The Sun.
London, England, 1856-07-16 00:00:00

LONDON, WEDNESDAY EVEISTIN6, JCPLFY 16 1856

m ay mention "He trusted in God," where the delivery
of the theme by the basses and the alternate responses
of the other departments could hardly be excelled in
firmness and vigour of attack. This masterpiece,
which has been termed the " ironical chorus," and,
if music may be allowed, as we think it may, to suggest
irony, with justice—was as keenly enjoyed by the au-
dience as any of its more popular fellows. The
height of effect was attained, however, in the sublime
" Hallelujah" and the not less prodigious " Worthy is
the Lamb," and "Amen," with which the oratorio ter-
minates. The opening strains of the first at once sum•
mooed the audience to their feet, and at the end a repe-
tition was demanded with vociferous unanimity. The
short fugue for stringed instruments that separates the
two movements of " Worthy is the Lamb," was executed
with extraordinary precision.
But it was not exclusively in the choruses that the
admirable acoustic dispositions of the new music-hall
were demonstrated. All the refined combinations of
wind instruments that distinguish Mozart's additional
accompaniments were heard to perfection. As signal
examples may be cited those delicate touches in the bass
(contralto ?) air, "But who may abide ?" and the richer
and more elaborate colouring by clarinets and bassoons,
" The people that walked in darkness," both of which
were extremely well rendered by Mr. Weiss. In the
" pastoral symphony" the stringed instruments and
flutes exhibited a certain transparency of tone which
brought to mind the well-known remark of one of the
Georges, who said that while listening to this piece he
"could see the stars shining "—although, it being broad
sunlight, it was difficult to realise such a picture on the
present occasion. The solo voices were just as satisfactory
as the rest. This was directly manifested in the open•
ing air, "Comfort ye my people," and later in that most
pathetic of movements, "Behold and see," in each of
which the admirably sustained mezza voce of Mr. Sims
Reeves produced a beautiful effect, while, owing to his plain
and sensible delivery, not one syllable of the words was
lost even in the softest passages. The same gentleman
shone to no less advantage in the air, " Thou shalt break
them with a rod of iron " (the cheval de bataille of the
elder Braham), which he sang with immense energy,
adding one more to the encores of the morning. That
the clear and telling voice of Madame Novelle (who
divided the soprano music with Madame Rudersdorff)
should be heard to eminent advantage in such a building
was not surprising. This lady's most successful efforts
were in "I know that my Redeemer livetb," and the
tranquil and lovely " Come unto him," the first verse of
which ("He shall feed his flock ") was sung with a
charming repose and simplicity of style by Miss Dolby,
who won equal credit in "He was despised," and but
for the concluding cadence would have merited no less
in "0 thou that tellest glad tidings to Zion." Madame
Rudersdorff was intrusted with the soprano music of the
Passion, and to her fell the tuneful and consoling
melody, " But thou didst not leave his soul in hell,"
which wanted nothing but a little more flow to be irre-
proachable. To conclude our notice of the solos we
have only to specify Mr. Weiss's very artistic singing
of "The trumpet shall sound," in which Mr. Harper, by
his skilful execution of the trumpet obligate part, well
deserved his share of the loud applause bestowed upon
the vocalist.

M. Jullien conducted the oratorio throughout ; and
he may fairly be complimented for one of the best per-
formances of Handel's masterpiece ever heard in Lon-
don. The band was as efficient as it was numerous,
and, with the accomplished Signor Sivori as leader,
counted in its ranks neariy all the competent players
belonging to the most noted orchestras of the metropolis.
The chorus, besides comprising the picked men and
women from the choirs of London and its vicinities.
boasted a host of fresh and energetic -voices from Liver-
pool, Manchester, Birmingham, Bradford, Leeds, &e.
Rarely, indeed, has there been a more imposing choral
assemblage. The termination of the oratorio was the
signal for loud and enthusiastic plaudits from all parts
of the building. The audience did not seem at all in-
clined to disperse, however ; and, as the rehearsal of
some pieces for a future concert was about to commence,
M. Jullien was compelled, in a polite address (which was
heartily cheered), to hint that if they were disposed for
any more music they must return in the evening.
Many hundreds of people remained in the gardens,
preferring to dine on the spot rather than to pay agai❑
for the evening concert. There was au additional in-
ducement, too, in the fine weather, which prevailed
without interruption. St. Jullien had conquered St.
Swithin ; and a'. 8 o'clock (the hour for recommencing
the musical performances) the gardens were lighted up
in the ancient fashion— with Chinese lamps and illumi.
nated columns—under a sky which, although somewhat
cloudy (brightened at intervals by flashes of sheet light.
fling), held out no immediate threat of discomfort or
inconvenience to the crowd.
The concert was quite as successful as the oratorio in
the morning. It comprised a miscellaneous selection of
vocal and instrumental music, conducted by M. Jullien
—who, according to his established and respected cus-
tom, mingled with the lighter and more ephemeral pieces
certain compositions of the great masters, which it is
gratifying to say were listened to with the strictest at-
tention, and received with unanimous applause. The
great vocal feature of the evening was the incomparable
singing of Alboni. Both her pieces were encored i❑ a
tumult of applause, and it was difficult to know which
was most admired—the "Non piu mesta," a triumph of
florid vocalisation, or the sparkling and inimitable Brin-
disi from " Lucrnia Borgia." Another well-merited
encore was obtained by Madame Gassier in the familiar
valse of Venzano, which was conducted by the com-
poser himself.

- While the last notes of the chorus " The heavens are
telling" were being sung the signal for the fireworks
was beard, and the audience at once di-persed (in quiet
and exemplary order, by the we)) to the terrace and the
lawns in front of the lake, excepting those who had the
Privilege of the outer galleries. The pyrotechnic display
(under the experienced direction of Messrs. Southby)
was unusually splendid, and became all the more impos-
ing in consequence of a novel and unexpected auxiliary.
From the beginning of the concert, it has been hinted
that, while there was no absolute indication of a change
in the weather, ominous symptoms were ob,ervable.
The lightning, as it played about the building and lake,
illuminating the scene with fitful gleams, although at
first apparently innocent, became, as the night advanced,
more threatening ; and, just before the concert ended, the
thunder began to keep it company. Mr. Dawson's picture
of Constantinople was brilliantly lighted up, and the fire-
works commenced with revolving stare, reflected on
the lake as in a mirror. From various mortars, dis-
posed on either side, a bombardment was now com-
menced with great spirit, when suddenly the scene
changed, and a colossal figure of Peace, with extended
wings, bearing an olive-branch in either band, moved
forward to the centre. The coup d'ail was magnificent.
No sooner, were the fireworks over, however, than the
elements (as if impatient at such long restraint) let loose
their fury, and a thunder-storm burst forth which
brought the inauguration to a conclusion in a manner
considerably more impressive than agreeable.