The Press.
London, England, 1855-05-19 00:00:00

DRURY LANE.

THE engagement of the Ita'ian opera company has
been continued at this theatre, and the house was
reopened on Wednesday evening with the opera of
La Sonnambula, Mine. Gassier sustaining the part
of Amino. The house was literally crowded in every
part, and, from the attention which was paid to the
performance, it may be said by an audience at
least desirous of appreciating the beauties of an
opera. The institution of a cheap opera in London
may be regarded as a great event, and the projectors of
this scheme deserve the patronage of the public.
Not only is the opera well put upon the stage, but
the singers and orchestra are both excellent, and to
the public the opportunity is now offered of hearing
some of the most exquisite inspirations of the greatest
composers admirably performed for the most mode-
rate charges. We cannot speak too highly of this
attempt to legitimate a cheap opera in London, and
it rests entirely with the public to decide whether
such an institution shall become one of our perma-
nent amusements or not. The closely crowded
house upon Wednesday evening gave evidence that
the feeling is in favour of the attempt, which, from
the excellence of the means employed, is certainly
fully deserving of every success. The comfort and
convenience of the arrangements of the house also
evince the anxiety of the lessee to leave nothing un-
done which shall insure patronage, and to all who
wish to hear a good opera well performed in every
part—for each character is thoroughly well sus-
tained—for a charge below that for theatrical perform.
ances, we would recommend them to visit old Drury.

LycEum.—Mr. Allcroft, the lessee of this theatre,
has announced a short series of farewell operatic
performances by Mme. Anna Thillon, prior to her
final retirement from the stage. As an actress and
a singer Mme. Thillon belongs entirely to the French
school. Her genre is light comedy, and she has
done a great deal to make the English public familiar
with the operas of Auber, more than one of which,
we believe, were written expressly for her. One of
her principal parts is that of La Catarina, in the
Crown Diamonds ; and this opera accordingly was
chosen for her first farewell performance ou Wed-
nesday evening, on which occasion she acted with the

MAY 19, 1855.

arch and graceful vivacity which has always distin-
guished her. Her voice, too, has suffered less than
might have been expected from the hand of time;
and she executes her embellishments and fioriture,
though with more effort than formerly, as brilliantly
as ever. The performance in other respects was
tolerable—as good as could be expected from a com-
pany got together for a temporary purpose. The
tenor, Mr. Bowler (who, it was announced, bad
undertaken his part at a short notice), appeared
lately at Drury Lane in the Etoile du Nord. His
vocal powers are not great; but he looks well, and
acts with considerable ease and spirit. Mr. Leffler,
as Rebolledo, the chief of the soiners, was very good
indeed. The orchestra and chorus stand much in
need of additional strength. The house was full,
and Mme. Thillon's reception was most cordial.
There is no doubt that her farewell performances will
be highly successful.
PHILHARMONIC SOCIETY.—The programme of the
fifth concert, on Monday evening, was as follows .
Stilton's in E fiat Mozart
Aria, " Agitato," Signor Belletti (I Fuoruaciti) Paer
Concerto in E minor, pianoforte, Mr. C. Halle Chopin
Aria, " Martern slier arten," Mlle. Jenny Ney (Die
Entfuhrung sue dem Serail) Mozart
Overture, " Tannbaiieer" Wagner
Sinfonia Pastorale Beethoven
Bomanza, " Roberto! odu den ich Bebe," Mlle
Jenny Hey (Robert le Diable) Meyerbeer
Barcarole, " Suns poppa del info brit," Signor
Belletti (La Prigione di Edinburgo) Ricci
Overture, " Preciosa" Weber
Conductor—Herr Richard Wagner.
Mozart's symphony in E flat, one of his most
charming orchestral compositions, remarkable for
the sweetness of its melodies, was exceedingly well
played, though the andante was taken too slow, and
the consequence was that it did not make the same
impression as usual. The magnificent pastoral
symphony was performed in a manner which did the
highest honour both to the conductor and the band.
The various effects of this inimitable work were
clearly and beautifully brought out. But the object
of the greatest curiosity was the overture of Wagner's
celebrated opera, Tannhaaser—a work respecting
which public opinion in Germany is carried to oppo-
site extremes. This was the first time it has been
performed in this country in such a manner as to
enable any judgment to be formed of its merits, and
it is impossible to give a decided opinion upon one
bearing. It certainly possesses great originality,
but an impression is left upon the mind of a want of
melody and form. The accompaniments are so in-
tricate and so full of instrumental difficulties, that in
spite of the unusual care which had been bestowed
upon the rehearsals, and the explanation of its design
given in the programme, the effect was not satisfac-
tory. There are things in it, however, which must at
once strike the hearer as beautiful, particularly the
soft and solemn strain of wind instruments with
which it opens, intending to represent the hymn of a
procession of pilgrims ; and the whole piece certainly
shows a great command over the resources of instru-
mentation. Mr Halle's performance of Chopin's
concerto was exquisite. Its enormous difficulties
were mastered with a lightness, refinement, and deli-
cacy of execution unequalled. Tha piece itself is
full of that romantic expression for which Chopin's
music is distinguished. The vocal music was
throughout successful. Mlle. Ney fully supported
her reputation as one of the greatest singers in
Europe. Her voice, in power and beauty, is almost
unrivalled, and she possesses, in the highest degree,
intelligence, feeling, and execution. Both she and
Belletti were received with the greatest applause by
a very full audience, who appeared highly gratified
with the performances.

ROYAL ACADEMY OF Music.—The third concert of
this season, for the exhibition of the students, took
place at the Academy, in Tenterden-street, on Tues-
day morning. It consisted of Acis and Galatea, fol-
lowed by a selection of miscellaneous music. Handel's
serenata was exceedingly well performed—the prin-
cipal singers, chorus, and orchestra being all com-
posed of pupils of the academy. The performance
was conducted by Mr. Lucas. Miss Spiller distin-
guished herself by her singing of the air, " Hush, ye
pretty warbling choir." Mr. Allen did great justice
to the fine melodies, "Where shall I seek the
charming fair?" and " Love in her eyes sits playing ;"
and Mr. Bolton sustained the part of Polyphemus
very effectively. Among the miscellaneous music
there were two pianoforte pieces—the adagio and rondo
from Moscheles' concerto in G minor, played by
Miss Cazaly, and the andante and rondo from Bee-
thoven's concerto in C minor, played by Mr. J. F.
Goodman. Both these young performers Re-
quited themselves admirably, and gave promise of
very high excellence. Master Isaac played on the
violin a caprice of Vieuxtemps in a manner very sur-
prising for his age. He had a fulness of tone, a
certainty of hand in the highest positions, a freedom
of bow, and a grace and smoothness, which did
honour to himself and his instructor, who (we
believe) is M. Sainton. The duet, " Crudel perche,"
from the Nozze de Figaro was very nicely sung by
Miss Wilkinson and Mr. Cr . Dolby. The whole per-
formance was highly successful.

THE PRESS.

THE MUSICAL PROFESSORSHIP.
(From a Correspondent.)

THE recent disposition of the musical professorship
of Oxford, vacant by the death of Sir H. Bishop, has
caused much excitement and indignation in musical
circles. It appears that the absolute elective power
for the disposal of this office (an honorary one, the
emoluments amounting to thirteen pounds a year, of
which three are expressly set aside by the founder of
the office for fuldlestrings) is vested in two proctors
of the university—doubtless, most worthy gentlemen,
but very ill fitted, we imagine, for the exercise of
discerning judgment in a comparison of musical abi-
lities. A gentleman occupying a deservedly high
station among our &straw musical professors, Mr.
Charles Horsley, discovering that candidates are
admitted for this post of honour, writes a letter of
application to the two proctors, stating that he wishes
to become a candidate for the dignity, and informing
them that his testimonials (from Sir George Smart,
Cipriani Potter, Jules Benedict, &c.) will shortly
follow, with a formal application for the office. To
this letter no answer is returned. The testimonials
are sent; and Mr. Horsley discovers that the post
was filled up the day before his testimonials could
have been received. Other gentlemen of musical
eminence (men equal to Mr. Horsley in talent and
reputation), who were anxious to compete for this
honorary distinction, were treated in the same man-
ner, the authorities thus excluding real musical men,
for whose honour the professorship was originally
created, and by members of which the office has been
filled, without one exception, for two hundred and
thirty-five years, from all chance of obtaining the
distinction, and conferring it on the Rev. Sir Frede-
rick G. Ouseley, Bart., a gentleman of large fortune,
and simply a musical amateur. This gentleman
holds some religious appointment in the university,
which might cause him to present the painful con-
trast of preaching a sermon to the members of the
university in the morning, and leading, baton in
hand, some light secular music at the University
Concert-room in the evening. The whole transaction
has the appearance of a job. Had Handel, Bach,
Mozart, or Beethoven been competitors, they would
have shared the fate of Mr. Horsley and his fellow-
sufferers. The proctors are not supposed to be
judges of musical excellence. Sir Frederick was a
rich fellow of Jesus, and so one of the very few ho-
nours open to the musical profession has been
awarded to him in disregard of every principle
which should have regulated the bestowal of the
prize.

Etc glrama.

OLYMPIC THEATRE.

A NEW comedy in three acts, from the pen of Mr.
Tom Taylor, was produced at this theatre on Mon-
day evening with decided success. StiU Waters Run
Deep is founded on a novel by Charles De Bernard,
entitled " Le Gendre," but the play, with the ex-
ception perhaps of one scene, is as thoroughly
English in character and situation as it is in place
and costume. The " still " element is embodied in
a quiet Lancashire merchant, Mr. John Mildmay
(Mr. Alfred Wigan), whose married happiness, at
the commencement of the play, is suffering the na-
tural consequences of the permanent residence of his
wife's aunt, Mrs. Sternhold (Mrs. Melfort), a lady of
vigorous understanding, voluble tongue, and deter-
mined volition. Poor John Mildmay is voted a fool
by his amiable relative, who, as she possesses an un-
bounded influence over her niece Mrs. Mildmay
(Miss Maskell), a mere girl, and her brother Mr.
Potter (Mr. Emery), a mere nonentity, lus brought
them over, with little difficulty, to her own agreeable
view of her nephew's character. Mildmay is in con-
sequence reduced to the position of " Mrs. Mildmay's
husband," and forced to relinquish the government
of his own house in favour of Mrs. Sternhold, to
avoid a seriou-; family quarrel into which he does
not care to enter. He quietly resigns his post, therefore,
and devotes, his leisure, for consolation, to kitchen
gardening in general, and the cultivation of celery in
particular : but the mischief does not end here.
Captain Hawksley (Mr. G. Vining), a romantic ad-
venturer, has succeeded in gaining an influence, in
virtue of his beard, a military reputation, and a long
residence in Spain, over the susceptible hearts of
Mrs. Sternhold and Mrs. Mildmay, who, of course,
institute comparisons between the prosaic John ind
the poetic Captain by no means complimentary to
the former. The Captain employs his power over
the aunt for the purpose of selling shares in a com •
pany of which he is the manager; and, by her
agency, obtains a considerable sum from her weak
and wealthy brother, through whom, again, he hopes
to involve John Mildmay pretty deeply in the
" Great Galvanic. " With Mrs. Mildmay, how-
ever, he is playing a more serious game ; and
the prospect of Mildmay's absence at Manchester on
business emboldens him to propose a midnight in
trusion into her boudoir. With this end in view he

481

has possessed himself of the garden key, removed
the bolt of the drawing-room door which opens into
the garden, and very kindly presented his own
house-dog to Mr. John Mildmay. All these interest-
ing details he communicates to the astounded wife,
who, suddenly conscious of the danger of her posi •
non, entreats her unsuspecting husband to postpone
his absence for a few days; but without effect. An
escape, however, is at hand : the proposals of
Hawksley have been overheard by Mrs. Sternhold,
roused by the suspicions of Mr. Potter that there is
" something between " the Captain and Mrs. Mildmay.
She insists on the absence of Mrs. Mildmay (who,
woman like, hesitates on the very verge of ruin), and
herself receives the honorable and amorous
Hawksley. A " scene" of course follows. Infuriated
by the discovery that she has been fooled by his
false professions of attachment, she denounces
him in no very measured terms, and threatens
to expose his villany to Mildmay. Unhappily the
Captain possesses several of her letters, and these
he, on his side, threatens to publish should she per-
severe in her determination. Mrs. Sternhold, in her
turn, is saved by a listener. Mildmay, whose visit
to Manchester has been unexpectedly postponed,
returns in time to discover unobserved the real
state of affairs ; and it begins to be apparent, at the
end of the first act, that it is he who is destined to
avenge his own wrongs and those of his relations.
In the second act Mild may, after stubbornly
refusing to undertake the responsibility of fighting
the battles of his wife's aunt, and atter accepting,
with his usual equanimity, the storm of sarcasms
which his conduct calls forth, proceeds to the offices
of the " Great Galvanic" ; and here commences the
best scene in the play. Hawksley, mistaking the
object of his visit, details, in an admirably-written
harangue, the objects and prospects of the company.
Mild may, after patiently listening to the Captain's
plans, and quietly correcting one or two errors of
fact and principle into which Hawksley's false esti-
mate of his companion has betrayed him, completely
astounds the Captain by abruptly informing him
that he has no desire whatever to become a pur-
chaser of " Galvanic" scrip; that he has come to
sell, at par, the shares which Potter has been per-
suaded to purchase, and to obtain possession of Mrs.
Sternhold's letters. Hawksley, of course, treats
both propositions as simply amusing ; but is ulti-
mately induced to listen to reason by the discovery
that Mildmay is the junior partner of a house on
which the Captain has committed an extensive
forgery; that he is recognised by Mildewy as the
clerk on whom suspicion had originally fallen ; and
that Mildmay has obtained possession of the forged
bill, to the presentation of which by Hawksley he was
one of the witnesses. The restoration of this
evidence of the Captain's slight " deviation" of
course procures the return of the letters and the
purchase of the shares; and Mildmay, after half
throttling him in self-defence, leaves him threatening
a public insult at their next meeting.
In the last act, our " deep" friend, by restoring
Mrs. Sternhold's letters, easily obtains her promise to
relinquish the command of the family in his favour,
and she cheerfully recognises his claims to respect
and affection. A reconciliation with his wife is soon
effected, and honest John Mildmay at last enjoys, in
the just appreciation of his family, the well-merited
reward of his courage, patience, and shrewdness.
The rest of the act is nearly superfluous. The
Captain, taking advantage of Mildmay's invitation,
first insults him, then refuses his challenge, and,
having fully established his own claim to the cha-
racter of a coward as well as a rascal, is marched
off, handcuffed, on a second charge of forgery, by a
disguised detective.

The characters of Mildrnay and Hawksley are
carefully elaborated by the author, and the portions
of dialogue respectively assigned to them most
thoroughly appropriate. Mr. Wigan's performance
of the sturdy, shrewd, blunt north countryman is in
its way a masterpiece, and well worthy the most
careful study, as a perfectly finished impersonation.
As an instance of his artistic attention to detail, we
may notice (slight matter though it be) the beauty
and appropriateness of the attitude in which he
watches Hawksley from the back of the scene, at the
beginning of the first act. There is an indolent, scorn of
his contemptible rival, and a suppressed power, an
earnest of future triumph about it, which struck us
as peculiarly fine. The way, too, in which his me-
4ancholy resignation to the false opinion of his family
is hinted, in his air and the tones of his voice, is
quite characteristic of this admirable actor, and
worthy of all praise. Mr. Vining filled very effec-
tively the part of Hawksley in the business scene :
his dress was the perfection of loud, tawdry " swell "-
ism, but in the love-scenes his manner and bearing
lacked ease and flexibility; he was far too dry and
hard. Miss Maskell made the wife interesting, but
Mrs. Melfort, from the adoption of an almost in-
audible stage whisper, rendered the great scene with
Hawksley almost ineffective ' • in the other parts she
VMS tolerably successful. Mr. Emery's utterance
and make-up were perfect, but he seemed a little too