The Express.
London, England, 1862-05-26 00:00:00

MUSIC.

HER YAIRSTrf3 THEATRE.
On Saturday evening the Barldere di Sitiglia was
followed by the Cantata written by Verdi for the opening of
the International Exhibition, and now performed for the

Ent time.
The public ere already aware of the circumstances which
led to the compositionof thiawork, andof the fact that when
the score was delivered to the commissioners it we returned

by them to the composer. Without reverting to the CM.. I
troversy caused by the rejection of a work by one of the
greatest musicians of the age—a musician, too, who had
been chosen to represent his country at our great inter-
national festival—we may express our regret that the re-
jection took place, as the work has been proved to be well
worthy of the occasion for which it was designed.
It is a short dramatic poem. The scene is the interior of
the International Exhibition on the inauguration day; and

the people of all nations assembled within the walls of the
palace express the feelings excited by the solemnity.
Hence the piece naturally takes the musical form of • solo
for • single voice—one of the people--accompanied by •
chorus of the whole multitude. In composing the work,
Verdi bad destined the solo pert for Tamberlik, whose power-
ful and penetrating voice was eminently calculated for such
an occasion. In preparingit for performance at Her Majesty's
Theatre this pert was assigned to Mdlle. Thiene, the com-
poser making the changes necessary for its adaptation to her
voice. The work suffered nothing by this arrangement, for
no voice surpasses in power or quality that of the illustrious
prima door of Hex Majesty's Theatre ; ad the voice of
"ens of the people" might be that of • man or • woman with
equal dramatic propriety. The words are Italian. The
author's name is not given, though it deserved mention, as
the sentiments appropriate to the occasion are expressed in
animated sod poetical diction. The tone of thought has
• considerable resemblance to that of our Poet
laureate's Ode--a coincidence quite natural, and to
be expected. The circumstance of the words being
Italian could form no objection to the performance
of this Cantata on the occasion for which it was
signed ; for whatever may have been the case in the days
of Addison and the Spectator, music with Italian words,
sung to an English audience, is no longer an absurdity. The
words with their Freida version would have been in the
hands of the public, and nobody could have been at aloes to
understand the meaning of what he heard.
The Cantata opens with a " Chorus of the People ;" •
hymn of praise and thanksgiving, broad, simple, and jubi-
lant—admirably exprering the devotion of a great multi-
tude 'rambled on such an occasion. Then, as in the Greek
tragedy, • single person takes up the strain, giving utterance
to the sentiments of the whole assemblage, inspired by the
magnificent spectacle around them. " lipettrolo sublime !"
exclaims the speaker: but we shall quote • few lines of the
English version, which, though somewhat prosaic, gives en
idea of the tone of the poem—
"O vision most enchanting! from all climes,
Where sheds the San his ardent, fiery beams,
Where snows eternal cover hill and plain,
Have daring crowds the mighty ocean keel—
The tempest battled, in • fragile bark,
And hasten'd to this shore, where is uptesr'd • Temple
to the World,
The varied works of man therein to show—
What Earth affords most useful and most rare."
This bright vision is contrasted with the scenes—
" When war and devastation
Were spread abroad—when nought was heard,
But the dread cannon's roar, and din of arms."
" Bat," says the speaksa, after dwelling for a Ms an
this picture of human strife—
" A change bath come ! the darksome clouds are gone,
The rage of man is past ; like loving brothers,
Within the lofty floe, all meet in peace :
To Heaven, all-gracious, let our prayers Arend !"
The choral prayer which follows, for peace and brother-
hood over the whole earth, is soft, solemn, and fall of pro-
fessed feeling.
The finale is a movement partly solo and partly choral.
The following is the conclusion :
Hail to England ! mistress of the sea !
The ancient, blest abode of liberty !
Hail to France! our faithful, brave ally!
And thou, beloved Italy! my land,
For whom I pray, may Heaven tby struggles aid!
Hail ! hail ! to all who bear us friendly love !
These words, delivered by the solo voice, as representing

an Italian among the multitude, are blended with choral
passages, in which the national hymns of England. France,
and Italy are introduced with great ingenuity and effect
and the work is thus brought to a brilliant termination.
This Cantata does high honour to its illustrious author
It is inspired, not only with the genius of the artist, but
with the spirit of the man. Verdi lives in the hassle of his
countrymen, both as their greatest musician and es an
ardent and distinguished patriot, in which character he sup-
ports the cause of unity and freedom in the Parliament of
Italy. It was performed with great effect When the
curtain rose the stage had a striking aspect. It was to its
utmost depth covered with people. In the front stood Titian',
supported on either aide by the most eminent members of
the company, including Trebelli, Lemaire, Giuglini
Armand', Bettini, he., and behind them was the great hod;
of the chorus, two hundred and fifty Wong. Titiens was
magnificent ; we never were more deeply impressed with the
power of her incomparable voice ; in its accents of fire and
energy it rang through the theatre like the sound of a
trumpet, while it was clear and distinct even in its softest
tones. In this respect Titian. reminds ns of Clara Norello
at the Sydenham Handel festivals, when her "Sing unto
the Lord, for He bath triumphed gloriously !"
bad a greater effect than all the thunder of
the chorus. Mdlle. Titiens' noble and dignified
presence, her intelligent reading of the music.
and her varied a:premien, by turns grand and pathetic,
completed the effect produced by her voice ; and we have
seldom observed a vocal performance make a more evident
impression on an audience. The chorus and orchestra, con-
ducted by Signor Arditi, acquitted themselves ably and
satisfactorily.
The reception of the performance was enthusisatie. When
it concluded Signor Verdi was called for—not once only, but
several times, and when he presented himself, at one time
' led forward by Miens, and at another by Giuglini, he was
greeted with acclamations reiterated and prolonged for
several minutes.

TeeTaexcs

'.-90 Friday Mr. Penuethorue,

the architect, wee examioed by the ermsmittee,_ca behalf
the crown lama, Sir Robert Peel, Mr. Braman, and
others, the occupiers of bares and lands ioWhitehalligardens
and Richmond-place, abutting ea the route of the prepared
embankment, and which they allege will interfere with
their hitherto free access to the river, deprive them of their
privacy, and be a nuisance to the neighbourhood without any
Ce iog public advantage. No embankment was
needed the Westminster-bridge traffic, which they con-
tend will be sufficiently accommodated by the new street
into Whitehall opposite the Hone Guards, and
any public road along the embankment between
their residences and the river, would at its
junction fat Westminster-bridge with the road over
that bridge, be productive of danger to the public
from the collision that would be oceaatoord in the traffic.
An Alternative road might be devised that would not inter-
fere with their residential interests. The Duke of Buc-
cleuch was examined in support of the allegations against
the emtankumut as affecting his property reported yester-
day, and Hon. C. Gore upon the question generally. Mr.
'Ate, M.P., gave evidence in favour of the embankment,
and was of opinion that the Metropolitan Board of Works
were perfectly competent to carry out its construction,
having to deal with works of equal magnitude. The question
was mainly one of money and ha bad to suggest, as Presi-
dent of the Institute of British Architects, that architec-
tural features and arraogemeata might be combined with
the embankment, that would greatly conduce to its beauty
and usefulness as a natiocal work.

CITY Or LONDON HO4IIPrIAL FOR DzIIAI 01
TB! Cum. Vic-rolue-reez.—The Dumber al petieste re-
lieved et this isetitatlee during !ad week was 1.332, et which
210 were new cues.

THE PERFECTION OF MECHANISX.—" In short,
all the improvements for our convenience and comfort, dating
from a state of barbarity to one of high civiltsetion, are but the
cumulative recline of Inventive ingenuity and In so Imeenatte
this more clearly seen than in tho history of those beautiful in-
ventions which have from time to time been brought to bear
anon the science of horology. Trace its history from the time
of the Romani with their clepsydra or waters lock and Alfred
with his candles, from hour.clamee and sun-dials,&mu to that
miracle of Ingenuity' The Wake:mdse. bow improvement bas
succeeded Improvement, until at last those now manufactured
by Benson, of Eland 34, Ludgalle.hill, and al and 47, Comelth,
London, have been characteristically described as ' the perfec-
tion of rneehaulau." --Standard. Beaman's Ilinarated Fran-
phial, post free for two Mamma la descriptive of every conthem
tam of watch now made. WMCIii• safe by post to all parts al
Use giobs.—{Athertiseaseat.l