The Press.
London, England, 1855-03-03 00:00:00

THE PRESS.

educatiuu only to be gut in the salons of the artists and
literary men. Now it is just in the Opera Comique that
this is carried to its extroneet height. It is the opera
itself, it must be confessed, that requires a good deal of
adventitious aid. Though presenting fewer difficulties of
execution than Meyerbeer's greater works, it has less bot-
tom, and trusts more to the action and the spirit of the
artists. The military song in the second act is but a feeble
eoho of " Piff Paff." The two principal choruses, in the
first and second acts, are both diluted from Robert le Diable.
It is, nevertheless, the style of the composer throughout,
with his rude transitions and dramatic colouring, both of
these, the last especially, much softened and weakened.
For the story. it has often been told. Peter of Russia
falls in love, under the disguise of a shipwright, with
Catherine—she returns his affection—follows him to the
army, in the disguise of a common soldier—catches him
flirting with other young ladies—believes him then to be
a captain—insults her superior officer—condemned by
Peter to be shot--escapes—goes mad—and in that state is
brought to Peter's palace, where he restores her by sur-
rounding her with old associates, and playing himself an
old tune upon the flute, not a very imperial method, but
quite as imperial as the rest of his love ravings, be it
said, with the permission of the celebrated author of the
libretto.
The audience seemed pleased, but encored little or
nothing, except a claptrap passage, in which Catherine, in
her ravings, answers the flute upon her voice.
For the new appearances M. Miranda, as he calls him-
self, will make a really useful tenor. Mlle. Seurcy Bauer,
the heroine, has been carefully trained, and is quite up
to the traditions of stage organisation. She is pretty and
piquante—is short and active—rather spirited—with much
talent, little feeling, and not a particle of sympathy with
the subject. However, she may improve mto a singer
whom we shall be glad to welcome, especially under pre-
sent circumstances.

ELta's MUSICAL WINTER EVENINGS.—The first of these
entertainments took place at Willis's-rooms on Thursday
evening, and was attended by a distinguished and fashion-
able assembly. The performers were—first violin, Herr
Ernst ; second violin, Herr Groffrie ; viola, Mr. Hill ; violon-
cello, Signor Phial, and pianoforte, Herr Puler. The
concert began with Hadyn a Quartet in Cr min3r, No. 74,
a delightful specimen of this great old master, whose works
will never perish so long as the world shall find charms in
simplicity, grace, melody, and sunny cheerfulness. The
next piece was Beethoven's first trio in E fiat, for thepiano,
violin, and violoncello, the earliest of his published works,
and in many respects not excelled by any that have succeeded
it. It was followed by Beethoven's celebrated quartet in
F, the first of the " Rasoumeffsky " set—a work in which
the author's daring and original genius shines in all its
lustre. The evening concluded with solos on the violin
and the piano, played by Piaui and Pauer. The perform-
ances throughout were of the highest excellence, and were
received with the warmest applause.
HARMONIC UNION, HANovsu-suukaz Rooms.—Mendels-
sohn's Lobgesang, and Rossini's Stabat Mater are to be
performed at the next concert, which is fixed for Wednes-
day evening. The Stabat Mater is not often included in
the programmes of our London societies, as its perform-
ance is objected to by the authorities at Exeter-hall. On
this occasion, a strong caste is announced, including Mrs.
Sims Reeves, Miss Lascelles, Mr. Sims Reeves, and Mr.
Weiss; Herr Molique will as usual be the conductor.