The Press. — London, England, 1856-06-28 00:00:00

620 reading which is found in many editions, in which the word " hate " iA introduced after " Antipholus," to rhyme with "ruinate." It should, however, be noticed that this addition nukes the line too long. After all, we may be allowed to doubt whether Shakespeare would use " ruinate " as an adjective. In The Two Gentlemen of Verona, act v. se. 4, we find this passage : Leave not the mansion so long tenantless, Lest growing ruinous, the building fall. Much controversy has arisen on a passage in The Comedy of Errors, where the Abbess addresses her 'twin sons. Malone, followed by Theobald, gives the following reading : Twenty-five years have I but gone in travail Of you, my sons; until this present hour My heavy burden not delivered.—Act. r. ac. 1. The old corrector alters the term of years to " thirty three," but it is clear from the context that the twin brothers were only twenty-five years old, for, in the opening scene, their father, /Egeon, relates that at eighteen years of age one brother left his home in search of the other, and in the closing scene he states that it, was seven years since they parted. In his fondness for thrusting in rhyme, the " old corrector" alters a reading usually accepted, in The First Part of King Henry VI., iu a way which the poet refutes. Margaret, in reply to Suffolk, says, act. v. sc. 3 : To be a queen in bondage, is more vile, Than is a :drive in base servility; For princes should be free. Suffolk answers, as found in most editions:— And so shall you, If happy England's royal King be free. And Margaret rejoins : Why what concerns his freedom unto me ? But the old corrector would have us read : If happy England's royal King be true. Thus, in his love for a jingle, entirely losing sight of the real meaning of the argument. From these specimens we may judge of the value that is to be attached to the "old corrector's" alterations. I may perhaps be allowed to send you some more notes on this interesting subject, and remain, your obedient servant, GEORGE RUSSELL FRENCH. 18, Sussex-gardens, Hyde-park. usit. HER MAJESTY'S THEATRE . THE prediction in THE PRESS that Piccolomini would prove a prize to the Haymarket direction has been fully confirmed by the attendance at the eight performanc.s of Verdi's trashy Traviata, with its abominable libretto. There is a very generous dis position on the part of opera frequenters to encourage the youngest talent in the field, although it is not altogether reasonable that high-priced lyric estab lishments should be made the resort of the rawest recruits picked up on continental stages. The sub scribers have certainly the right to expect the exhibi tion of finished vocalisation, and ought not to be satisfied with the assurance that the veriest novice may, perhaps, in a few years, turn out a first-rate artiste. Piccolomini's Maria, in Donizetti's racy opera La Figlia del Reggimento, if it be judged by Thursday's reception, was an infinitely greater triumph than that achieved by Jenny Lind and by Sontag, and, if the eulogistic notices of our daily contemporaries be accepted as genuine criticisms, THE PRESS might just as well not venture upon an before the piquant Piccolomini luccess had been resolved upon 3 before a curtain, and the after a novelty, cannot change f the paying portion of the insist upon having the true the investment in boxes and fined at once a position here, (eats in the delineation of the displayed remarkable in something to find in one so of experience, and, as her been crowned with glory, she :taracter by way of contrast. tone of our contemporaries. Bung, and indifferently acted. 18 to have no control over her sing very softly, or very loudly. she cannot manage, and the which the upper notes are intolerable to the eat. There voice is signally deficient in and lower notes. It has been .tidying under Alhoni, and she instructress, for the style of the of the pure Italian school. It time, "Convien partir," in was ruined by Piccolomini's 'hich was often at fault. The the attempt to trust too much THE PRESS. to facial expression ; if the eye does not speak in an actress, no distortion of the visage will convey the meaning of the situation to the beholder, with charm. The action was short, abrupt, and angular, and she utterly failed to invest the vivaudiere with the lady like piquancy of Lind, and the proud deportment of Sontag. The best indications in Piccolomini'a version are, in a certain degree, of spontaneity, which quality is her strongest guarantee for the future. It' the public do not endorse these opinions this year, and will pronounce the Maria of Piccolomini to be as acceptable as her Traviata, it will in no way change the real state of things as regards her singing and acting. To obtain a permanent hold on the sym pathies of operatic amateurs is not such an easy task, and artistes of infinitely greater pretensions than Piccolomini have broken down, even afterbiumphs equal to those which saluted Jenny Lind. It is to be hoped that a really promising debutante will not be spoiled by injudicious partisanship. Calsolori's admirable singing must not be passed over without special commendation. This was really the truly attractive feature in the cast. Signor Puzzi takes his benefit on Monday, when the Frylia will be performed. CONCERTS OF THE .IVEEK. THE sixth and final Philharmonic concert was by command, her Majesty, Prince Albert, and Prince Frederick of Prussia honouring the performance with their presence. Dr. Schumann's cantata, " Paradise and the Peri," for solo voices, chorus, and orchestra, was produced for the first time in this country, Mme. Goldschmidt-Lind, Mrs. Weiss, Mrs, Lockey, Messrs. Benson, Montem Smith, and Lawler. being the chief singers. If, in Dusseldorf, at the thirty-third Whitsuntide Lower Rhine Festival, in 1855, Dr. Schumann's work found no favour, although the "Peri " was Lind, and the Lind mania was at its climax at the meting, how could the Philharmonic directors expect such a wearisome and monotonous composition would please here, especially as Schumann and Wagner, clever musicians, and much cleverer writers as they be, have not yet been established as idols in England? Perhaps Monday last was one of the dreariest Philharmonic nights ever experienced; and yet there was a strong dis position amongst the amateurs to ha as aracious and forbearing as possible, first on account of the sym • pathy felt for a composer who as a critic has written generously of English musicians; secondly, because Schumann's reason has left him for ever ; and, lastly, because his wife, the distinguished pianiste, has been nobly struggling this season in London, with a broken spirit, for her husband and children. If Mme. Goldschmidt-Lind, in consenting to sing for one night at these concerts, exacted as a condition that the " Paradise and the Peri" was to be executed, then was her boon to the society a positive act of cruelty to the subscribers, who have thus been de prived of a night of good music for a speculative triviality, which has brought the concerts to a dismal ending. If the " Paradise and the Peri" be a speci men of the modern composers of Germany, then indeed have the giants been succeeded by dwarfs. At the Musical Union, on Tuesday, was the director's grand matinee, Willis's-rooms being crowded with a fashionable array of amateurs, in compliment to Mr. Ella's judicious management. Sivori re appeared as first violin, after a long absence, with Mr. Cooper as second violin, Herr Goffrie for the viola (in place of poor Piatti violoncello, Howell contra-hasso, Baumann, Lazarus, and C. Harper, bassoon, clarionet, and horn. The pianists were the unrivalled Mme. Schumann, and a new Italian pianist, Signor Andreoli, an admirable player. Beethoven's septet in E flat, Op. 20 ; Haydn's quartet in CI, No. 81 ; Mendelssohn's duet in D, Op. 58 ( Mme. Schumann and Piatti); and Viardot's grand de clamation in Schubert's "Erl King," accompanied by Mlle. Schubert, and encored, were included in this interesting programme. Madame Oury is not only a classical pianoforte performer, in the first rank of lady players, but she is also an excellent interpreter of music of the modern romantic school. She possesses manual dexterity to conquer the most intricate works, and also the grace and intelligence to give animation even to the " fantasia " school of writing now so much in vogue. Her matinee, which was givsn last Monday in Devonshire-house, by the kind permission of the ducal owner, was very fashionably attended. Mme. Oury had the co-operation of Mr. John Thomas, the harpist; Mr. Oury, violinist; M. Lefort, the French singer; Herr Reichardt, the German tenor; Mme. Ruaersdorff, and Mme. Viardot. Mr. Francesco Berger. the pianist, gave a matinee on. Wednesday at the Beethoven rooms, aided by Herr Louis Ries, violinist; M. Louis Engel, piano organ ; Miss essent, Miss Palmer, and Herr Reichardt. The last-mentioned tenor was encored in Mr. Berger's song, "Nach Sevilla." Hatton's clever song of " The Curfew," and Mr. E. T. Fitz william's song, "I wandered by the brook side," were well rendered by Miss Palmer, who, with a little more decision of style, will take a higher position. SATURDAY, The Vocal Union which was noticed last week had a second meeting last Wednesday; and on the same morning the Orpheus Glee Union met at the Peetho. ven-rooms, Mlle. Kral', Miss Fanny Rowland, Miss Huddart, Mr. Fielding, and Mr. Frank Bodda, being the singers. English music is, therefore, not totally forgotten, (vet, amidst the rush of Herrs and Signors now in London. Mr. Boleyne Reeves, the harpist and composer, gathered his friends anti patrons at the house of Mrs. Warner last Tuesday. Haydn's Creation was performed on Wednesday night at Exeter-hall, conducted by Benedict., with Mme. Goldschmidt-Lind, Mr. Lockey, and Mr. Weiss for the principal singers. For the 30th inst., Mme. Lind's final appearance in this country is announced. Herr Deiehmann, the clever violinist, gave a coft cert ou Thursday, in which he was assisted by Mme. Schumann. LYCEUM THEATRE—RISTORI AS ROSMUNDA. GREAT as the powers of this tragedienne had been estimated, her Rosmunda must place her, if it be possible, still higher in public estimation. She gave vitality to the bald language of the poet; she raised into importance trivial points of her perilous part, —one tempting the representative to violence and exaggeration which must draw down ridicule in the most solemn situations. In the utterance of the epithets which Rosmunda so freely bestows, Ristoti displayed her wonderful tact. Ordinary actresses would have stormed and raved, but the Italian artiste got over the difficulty of the reite rated explosions of rage and abuse by delivering the superlatives, as it were, within herself, with the teeth closed and the lips compressed, but the e 3 e unmistakeably telling the tale of the inner workings of the soul. In the first act, the history of drinking from the scull-cup (a la Byron) was narrated with a loathing highly suggestive of the physical rejection of the awful beverage, as well as of the mental agony of the doomed daughter. How womanlike was the passage in which she endeavours to persuade her self that Armachilde coald not love Romilda on account of her beauty, however he might be en snared by her blandishments. Thedwakertlng of Rosmunaa's first suspicions, when her husband argues against the union with Marie, was highly discriminative. No artist within our experience ever listened on the stage better than Ristori. This was marvellously shown in the scene in which Ros munda, in the third act, triumphantly follows every word of Romilda as she declares her deep hatred of her father's murderer, and where she boldly avows her affection for Ildovaldo. Ristori's glance of exultation at her foiled caro sposo was inimitable. The subdued rage was finely depicted until she had him safe for the domestic lecture. The succeeding soliloquy, conning over the mode of vengeance, was equally remarkable; and the exclamation of delight at seeing Ildovaldo to employ him as her instrument, created an immense sensation. Something like human feeling appears to animate Rosmunda in the fourth act. She contrasts piteously the strength of the affection of Romilda and Ildoraldo with the ingratitude of Armachilde for her ardent love, but ber pride will not permit her to own her preservation, and she dis misses Romilda with haughty coldness. In the last act it is with sneers and sarcasms she greets her victorious Armachilde and the unfortunate Romilda. One feels that the bitter irony must conceal a despe rate resolve, and, come what may, Romilda must be the victim, especially when Ildovaldo retires without having killed her husband. The grasp with which Rosmunda holds Romilda is evidence that it will never be released whilst the latter breathes. The rush to the staircase, from the summit of which Rosmunda taunts both husband and lover, and finally sacrifices Romilda, was followed by attitudes of mingled despair and defiance, in which the absurdi ties of the author were atoned in admiration of the actress, and the excited audience broke out in loud acclamations. The Queen and Prince Albert honoured the per formance with their presence. Poneg raft and eitg ]nitiligtatt. FRIDAY EVENING. THE return of the Bank of England for the week ending June the 21st shows the following changes compared with that fur the week preceding:— Increase in Circulation .. Increase in Public Deposits Increase in Other Deposits Increase in Government Securities 49,687 Increase in Other Securities Increase in Bullion .. Increase in Rest Increase in Reserve - . Bullion iu Both Departments Circulation, including Bank Post Bills 20,062,109 opinion, seeing that, befot had sung a note, a suce But the demonstrations records on the morning aft the ultimate verdict of I community, which will in attraction in return for th stalls. Piccolomini obtait because, with many defect • Traviata, her last scene stinct in acting. It was st young the earnestness ( . i tragic endeavours had het was placed in a comic ch: Wo cannot chime in the to • The Maria was badly sur c Mlle. Picolomini seems t 4I . organ. She can only sing ... The gradation of sound s discordant manner in w screamed out becomes int is no relief, for the voi quality in the middle and . r slated that she is now stir • cannot have a better instr latter is the perfection The larghetto in six-eight the finale of the first set, • defective intonation, whit:. • acting was marked by the --.. -..-... ... - • ■