation: The father, knowing youth loves pleasure, |
