The Press. — London, England, 1853-06-04 00:00:00

116 rrrsir. • ROYAL ITALIAN OPF.RA. AMMON we are decidedly of opinion that the pro duction and complete failure of Rigoletto may properly be urged as a plea in bar to the representation of any other work of Verdi's during the present season, the strength of the cast of Emma, announced for Satur day last, led us to anticiVate that we should forget the worthless character of the music in our admira tion for the singers to whom the execution was entrusted. We were, however, doomed to disappoint , ment. Mme. Resit) was seized with one of those mysterious fits of illness which invariably, and we may add most inconveniently, attack prime &nine, to attain their crisis, an hour or two only before the curtain rises, and the part of Elvira was in conse quence confided, at a very short notice, to Mlle. Albini. As we have already expressed ourselves un favourably relative to this lady's vocal and histrionic abilities, we feel bound to state our opinion that, taking into consideration the ciremustancea under which she appeared on Saturday last, the audience should have shown more indulgence, and not expressed their dis approbation of her singing in so open and decided a manner. Signor lielletti made his first appearance at this theatre in the part of Don Silva, and was received with much applause. This gentleman is a most excellent artist, and, moreover, an actor of some ability. As a bass singer he ranks next to Roncotti and Lablaelte, and he is unquestionably a great acquisition to the Covent Garden company. Ronconi was admirable in the comparatively unimportant part of lion Carlos. We never heard him sing better, nor show how in taste and feeling, as well as in acting, he is superior to all the singers of the day. The Huguenots was produced on Thursday last. Mario was in fine voice ; and t+risi, though in oar opinion decidedly inferior to \lonia in the part of Valentine, is nevertheless heard to much advantage, M. Formes' impersonation of Marcell() is too well known to require comment; and Signor Belletti, its St. 11th, both acted and sang exceedingly well. Mlle. Didiee, though an improvement on Mlle. Seguin, is not equal to the part of Urban() the page, which, to be really effective, requires not only great vocal ability, but a refinement of manner and confi dence of deportment that few contralti of the present Jay possess. THE PHILHARMONIC SOCtETY. Tur. programme of the fourth concert was ItS fOIIOWS PA it 1.-" ITstroltl iu ltady," Symphony lu four purl„; (" Flight into Eqpt"), Signor urdoni ; h cr titre. " Cur iiiiiiii Iti mum* ' ; llrrltuz. Conductor, M. lI cc MAW. Parr in 11 minor, Beethoven—Aria," Liebe Ist," M. Pischek (Fottst); HO, C t rithitSS,,signor ittt ; ittotesini—Aria, " Auge si put.' Signor titationt; 110111- retti—Overture, "Ruler of the Spirits" ; Weber. So Mitch has been written and spoken or late rela tive to novelty at these concerts, that we conceive the direciers evinced a sound discretion in confining the whole of the first part of the concert to M. Berlioz' works, and in committing the direction of both the rehearsal and performanee to that gentleman's own hands. By the adoption of this coarse they have effectually shut the mouths of partisan critics, and have, moreover, given their subscribers a fair oppor tunity of judging of the composer's merits. We do not presume to hay down whether the various pieces selected were favourable specimens of the author's talent ; hut, if they were, it is our deliberate and lionc:it conviction that M. Berlioz is never likely to attain any great degree of popularity in this country. Though he unquestionably is a musician of much learning and considerable power, he never displays any indication of genius ; and possessing neither the gill of distinctive and characteristic melody, nor skill in construction, ho is deficient in those very qualities which are indispensable to the attainment of any lasting reputation. The symphony, in four parts, entitled " Harold in Italy," 'which, so far as it corresponds with the descrip tion appended to the programme. might with equal propriety be called " Anybody anywhere" or "Nobody nowhere," fails in conveying any distinct impression to the hearer, and is essentially a thing of " shreds and patches." The materials of which it is composed, though often characteristic and even interesting in themselves, arc unskilfully put together and con founded with much that is unintelligible and posi tively disagreeable ; and the total absence of any repose or relief results in indescribable weariness long before the forty minutes which the performance of the symphony occupies are expired. 4in the whole. the music was very well executed, and a suffi cient excuse for any slight imperfections may be found in the faint and defective manner in which the instrumental parts were minted. M. Salmon dis tinguished himself in the viola principale part, which, owing to the serious indisposition of Mr. llill, lie was requested by the directors to undertake at a short notice. Although the instrumental introduction to the song "From the Flight into Egypt " displays some clever combinations for the wind and stringed instrn- THE PRESS. ments, the vocal part is a very poor and sorry affair. It is, in fact, nothing but a species of mea sured recitative, and the applause which enforced its repetition was neither hearty nor genuine. We were informed by the programme that this composition was written in the ancient style, but we were unable to discover in it the distinguishing characteristics of any school or age. The overture, "Le Carnaval Remain," from the opera Benrenuto Cellini (shortly to Le produced at Cogent Garden), commences with a very pleasing solo for the come Inglese (well ren dered by Mr. Nicholson), supported by an accompani ment of effect and ingenuity. All interest, however, ceased with the slow movement, and what follows seemed nothing hut noise and confusion. We may safely report that on the whole M. Berlioz did not find favour in the sight of the Philharmonic audience, and that the directors will not be justif ied in accor ding a second time to his works the same prominent position in the programme. Beethoven's greatest symphony was very finely performed. Let not, however, even the Philharmonic baud be over-confident in their powers. The exces sive heat of the room may be an excuse for a few slight imperfections in the brass department, but nothing but inattention can account for the slip made by the second violins in the very first bar of the symphony. Signor Bottesini was deservedly received with much favour. His performance was very tine, but hardly so pleasing or so interesting, we thought, as on the last occasion when he appeared at these concerts. M. Pischek's delivery of the lovely song of Spolir was to a certain degree effective, though his voice and style are hardly suited to the concert-room. We think Signor t l ardoni might have made a better selec - tion than that of the poor and hacknied song of Donizetti, which, moreover, from some inexplicable reason, he chose to sing in the French language. NEW VIII LIIAIIMONIC SOCIETY. FROM the press of matter we are compelled to postpone our notice of the fourth concert until next I week. MUSICAL UNION. THE programme of the fifth concert was as follows : D Minor (No. 2), Movot; Sestet, Op. 30, Putno, Flute. Clarinet, Bassoon, Ilium and C.-ItaAso, Onalow ; Quartet, I': flat (So. to). Ileatltin en ; (latent ow (I) minim) and Variations for Violin, Melt. These two quartets are so well known that they hardly require, at this day, any critical or explana tory remarks. With 31. Vieuxtemps as leader, Mr. li. Illagrove (one of the first violinists in Europe) sustaining the tenor part, we had a right to expect a most satisfactory result. Any dis coverable shortcomings must be attributed to the inequality of merit and power of the tour performers, which in the last movement of Mozart's quartet, as well as throughout the quartet of Beethoven, wu sufficiently apparent. The sestet of Onslow, ren dered by Messrs. litollc, It. Pratten, Lazarus, Jarrett, Baumann, and F. Pratten, is a charming compo sition, alike remarkable for graceful and expressive melody and vigorous writing. The execution, too, was, on the whole, very good. Though it perhaps seems invidious to single out any one of the per formers for especial commendation, we cannot avoid mentioning the name of M. Hank. To this gentle man we accord the preference above all the piano forte-players now in London. Powerful in tone, clear and rapid in execution, and imbued in the highest degree with musical feeling and expression, he seems to fulfil all the requisites and conditions of a great player. Backs chaconne and variations served to exhibit M. Vieuxtemps' abilities to great advantage. The largeness and volume of his tone, and his power over the instrument, are perfectly surprising. The peculiarities (to use a mild expression) of the publication which Mr. Ella terms his "synoptical analysis" (sic), and distributes for the amusement, we presume, of his subscribers, are often highly diverting ; hut, we cannot refrain from expressing our strong disapprobation of the indirect attack upon Mr. Lindley contained in the paper circulated at the con cert on Tuesday Inst. Although 31r. Lindley's European reputation will effectually protect him against a host of such assailants as 'l r. Ella, it is our duty, for the information of those who are not prac tically acquainted with Mr. Lindley's artistic career, to deny most emphatically the position that lie was a mere mechanical performer. Lindley had not only a special genius for the violoncello, and a command over the instrument which has never been acquired by any other person within the memory of man, hut he imparted a peculiar and most felicitous expression to the classical works most in vogue during his day, a species of music which, in the hands of some of the most popular violoncellists of the present time, seems to possess neither meaning nor individuality. It may be said, without fear of contradiction, that no one capable of giving an opinion can call to mind Lindley's obligate playing and accompaniments in the Opera-house, the concert-room, and the oratorio, and especially his reading and execution of Corelli's musk, and designate him nothing more than a mu sket automaton. Does Mr. Ella really think that SATURDAY, if Lindley had sustained the violoncello part in the sonata of Tartini, performed at his concert on the 17th of May last, in the pla►•o of Signor Piaui. A%4 should have had to record a failure? SURREY THEATRE. A NEW prima donna has lately appeared at this theatre, where English opera and foreign opera, sung in English, are very respectably performed. under the direction of Miss Romer. Opera at the Surrey Theatre, where the highest price of admission does not exceed two shillings, must not be subjected to too severe a criticism ; and the artists engaged in so laudable an undertaking, so relining and so humanising in its influence, upon a comparatively rude and uncultivated audience, should be looked upon as a band of musical missionaries, and treated with due respect and forbearance. Miss Lowe, the new Antina, possesses a voice of great sweetness, considerable flexibility, and perfect truth of intona tion, if of no great power. Her music is excented with great care and discretion, and with the certainty and self-possession of a musician ; but the tire and energy necessary to form a dramatic singer appear to be wanting. 3liss Lowe is evidently quite unused to the stage, and, though not positively ungraceful, there is a want of ease in her demeanour that con trasts most unfavourably with the precision of her singing. The lady was applauded enthusiastically. by a most excitable and yet attentive audience ; but, nevertheless, her talent appears to be better suited to the concert-room than the stage. Mr. Travers, as Efri/10, and Mr. Borrani ' as the Count, acquitted themselves with their usual ability. Itt tram. FRENCH PLAYS. THE appearance of Mile. Rachel on Wednesday last in Racine's tragedy, Phedre, announced the climax of Mr. Mitchell's theatrical season. The house was well attended, and the greatest tragic actress of the day was received with enthusiasm. However min teresting and wearisome this play may be in itself, it most undoubtedly affords a favourable opportunity for the display of that intensity of feeling, and un broken flow of nervous sensibility and power, for which Mile. Rachel is pre-eminently remarkable. In criticising an impersonation so marvellously sustained, and of so high an order, it is, if not impossible, cer tainly a matter of extreme difficulty to distinguish between what is good and what is excellent; but, to our mind, the manner in which Pluedra makes known her guilty love for her stepson, and the torrent of passion with which she reproaches "Enone for her accusation of Hippolytus, are the most affecting and powerful features of the whole performance. We cannot say much in favour of the other ladies and gentlemen engaged in the representation of this tragedy. When the principal character is sustained by Mile. Rachel, all the other personages of the drama seem to be seized with some species of para lysis of action and utterance. We are very curious to see Mlle. Rachel and M. Regnier act together. The audience evinced great want of propriety in more than once recalling Mlle. Rachel upon the stage during the progress of the play, and even before the conclusion of an act. This most vulgar and offensive practice, fatal to all dramatic effect, is a foreign importation, and should never be tolerated in this country. What would be thought in an 'English theatre if some Lady Macbeth, after a successful exit in the sleep-walking, scene, were to reappear upon the stage in propriti person& and bow her acknow ledgments for the applause bestowed upon her per formance ? fortign gltiistir 6.ossip. THE week has not been very rich in artistic news on the Continent. At Paris the dramatic lion is the k'illes de Marbre, whose immense anti increasing suc cess recall to the memory the long-forgotten drama of Palissot, Les Courtisannes, at the end of the last century, which,like the piece of Bariere and Thiboust, caused a formal revolution among the Phrynes of the day, not on account of its literary merit, but rather because it hid a social abuse. Another novelty begins to dispute with the Fines de Marbre the favour of the public—Le Vieux Ca : prat—written expressly for Frederick Lemaitre. who founds on it one of his best creations. The authors have comprehended admira bly the present condition of the talent of the great tragedian, and have made him a mute during three of the rive acts. his pantomime is said to he un surpassed. At the Ambigli a piece of eerie is attracting the public, for no other reason than that immense sums have been wasted on the 'the en scene. A black cantatrice, Miss Maria Martinez, has made her appearance at the Italian Opera. The papers are in raptures at the Havanese and ink-coloured singer, but the persons who heard her class her in the fifth and sixth category of voe• -0 :