But, to resume:-we remained till a Fantasia for orchestra,' (another MS.) was hobbled half through; when 'patience could endure it no longer.' Whether the composition proved as unintelligible to the performers as to ourselves, or whether, like many others, they became weary of this MS. fantasia, we cannot say, but certain it is that the band, after much struggling, arrived at a dead stand-still-we, more actively inclined, fled away, and what followed must be left for other musical historians to relate; we shall only add, that, when once out, and in the open street, the rattling of omnibuses, carts, coaches, and cabs, seemed to our ears less disagreeable than usual.

FOREIGN MUSICAL REPORT.

BERLIN.

THE middle week of August brought nothing very important to the musical world. At the Königstadt Theatre we had Die Goldgrotte des Geister bunners (the Golden Grot of the Spirit Raiser), a romantic original drama of enchantment, in two acts, by J. C. Gulden. The title shows the species to which the work belongs. Concerning its own particular merit we have but little to say; whether it be a degree more or less piquant, is of little importance in a critical point of view, whatever it may be, considering the treasury of the theatre. These pieces must all be condemned, or, regarding them in a particular light, all approved. The public seemed to take but small interest in the piece, and we doubt whether this grotto brought much gold to the theatre.

M. Hahn of the Cassel Hof Theater performed the High Priest in Spohr's Jessonda, as a gastrolle*. He has a fine sonorous base voice in the mezza forte, which, however, did not here tell to much advantage, being unsuitable to the Opera House. Madlle. Lenz, as Amazili, and M. Mantius, as Nadori, were the stars of the performance, which, with a few allowances, was certainly meritorious. At the Königstadt Theatre we had the opera of Norma, the three principal parts being newly cast. Madile. Vial had the Titelrollet; Madlle. Gerhardt, Adalgisa; M. Greiner, Sever. They all took evident pains with their parts, and received the unanimous applause of the public; who would, however, have been better pleased had they heard Madlle. Hähnel and M. Holzmiller in this opera.

Lindpainter's Rosenmädchen (the Rose-girl), the libretto being a version by Kotzebue, from the French of Theaulon, was brought out at the Theatre Royal, and the only novelty we have had for some time past. The subject was rather tediously managed, and indeed had been already somewhat worn out, having been rendered much more pleasant in Joconda. The music (probably an early work of Lindpainter's), she ws a skilful composer; the concerted pieces are, in particular, very well worked up; and the arias melodious and flowing, though, perhaps, but little adapted to public taste. The orchestral part is especially laudable; it differs so much, in its simple style, from the instrumentation we too often hear. This opera pays no regard to the modern tendency of music, it avoids all clap-trap, and relies on its own absolute merit. When we regard the meritorious intentions of the composer, we cannot help regretting that he had not a better libretto to work upon; since if he had, he could not have failed making an impression on the public, in spite of the simplicity of his work. When the public mind is satiated with all sorts of piquances, it readily turns back to the simple; and the time may come, when music of this sort shall be cultivated with success. rate, one has had the courage to offer simple diet to the taste which has been so palled. The execution was good on the whole; Mad. Seidler, Madlle. Lenz, and M. Mantius took the principal parts, and acquired the preise that was their due. For one thing however, we cannot praise them, that regardless of the character of the whole, they introduced all sorts of romances, cavatinas, and songs, merely to shew themselves off; things of this sort are not to be tolerated; and if a work of art cannot go down without such foreign aid, it is unfit for representation altogether. The Rosenmädchen had no occasion whatever for such assistance, which, while it displeased the admirers of the simple style, gave but little satisfaction to those of a taste more corrupt.

At any

M. Holtzmiller, after a two months' journey, reappeared at the Königstadt Theatre, as Tebaldo, in the Capuleti e Montecchi. His voice which had evidently suffered by his last illness, seemed to be regaining its power, and has since recovered all its former strength; he was received by the public with loud applause, and called for at the conclusion.

Mehul's Joseph in Egypt was lately given at the Theatre Royal, but much disfigured by the introduction of foreign matter, as, e. g., the Finale to the third act.

On the 17th of September, Madlle. Hähnel, who had returned from her travels, appeared at the Königstadt Theatre, as Alaide, in Die Un

* Gastrolle signifies those parts selected for a travelling performer to star in.EDITOR. Titelrolle, the part which gives name to the piece, as the part of Macbeth.—

EDITOR.

bekanute (the Unknown). A full house, and continuous applause, received this valuable singer.

M. W. Gabrielski, supported by many distinguished artistes of both sexes, gave, on the 17th of October, a concert at the Royal York Freemason's Lodge, and thus commenced the series of winter concerts. This excellent player exhibited on the flute the same skill as ever, and we have pleasure in recording that the concert was well attended.

MÜHLHAUSEN IN THÜRINGEN.

The ever active M. Bentler prepared for the friends of music an especial treat, in a concert which took place on the 1st of July.

The persons in the orchestra were 160 in number, and consisted of the Vocal Union, the musicians and dilettanti of the town and suburbs, and further of some from Göttingen, Gotha, Erfurt, and Langensalza. The first part opened with Weber's striking Jubel-Overture, which was excellently played, though some of the violin solos might have been executed with greater power. This was followed by a grand Aria from Sargin, Ha, zu thaten ruft mich die Liebe' (Ha! Love calls me to action), with clarionet obligato. By this Madlle. Frazisha Heinroth, from Göttingen, shewed what excellent instruction she had received at Brunswick since the year 1833. Very justly was she repaid with the most lively applause, while the clarionet accompaniment of M. Schollmeyer was duly approved. We next heard a young man, named Ernst Methfessel, play an Oboe-concerto, in A minor, composed by himself. Both performance and composition afforded great pleasure to the conoscenti and non-conoscenti. His tone is fine, his skill remarkable; indeed his confidence in the higher passages so remarkable, that we may put him by the side of the most distinguished artistes of the time. As a composer, he makes us indulge in a hope, that we at length have some music suitable to the oboe, which has long been a desideratum. The second and third parts of this concert were occupied by Haydn's Spring and Summer, the solos of which were sung by Madile. Heinroth (soprano), M. Heinrichshofen (tenor), and M. M. Franke and Bötticher (base).

On the whole this went off well. The little faults which occasionally occurred, were only to be discerned by those who were extremely conversant with Haydn's immortal work, and were occasioned by the somewhat inapt organisation of the orchestra, which was too much confined by the smallness of the space: indeed the director was not visible to every performer.

Madlle. Heinroth delighted all by her execution of the solos. M. Heinrichshofen sung better than ever, especially the aria, Dem Druch erlieget die Natur' (Nature sinks beneath the pressure). M. M. Franke and Bötticher were obliged to adopt their fine base voices to baritone choruses deserved the most admiration, they were, indeed, sung with parts, which was no less unpleasant to them than to the audience. The the greatest precision. Boys and girls, from ten to twelve years old, sung the elaborate fugues; and that difficult chorus, ' Ach, das Ungewitter naht' (Ah, the Storm approaches), with singular confidence, and their young throats, combining with the voices of the adult singers, gave a colouring to the music, which made a great impression on the feelings

of the audience.

The concert was followed by a feast at the Rathskeller*, the saloon of which, in honour of the solo-songstress, was adorned with the letters F. H., formed out of roses; while garlands of the same were suspended to the right, and garlands of fresh ears of corn, and corn-flowers, to the left. In the same fashion, the ladies of the Vocal Union had adorned the further side of the concert-room with garlands, signifying Spring and Summer.

STRASBURG.

(This is one of the places whence we do not often have intelligence, hence the following retrospective review may be acceptable.) Concerts.-Never had we fewer concerts than last winter, the former directors of our now dissolved Philharmonic Society could only undertake two upon subscription.

At the first of these concerts we had, to the overture to Fidelio splendidly played, a clarionet-concerto by M. Boymond, jun., first clarionet player at our theatre; he shews much skill, and when he contrasts his light and shade a little more, he may expect universal applause. M. Jupin played, in his usual artistical style, an extremely difficult rondo brilliant for the violin. The vocal pieces were: a scena from Donizetti's Anna Bolena, by an amateur; a duet from the second act of William Tell, also by an amateur, and M. Julian, first tenor at the French theatre; a scena by Lindpainter, with clarionet obligato, sung by M. Loewe, with his peculiar taste.

At the second concert (which took place on the 23rd of March), we had, as at the first, no symphony, but two overtures, namely, that of Jupin's to La Vengeance Italienne, and that of Poissl's to Olympia; then followed variations for the horn by Loewe, played by M. Koenig, in a style worthy of being a pattern; a harp-concerto by Bochsa, played by Mad. Pfortner (whose maiden name was Frost). The singularity of

*The cellar of the town-hall, which is commonly let out by the senate for a tavern.-EDITOR.

hearing a concerto on the harp, with a full orchestral accompaniment, and the taste and modesty of the performer, excited general interest. Variations for piano and violin, by M. and Mad. Jupin (whose maiden name was Kuttner), left nothing to desire. A scena from Tancredi, by M. Loewe, at the piano; this had a paltry appearance in the middle of full orchestra. The Finale of the same opera, with the orchestra, sung by dilettanti and M. Lange, second tenor of the French theatre, did not go off well.

On the 13th of April, we heard, in the great saloon of the theatre, M. F. Kalkbrenner, accompanied by a double quartett, instead of a full band, he played the following: a MS. concerto for the piano, a duet for piano and violin, from Robert, with M. Jupin, and a fantasia with variations. Between these pieces we had, a scena from Rossini's Corradino, sung by Madlle. Nicolino, of the German theatre; variations for the flute, played by M. Predigam, correctly, but without animation, as usual; variations for the horn, by M. Koenig, very excellently played; and a duet from Massaniello, by MM. Lange (tenor) and Roy (base), accompanied by the piano alone.

Theatricals.-M. Brice, on the 5th of April, opened the Freyburg Stadt Theatre, with Oberon The preparations were somewhat hurried, and the opera was not altogether successful. In the musical conduct of the whole, we could not help remarking the great inattention paid to time; the Introduction, in particular, was played so slowly, that it could scarcely be recognised; this was, however, made up by the Oriental march being played as much too fast, and destroying the effect of Reiza's song. M. Hartenstein, who performed Oberon, has a good foundation, and a strong penetrating voice. M. Wappens appeared as Hüon, and displayed himself in this, as in all other parts, as a finished singer. Sherasmin was taken by M. Kaibel, whom we were very glad to see once more amongst us; his voice has acquired fresh power, and he showed himself as well adapted for comic as for serious parts. Mad. Illenberger filled the part of Reiza; her voice is powerful and clear, but wants cultivation; besides, she always puts on such a sour face, that we forget anything like sweetness in her singing. Mad. Hell (whose maiden name was Unzelmann), took Fatima; she has gained much in expression, and will no doubt still improve. She is able to take not only second and third, but also first parts. On the 9th of April we had Tancredi: Assur was played M. Wappens, Amenaide by Mad. Illenberger, and Tancredi by Madlle. Nicolino. This lady was called for at the conclusion. We hope that she will continue to improve. M. Leo (base) was Orbazan; he has a good voice, but wants cultivation, and is not suited to Rossini's music. Spontini's Ferdinand Cortez was performed on the 14th of April, M. Roland re-appearing in the part of Cortez, which he sung admirably. This opera is but seldom performed, on account of its requiring five tenors; however, on this occasion it was represented with all the care possible. M. Schmidt as Montezuma, Mad. Illenberger as Amazili, M. Kaibel as Telasko, M. Leo as the High Priest, M. Wappens as Alvaro, M. Hartenstein as Rodrigo, and M. Schlögel as Hernanez, were excellent; the chorus also told exceedingly well. On the 20th of April we had Zauberflöte, in which Mad. Reichel (whose maiden name was Weitner) sung Pamina with great applause. M. Rieger appeared as Sarastro; he is a young man with a very pleasing base voice, and we feel justified in forming the highest expectations concerning him. The piece, sung by the three ladies, we never heard so well done; the fine voice of Madlle. Nicolino was heard with great effect. M. Wappens was remarkably good as Tamino. On the 23rd of April, we had Der Freischütz, in which Mad. Reichel took the part of Agatha. On the 21st, 23rd, and 26th, the peasant family of Franz Grassl, from Schönan, in Bavaria, consisting of the father, five boys, and two girls, played on several wind instruments. Without any claim to artistical excellence, this family performs with great correctness; sometimes harmonies in eight parts, with trombone and double base; sometimes with tinned instruments alone. The pieces they perform are operatic, or else marches, waltzes, or the like; the father playing on a little clarionet, and a child of three years old on a four-cornered flute of their own invention. On the 29th of April, we had the Swiss Family, Mad. Hehl playing Emmeline. On the 1st of May, Der Dorf barbier (the Villagebarber). On the 3rd, Preziosa. Cn the 5th, 8th, and 10th, Euryanthe. This excellent opera was heard among us for the first time; that it was successful will be proved by the following cast: Euryanthe by Mad. Reichel, Adolar by M. Wappens, Eglantine by Madlle. Nicolino. The beautiful hunting-chorus was always encored. On the 13th, we had Fidelio; Mad. Reichel took the titelrolle, and sung and played beautifully. She played Isabella, in Robert le Diable, on the 17th; in which M. Wappens as Robert, M. Kaibel as Bertram, and Mad. Hehl as Alice, were very good. On the 19th of May, and 3rd of June, we had Ctello, in which Mad. Marra (whose maiden name was Mina Schäffer) took Desdemona. She met with applause, for though her voice has lost it youthful powers, she makes up the defect by her depth of feeling, and just declamation in the recitative. M. Roland was excellent in Otello. Mad. Marra, on the 22nd of June, sung Susanna to Mad. Reichel's Countess; on the 26th of May, she played Camilla in Zampa. William Tell was performed on the 28th and 31st of May, and on the 14th of June; at the first representation Mad. Reichel was Matilda, at the last two Mad. Marra. M. Kaibel was very good as

Tell. Fra Diavolo was played on the 4th of June, and La Dame Blanche (in French) on the 11th; Mad. Marra taking the part of Anna. A new opera by Kästner, called Die Königinn der Sarmaten (the Queen of Sarmatia), was given on the 13th, or rather three acts out of the five, being all that could be got ready. This first attempt of a young composer contains much that is good, though it is somewhat tedious. The German performances closed on the 16th of June with Don Juan, in which M. Kaibel as Juan, and Mad. Marra as Donna Anna, were excellent.

LEIPZIG.

Our valuable subscription concerts began in the Cloth-hall, on the 4th of October, under the direction of M. Felix Mendelssohn-Bartholdy, who has long made his name dear to us, by his three printed overtures. On his entering the hall, as director, the audience testified their joy by the liveliest applause. This also took place at the entrance of our prima donna, Madlle. Hen. Grabau. Every thing went off excellently, everything was applauded. The celebrated overture, Meeresstille und glückliche Fahrt (a calm Sea and prosperous Voyage), was played as well as could be expected from a concert under a new direction. Madlle. Grabau sung the scena and aria by Weber, introduced into Lodoiska, as beautifully as ever; we are happy to say that her voice is improved, and that nature seems thus to be lending further assistance to M. Gerbe, a pupil of Spohr's, played his master's violin-concerto, No. 11, with skill, and received applause. The Introduction to Cherubini's Ali Baba was given here, for the first time, in public; Delia by Madlle. Grabau, Morgiana by Madlle. Döring, and Ali Baba by M. Weishe. The piece is rather heavy, and it was the débût of the two last-named performers. Making due allowances, this succeeded beyond all expectation. The chorus deserves the greatest praise. In the second part we had Beethoven's fourth symphony, and seldom have we heard it so excellently played. As a new plan, the musical director conducted the symphony, and this we think an improvement; for when the leader, who must play the first fiddle, does this, he terribly interrupts his own performance in looking after the time of the others.

art.

On the 9th of November, M. Ign. Moscheles gave an extra concert in the Cloth-hall, which was one of the best attended we ever remember to have seen. It was remarkable both for what was played, and the style of the playing. Moscheles' overture to Schiller's Maid of Orleans opened the concert; this work we consider as of an extremely high character. The giver of the concert then played to us the first movement of his MS. concerto pathetique in c minor, which is so excellent, that we could not help regretting that the other parts had not been written. After an aria, sung with applause by Madile Grabau, followed his new concerto fantastique in в major, which corresponds very aptly to its name. Mendelssohn's celebrated overture to the Hebrides, which was beautifully performed, was followed by a duet for two piano-fortes, Hommage à Handel, composed by Moscheles, and played by him and Mendelssohn, to the great delight of the public. A fantasia by Moscheles concluded the whole, and we may truly say, that we never heard him fantasy in a style so excellent.

At the second subscription concert (which, by the way, was crammed) we heard Mozart's symphony in E major to perfection. Madlle. Weinhold sung the scena and aria, Dove son? from Rossini's Torvaldo e Dorliska, at first with great pain, at last, however, she gave satisfaction to the public, and received loud applause. Then M. Moscheles was kind enough to favour us with his evergreen concerto in G minor. His overture to Schiller's Maid of Orleans was repeated under his own direction, and gained the applause of a crowded audience. M. Knecht, from Aachen, played a thema and variations for the violoncello, by Mark, with skill and taste, and received merited applause. The second finale in Don Juan, which is commonly omitted on the stage, was sung by Madlle. Grabau, Madlle. Weinhold, Madlle. Döring, M. Gebhard (tenor), and M. Weishe, and delighted the hearers. The evening concluded with the double concerto, played at the extra concert, and repeated on this occasion solely on account of the delight it then afforded. The hall rang with acclamations of applause.

M. Wild, the celebrated tenor, from Vienna, has played Masaniello; he was called for at the end of the fifth and sixth acts, and heard throughout with the greatest approbation. His singing is very good, as well as his acting, though both are rather overdone, and his voice will improve as it becomes less youthful. M. Pögner (base), and Madlle. Wagner as the Dumb Girl, met with applause. The other parts were unimportant, save that of Vesuvius, which performed its business with all the requisite fire.

BOSTON.

TREMONT THEATRE.-The event of most interest at this house, during the present month, was the first appearance on any stage of Miss Cushman, in the character of the Countess, in Mozart's opera, The Marriage of Figaro. This young lady possesses musical powers of a very respectable order, and gives promise of future superiority. Her debût was in the highest degree flattering and successful, and, on the fall of the curtain, she was cheered from all parts of the house.

At a subsequent performance of this opera, Miss Cushman appeared

as the Countess, Miss Watson (having recovered from her indisposition) as Cherubino, and Mrs. Maeder as Susanna. An opera thus strongly supported could not fail to prove attractive to so musical a people as the Bostonians, and the theatre was crowded on the nights when this interesting trio appeared. Sheridan's opera, The Duenna, was brought out, besides other pieces.

CONCERTS.-Mrs. Andrews gave her annual concert at the Masonic Temple, on Saturday the 11th of April. She was assisted by the full orchestra of the Tremont Theatre, and also by the Boston military band, consisting of twenty brass instruments. The principal vocal performers were Mrs. Andrews, Mrs. Kellogg, Miss A. Woodward, Mr. Comer, and Mr. J. Andrews.

THE HANDEL AND HAYDN SOCIETY gave a public performance on Sunday, May 17th. The selections were principally from the oratorio of the Creation, and from David.

THE BOSTON ACADEMY OF MUSIC.-The choir of this institution gave a performance on the 13th of May, in the Bowdoin-street church. A considerable portion of Neukomm's new oratorio, David, was performed. Mr. E. Kendall gave a concert at the Boylston-hall, on Saturday, the 18th of April. Solos were performed on the Kent bugle by Mr. E. Kendall, flute by Mr. J. L. Downe, clarionet by Mr. Kendall, violin by J. Holloway, besides songs from the principal singers mentioned in the previous concert, and instrumental pieces by the Boston military brass band.

Miss Watson gave a concert of sacred music on Tuesday, April the 14th at Amory-hall. On this occasion, Mrs. Watson (late Miss Wells) made her first appearance before an American audience. The principal vocal performers were Miss Watson, Mrs. Watson, Mrs. Andrews, and Mr. Comer. Instrumental solo performers-flute, Mr. Downe; clarionet, Mr. Kendall; trumpet, Mr. Armore; piano-forte, Mr. Watson. Leader, Mr. Ostinelli. The selection of music embraced several favourite pieces from Handel, Haydn, Spohr, Webbe, Comer, &c.

ALBANY.

"The New York Italian opera company made a visit to this city, and gave a few performances at the theatre. The first was on the 6th of April, when Rossini's L'Assedio di Corinto was performed; this was followed by Mosé in Egitto, L'Inganno Felice, and the second act of Eduardo e Cristina: the two first pieces were performed twice. In addition, some favourite overtures, solos, &c., were performed by the band.

The company also performed Mozart's Requiem, and a selection from Mosé, in St. Paul's chapel.

This visit appears to have given the liveliest satisfaction to the Albanians, and to have been a profitable one to the company.

NEW YORK.

Mr. Charles E. Horn's Oratorio, The Remission of Sin, composed expressly for the New-York Sacred Music Society, was performed at the Society's Hall in Chatham-street on Thursday evening, May 7th, 1835, for the first time; and to a splendid audience of nearly one thousand five hundred persons.

The attempt of a composer, who for the last ten years has ranked among the pre-eminent in England as a dramatic and ballad writer, to soar above his former efforts, is highly creditable to his ambitious views. We do not rest solely on our own judgment in classing this work among the first of the kind, for fear we should be accused of partiality; but there were many amateurs present, who had visited Europe, also many foreigners, and eminent professors from Germany, Italy, France, and England, who all joined in its praise, and in pronouncing it a work of decided merit.

PHILADELPHIA.

THE MUSICAL FUND SOCIETY of this city performed nearly the whole of Haydn's oratorio of the Seasons, on the 30th of April: some few pieces were omitted on account of its great length. The spacious hall of this society was filled by a highly fashionable audience; the predominance of the female portion in their gay attire rendered the scene quite brilliant and imposing.

THE PHILADELPHIA SACRED MUSIC SOCIETY gave a public performance in the hall of the Musical Fund Society, on the 14th of May. A composition of Andreas Romberg, entitled The Transient and the Eternal,' was brought out for the first time in this country.

The scene is in the neighbourhood of Rochelle, at the time of the siege of that town, when in possession of the Huguenots. The heroine, Clara, having been unjustly accused of the murder of Valmour's infant son, undergoes persecutions and misfortunes of many kinds, in escaping from a nunnery in which she had been immured, and from the machinations of her enemies, among whom her own father appears the most active and relentless. She is befriended by a humane monk, Azino, who believes her innocent, and by an honest non-descript character, Michel, half miller, half courier, and his wife the first of whom is a comic character, imparting to the piece all the liveliness-a minute quantity-that it can boast. Clara even awakens a tender sympathy in the breast of the murdered child's father, who, we are not told how-or perhaps we did not hear-happens to be unmarried, and she finally escapes into Rochelle with her ghostly protector, where the whole mystery is unfolded; Montalban proves to be not her father, but the real murderer, and Clara turns out to be the daughter of Rosemberg. The culprit is conducted to prison, and the heroine made happy with the hand of Valmour, who, at the moment of these discoveries, assists in taking Rochelle by assault, and arrives, most opportunely, at the scene of eclaircissement.

Such we believe to be the outline of the story, but cannot answer for its entire accuracy, for part of the explanatory dialogue we very indistinctly heard, and the whole drama is so incoherent, so incomparably weak and absurd, that we quitted the theatre almost as ignorant of the author's design as we were on entering.

The music of the opera, by Mr. Balfe, has been mentioned in terms of unqualified praise by, we believe, all our contemporaries: the most extravagant encomiums have been lavished on it; and one or two newspaper critics have not hesitated to say that we never before possessed what is worthy to be called an English opera! To oppose such a torrent of approbation is a most ungrateful task, and requires some courage; in fact, nothing but a sense of duty would tempt us to declare our opinion on the subject, so painful is it, so unprofitable at the moment, to raise a single voice against the cry of a multitude.

The Siege of Rochelle is composed after the model of the most modern Italian operas; it not only reminds us of the style of Donizetti, Bellini, &c., but there are imitations,-unintentional, we believe-in it of Rossini, as well as others. The whole, or nearly so, appeared to us as if originally set to Italian or other foreign words, so ill do the English verses suit the greater part of the music. In several instances the syllables are double the number that the notes ought to have carried; and occasionally the air is at open variance with the sentiment expressed by the words, a defect we particularly remarked in the ballad," 'When I beheld the anchor weighed.'

As unfortunately happens in all modern operas, the trombones, drums, and other noisy instruments, are here much too active; but the playgoing public clamorously applaud clamour, therefore it is, perhaps, necessary to let them have enough of it: they will in time be surfeited, then the other extreme will assuredly prevail. As we shall next month enter particularly into the merits of the several published pieces in this opera, we now chiefly confine ourselves to general remarks; but the choruses probably will not be printed, we therefore take the present opportunity of saying, that one of them afforded us much pleasurethat early in the first act, Swearing death to traitor-slave,' with an effective harp accompaniment, a bold composition, the rhythm clear, and the manner popular. The other choral pieces possess little claim to notice.

Though we cannot say that Mr. Balfe exhibits in this work any original traits, any very refined taste or strong feeling, yet he shows himself to be a good musician: his harmony is always correct, and his instrumentation evinces a thorough knowledge of orchestral effect; making allowance for that tapage which he, perhaps unwillingly, introduces, in compliance with the existing vicious propensity to noise.

Miss Shirreff supports her character with great ability, both as singer and actress. To Mr. Phillips a comic part is assigned, which he performs with much humour, spirit, and propriety. For the display of his vocal powers he has nothing worth naming, except in the concerted

pieces, in which he is a tower of strength; but these, with the exception | of a Round, or Quartette,' Lo! the early beam of morning,' are rather of an ordinary kind. Valmour was at first personated by Mr. Wilson, who was soon displaced, and the part given to Mr. Templeton. By this change a better singer and an infinitely superior actor is obtained, but in the important matter of intonation, a loss is incurred: Wilson is never out of tune; Templeton continually. Mr. Seguin's fine voice and musical knowledge always tell; it were to be wished that he had a little more animation. Mr. Giubilei possesses both musical and histrionic powers, and proved very serviceable on this occasion. The Chorus is good, the orchestra firm and powerful, the scenery excellent, and the manager has, in every department, got up the opera in a most liberal

The newspapers are strictly accurate in stating this to be the most splendid, the most gorgeous spectacle that has been exhibited on the stage in our time; the multitude of persons employed, the richness, and not the richness only, but the classical correctness of the costumes, (for which, doubtless, we are indebted to the adapter of the drama, a good antiquary,) and the extraordinary beauty of the scenery, (by Messrs. Grieve,) would, independently of any other considerations, sufficiently account for its great popularity. But it has undeniable claims to notice viewed as a drama. As a story of a semi-barbarous age, it is not improbable, and keeps up an interest to the close, for the dénouement is retarded-judiciously retarded-till the very last word. There are a few incongruities in it, which might easily have been avoided, but these are overlooked, for the sake of its merit as a whole. The annexed outline is altered from the Morning Chronicle.

The action of the drama is in the 15th century, the scene in the city of Constance. The citizens are rejoicing for the victory obtained by the Emperor Sigismund, and his son, Prince Leopold, over the followers of Huss. Eleazar, a Jew goldsmith, who resides in the square where the rejoicings are to take place, excites the rage of the people, by working at his trade during the performance of mass in an adjoining church. He and his daughter are dragged out of their house, by order of the bishop, and savagely treated by the populace, from whose hands they are rescued by the Prince, disguised as a poor Jew, he having previously in that character, and under the name of Reuben, gained the affections of Rachel. At this time he is betrothed to the Princess Eudocia. He is affectionately received by Eleazar; but when the Jew offers to bestow on him his daughter, stung by remorse for his conduct to his affianced bride, he avows himself a Christian, and abruptly quits the house. Rachel follows the supposed Reuben to the palace, and persuades the Princess to take her into her service. A great banquet is given by the Princess to the Emperor and Prince; in which Rachel, officiating as cup-bearer, presents wine to the Prince, and discovers in him her perjured lover. Eleazar entering at the same moment with a necklace which he had sold to the Princess, makes the same discovery. Rachel, maddened by jealously, denounces Leopold, as guilty of intimacy with a Jewish woman, proclaiming herself, in her frenzy, as his paramour. The Prince is arrested, and both he and the Jewess are conveyed to prison, where the Princess visits Rachel, and by her tears induces her to retract her accusation. The chief judge is the Cardinal de Brogny, a historical personage of note, who rose from the situation of a shepherd boy. Many years before the period of the drama, his palace at Rome had been sacked by the Neapolitans, when his wife and infant daughter, as he supposed, perished. The child, however, had been saved, by one who brought her up as his own daughter, and in his own religion, a fact well known to Eleazar; but he, hating the Cardinal who had caused the

death of his two sons, never discovered to him the circumstance. An interview takes place between the Cardinal and the Jew. The Cardinal tells him that his life and his daughter's are forfeited in consequence of her false accusation of a Christian, but offers them pardon, on condition of their embracing Christianity. The Jew indignantly refuses, adding that he has the means of revenge in his power, as the Cardinal's daughter lives, but where to be found is only known to him, Eleazar ; and this secret he resolutely refuses to divulge, notwithstanding the agonized Cardinal's entreaties.

The Jew and his daughter are sentenced to the cauldron, which, with a fire ready, appears on the stage. The Emperor, Cardinal, attendants, and guard are in readiness to witness the execution. The Jewess enters, and her father, who had in vain been tortured to make him reveal his secret, is brought in on a litter, in a dying state. He is asked by the Emperor if he will save his and his daughter's life, by stating what he knew concerning the Cardinal's child. Eleazar desires to converse with Rachel apart: tells her that he can save her by a single word, and asks if she wishes to live, and, by turning Christian, obtain wealth and splendor. She determines in the negative, and ascends the steps to the cauldron. As the fire begins to burn, Eleazar, imagining her death certain, exulting, proclaims, with his last breath, that she is the Cardinal's daughter! Rachel is saved, and the curtain drops.

In the French drama the fatal catastrophe actually takes place; Rachel suffers in the cauldron; and we are decidedly of opinion that such is the only legitimate termination, viewing the question critically.

The dialogue between the Cardinal and Jew is of a very curious nature; the latter is allowed to have by far the best of the argument. What does Exeter-Hall say to this? Though as the beaten interlocutor is a Catholic, perhaps the offence admits of much palliation. The music of The Jewess consists of an overture, choruses, marches, and many instrumental pieces, accompanying the dances and stage action. It is all of a very ordinary-we might almost have said flimsykind. The acting of Miss Tree and Mr. Vandenhoff is excellent; and

the other characters are well sustained.

THEATRE ROYAL, LYCEUM.

THE attempt to keep this theatre open, even at reduced prices, after Drury Lane, Covent Garden, the Olympic, &c., had commenced their winter season, entirely failed, the manager therefore made another effort, which appeared to us extremely hazardous; he again lowered the terms of admission, and fixed the box price at two shillings, the pit at one, and the gallery at sixpence! It has been stated, that he had previously so much curtailed his expenditure, that a house tolerably well filled, even at these prices, would be a security against loss. But in theatrical concerns, it is well known that receipts keep pace with disbursements. A large expenditure implying first-rate performers, good writers, and composers, and a liberality amounting almost to profusion, in the manner of reviving what is old, and bringing out that which is new, is pretty certain of being followed by proportionate receipts. The economy which is apparent to the public, is false economy. The savings resulting from good management are out of view.

Nothing has been produced at this house, since our last, to induce us to visit it. We hear that it fills, and, trusting that such report is true, we hope that the manager may be encouraged to take some bold step, and bring fortune to his theatre by enterprising violence.

TO OUR READERS AND CORRESPONDENTS.

A Subscriber is informed, that the accompaniments to the Overtures are, in our work, incorporated with the piano-forte arrangements.

With many thanks for the obliging offers, we beg leave to decline the Song, and Ballad, of our correspondents N. and G., as well as the Rondo by H. W. T. The Fantasia recommended by N. is copyright.

** Reviews of The Siege of Rochelle, and several other works, are necessarily postponed till our next.

ERRATUM IN OUR LAST.

Page 3, column 2, line 30 from the bottom, for Singgesell read Junggesell.

The first of Trois Sonates, op. VII. Composées pour le Clavecin, ou Piano-forte, par Muzio CLEMENTI. Op. VII. The title proves this to have been an early work of the author, for it was evidently written when the harpsichord was the instrument most generally in use, and the piano-forte in its infancy. But the whole sonata bears testimony to the vigour of the composer's imagination, and the maturity of his judgment. Such a union of free, elegant, original melody, and masterly, yet unaffected, impressive harmony, is now, unhappily, somewhat rare; and we feel justified in asserting, that not one passage, not a single bar, can be found in the whole work, that is not as fresh, as devoid of anything in an antiquated form, as if the author had just begun to shed his lustre on the musical world.

INTRODUCTION TO Winter-(Page 60).

This, which the composer, HAYDN, denominates an Introduction, (Einleitung) though he has translated the German by the word Overture, is the opening of the last part of his Seasons, introducing the brumal quarter. He has not here painted Winter 'wrathful, and with blustering blasts,' but cold and gloomy, all things

'In woful wise bewailing summer past.'

Indeed the sombre character of the latter portion of his oratorio is one of the reasons, perhaps the chief one, why the whole is so seldom performed.

BALLAD (Page 48).

The Brook's Lullaby.

1.

Weary wand'rer, repose,
Thy sad eyelids close,

This is thy home-thou shalt dwell with me;
In bed so deep,

Calm, calm shalt thou sleep,

Till my stream's quaff'd dry by the foaming sea.

In

my

2.

Soft pillows are spread,

Oh, rest thy head

chamber so blue and so crystal clear;

Ye wavelets, roll,

And lull his soul,

Wavelets, to rock him, oh quick hasten here!

Away, away,

3.

Nor too near me stray,

At your shadow, girl, he will wake with surprise ; Yet ere you've past,

Your kerchief cast,

With it I'll cover the sleeping-one's eyes.