The Press.
London, England, 1853-05-14 00:00:00

lilt Drama.

ROYAL *ITALIAN OPERA.
No lIVENT of sufficient. importance has this week
occurred to justify any special notice. Verdi's opera,
Riyoletto, i 5 announced for this evening (Saturday).
The published playbill shows a strong cast, and the
announcement of Mr. Beverly as the scene-painter
is a feature of some interest. if Verdi, supported by
all the resources of this theatre, fails to obtain suc-
cess, his chance of ever attaining popularity in this
country is gone for ever.

FRENCH PLAYS.
THE engagement of 31. Regnier, of the Theitre
Francais, which commenced on Friday week, forms
one of the most important and attractive features of
Mr. Mitchell's theatrical season.
From some cause, often referred to his provincial
accent, 31. Replier is, to a great extent, free from
the conventional inflection and emphasis which, to
oui• mind, is the principal defect of the French
actors. His easy natural manner, and his peculiar
accentuation, which marks the sense of French sen-
tences in a manner approximating to that which the
spirit of the English language amands, impart a
truth and reality to his performance that have
rarely seen equalled, and never smrssed by any
foreign actor. We have no hesitation in saying that
M. Regnier possesses all the qualifications of a first-
rate artist. His talent for impersonation is very
great, and so wide is the range of character which his
versatility enables hint to portray, that it is a matter
of doubt whether he appears to most advantage in
comic and eccentric characters or in plays of a serious
interest.
Le Bonhontine Jadis, selected for representation
the first night of his engagement, is the merest trifle.
Au elderly gentleman invites a student and a grisette
to dine with him on his birthday, and finding that
his guests, though unacquainted, have fallen in love
with each other, makes up the match before the con-
clusion of the dinner. M. Regnier's talent works
these materials, so slight that they can scarcely be
called a sketch, into a most perfect and finished pic
ture. His impersonation of the lively and convivial
Bonhomie Jadis, occasionally relapsing into sadness
at the recollection of the scenes and exploits of his
youth, and a tale of disappointed love, is highly
artistic, and his deep and genuine pathos formed a
striking relief to the laughter which his comic humour
constantly provoked.
Maurivaux's comedy, Un jot d'Amour et du Hazard,
produced the same night, is hardly suited for repre-
sentation at the present day. The brilliancy of the
dialogue is no compensation for the absurd improba-
bility of the plot. In spite of the meritorious exer-
tions of the actors, its effect upon the audience was
highly soporific, and the curtain fell to an empty
house.
M. Regnier and 3111 e. Ilmhan have also appeared
during the week in Les Demoiselles de St. Cyr, and
in Mlle. de Seiglihe. Madame Armand, a Midwife
in the latter piece, will claim attention.

THE THEATRES.
'Norm' the time of the year has hardly arrived
when the exertions of the London managers begin to
wax faint, the theatres have, during the last fortnight,
been singularly barren of interest.
The Critic, revived on Wednesday last at the
Lyceum, gives an opportunity to Mr. C. Mathews to
exhibit his versatility by doubling the characters of
Puf and Sir Fretful Plagiary. The rapidity with
which he effects his change of dress and appearance
is quite startling.
Mr. Buckstone produces a new comedy this e‘enin s
at the Haymarket.
Mr. Kean, as his Whitsuntide attraction, speculates
upon a series of performances by tit? veteran actor,
Mr. T. P. Cooke. Mr. Cooke, who, though sixty-
seven years of age, is said to be as vigorous as ever,
carries us back to the play-going days of our child-
hood. and we are curious to see whether the stage
sailor will, at this day, have the same hold upon an

audience as in those times when the recollections of
the war were comparatively fresh in the public
mind.
Mr. Webster has announced The Merry Trirex of
Windsor for next week. The Adelphi possesses a
most excellent company, and, if the play be only judi-
ciously east, this revival ought to be attended with
complete success.

Illusit 310 11,usitians.

NEW PHILHARMONIC.
THE directors of the New Phill►urmonic, in further-
ance of their announced intention to give modern
composers an opportunity of appearing before the
public, on Wednesday last produced Dr. Wyldes
music to •• Paradise Lost," under the direction of the
composer. It has been found by ex erience, as the
annals of oratorio music will testify, that a musical
composition, dramatic in construction, but performed
in a concert-room without any of those accessories
which a representation on the stage can alone sup-
ply, is invariably ineffective unless the music be the
work of a great master, and in itself of sufficient in-
terest and excellence to engr ss the undivided atten-
tion of the audience. It will hardly be contended,
even by the most zealous partisan, that Pr. Wylde,
though undoubtedly a clever writer, possesses talent
of so high an order as to obtain success in a species
of music that the ablest masters have rarely rendered
popular. We may, therefore, without offence to him,
and without any undue depreciation of his abilities,
pronounce his illustration of Milton's poem to have
pr,ved virtually a failure. It is, perhaps, hardly
fair to give any detailed criticism of this work after
one hearing. Still we may say, without injustice,
that it contains no striking or original features. A
song, admirably sung by Miss Louisa Pyne, and re-
demanded, seemed to possess more individuality
than the other music allotted to the principal
singers; but the preponderance of recitative, and the
want of variety in the choruses throughout the com-
position, are, in our opinion, an insuperable obstacle
to ultimate and lasting success. Before parting
with 1)r. Wylde we would advise him, as he is a yomig
composer, to abstain from attempts to express the
meaning of words by the imitation of natural
sounds, and the introduction of startling and uncouth
noises. A solo on the gong no doubt has its effect in
Hien quadrilles, or amidst the blue tire of a minor
theatre melodrama, l►nt it is out of place in an orches-
tra which aspires to be one of the first in Europe.
Mr. W. S. Bennett's concerto in C minor, which has
proved such an apple of discord amongst the Old
Philharmonic directors, introduced Miss Goddard to
the new society. This composition, though possessing
considerable merit, especially in the slow movement,
is, on the whole, laboured and devoid of originality.
The subscribers to the old society may, we think, rest
satisfied that they have not sustained any great loss
by its withdrawal from their programme. Miss
Goddard met with an enthusiastic reception. She
has a wonderful command of the instrument, and,
though rather wanting in sensibility and expression,
her unquestionable talent and extreme youth are a
sufficient answer to any unfavourable criticism.
Mendelssohn's magnificent symphony in A was ex-
ceedingly well performed, under the direction of M.
Lindpaintner. Three overtures, and some vocal
pieces, very moderately sung by Messrs. Staudigl and
Reichart, completed the programme of a concert
which did not terminate till half-past eleven.
QUARTETT ASSOCIATION.
THE third meeting of the Quartett Association took
place on Thursday last. A quartett of Ries in F, led
by Mr. Cooper, served to display that gentleman's
tone and brilliant execution to great advantage ; and
the talent of the whole Fifty, under the able leader-
ship of M. Sainton, was developed to the satisfaction
of the audience by their admirable execution of Bee-
thoven's Posthumous Quartett (No. 127 ►, one of the
great composers roost elaborate and intellectual
works. Mendelssohn's sonata in It flat, performed by
Mlle. Clauss and M. Piatti, though a charming con►•
position, is less attractive than many of his chamber
compositions. The subjects are not clearly defined,
and there is a degree of repetition which to a certain
extent engenders monotony. The pianoforte part
was excellently rendered by Mlle. Clauss. M.
Vaal, so far as we could hear, executed his part with
his accustomed ability ; but, except in those passages
which lie o 3 the upper part of the instrument, the
violoncello was almost inaudible throughout the
sonata.