The British Press; or, Morning Literary Advertiser.
London, England, 1824-02-03 00:00:00

DRt7RT-L.4IVE THEATRE.

The town, last night, was treated at this thetbre, witb the
representation of Illarbelh: we say treated, because, view-
ing the performance in the aggregate, we think it was of al.
cast to merit our most favourable report, and to be entitled
to all the applause it received from a crowded and brilliant
audience. The murderous Thane was never personated
with more judgment and characteristic energy than by
Kean, excepting by his distant predecessor, Garrick. His
dagger scene, his description of the slaughter of Duncan,
and subsequent resolve to brave it out sword in hand,
were full of that fire and self-command which only an
actor of real genius can feel or display ; and his com-
bat with Munk" was admirably sustained. Mrs. Bunn
entered into the spirit of Leidy Macbeth with such success,
as even to satisfy us, who have seen the same part enacted
by the celebrated Mrs. Pritchard, to Garrick s Macbeth,
the magic of whose attitudes and pauses shook every bosom,
and the glance of whose eye pierced every heart. Mr.
Wallack evinced a just and strong conception of the cha-
racter of Mocelifth and in many instances, especially in
the scene in which he learns the fate of his wife and chil-
dren, he rose to great excellence ; and in the duel, vied
both with the spirit and the address of his skilful antago-
nist. We never, indeed, saw a contest with the sword
better managed. This tragedy is one of those half-a-dozen
pieces of Shakspeare• which stand out before the rest, and
would alone, perhaps, have been sufficient to immor-
talize his name. The fervour of his imagination, and
the luminousness of his dis:ernment are nowhere more
strikingly displayed ; nor, while the flashes of his ever-
resaly and inexhaustible conception are freely indulged,
does he in a single scene fail to support himself to its climax,
or to render that climax worthy of his almost supernatural
force and vividity. The tragedy of Macbeth, as now repre-
aenteel, may be termed a serious operatic masque. rile
music, by the combined contrivance of Shadwell and Sir
William D'Ave•es it, was so liberally introduced, as to
make the piece largely partake of the general character of
the dramas brought forward in their time; and this
fact brings us to the consideration of Lock's compo-
sitions, as applied to the illustration of the characters
of Hecate and the Wierd Sisters. The wild rudeness
that has always been so justly admired in the music of
Macbeth was compesetl under the influence of two great
examples, Lally and Camlbert, the first of whom was the
favourite musician of the French Court, and the second
organist of the Church of St. Honors. Both of them
were dist ingt:ished toasters of the man fizuratn, and so
admired by Charles 11., that Lock, to secure his Majesty's
patronage, was careful to make them his models, and so
sedulous and ingetrolia auto succeed in his attempt. Ile,
much about the same time, soon after Charles's restoration,
in the celebration of which his talents were engaged,
produced the music of two other pieces—the Tempest
of Shakspeare, and an Opera, or Masque, called
Payeke, in which strains of much the same cast are em-
ployed--strains which, in fact, though they now seem wild
and savage, were at that period very differently considered.
Like the dramas they accompany and enrich, they partake
of the character of the age ; and again, like those dramas,
wear, in our estimation, an aspect deriving sonic of its in-
fluence over us from their i.therent excellence, and part
from our veneration of whatever is in a degree antique, and
known to have been admired by our forefathers. Inde-
pendently, however, of any indulgence shown to the
music of Matthew Lock, on account of its anti-
quity, its claims to our estimation are very considerable.
Its style, after every allowance is made for what may be
called theftehion of the dramatic music of his day, is very
original. It most felicitously depicts the nature of the
characters to whom its performance is allotted. The points
and responses arc ably given and arranged ; and while the
melody is peculiarly appropriate, and the harmony jurh-
cioualy consolidated, the parts are disposed with all the
skill and address of which the ablest theorists of the time
were masters. The performance of this music last night
was in the best style. Mr. George Smith's fine bass voice
was never heard to greater advantage than in the passages
given to Hecate; and Mr. Horn, Miss Cubitt, and Miss
Kivu, were equally happy in the parts assigned them.
Morheth was succetaled by Giaranni, in which Madame
Vestris and Harley exerted their talents with their usual
success, and afforded all that satisfaction which they so well
know how to ensure.

In our article of yesterday ottibe Italian Opera, for " Madame
Vestris did all that her too important part would permit," read
" Madame Pauli* dill all that the too unimportant part allotted to
her distiuguishill talents would permit."--The wand in the
quartett. in The I)ay of .Istdruent, was performed by Miss Venn,
and not by Miss Paton, as erronaously stated by us.