The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1850-09-10 00:00:00

p to tt

idea originated, a testimonial of their approbation of
his suggestion." James 111`lienry, Train and Co., John
Taylor Crook, and a Friend to the Suggestion, £5 each ;
Wm. Just, £2 2.
PHILHARMONIC CONCERT.—Mademoiselles Parodi and

De Meric, and Signors Colletti and Gardoni, appeared
twice in concert last week at the Philharmonic-hall. The

weather on the first evening (Tuesday) was rattier unfa.
vourable, and there was also another untoward circum-

stance which combined with the rain to produce an
impression that the eminent artistes would not, as far as
numbers might be concerned, receive a very flattering
reception. No cars were to be had for love or
money. Notwithstanding these inconveniences, by
eight o'clock the hall was, if not crowded, at least
well filled ; nor was the coup d'ceil, which fixed the
attention on entering the room, one jot less dazzling
than on former similar occasions. The beauty of the
Lancashire Witches could not of course be surpassed ;
but their toilettes had not in the least suffered from the
churlish conduct of the vehicular purveyors of the town.
The private carriages were very numerous, notwithstand-
ing, many a fairy figure, less chary of exposing her costly
drapery to the destructive effects of the weather, than
scrupulous to conceal her ankles from the impertinent
gaze of loungers, might be seen hooded and clogged
braving the ill-natured drizzle. Many persons undoubt-
edly felt much curiosity to hear and see Parodi, the pupil
of Pasta. The concert was opened by the band perform-
ing Adam's overture, " Brasseur de Preston." It need
only be stated that the brass band of the 52d regiment was
present to convey a true idea of the style of the perform-
ance. The programme was to some extent altered.
Rossini's Mose in Egitto was omitted, and the trio
Guai se ti Sjugge, from " Lucriezia Borgia," substituted.
The vocalists were Mad'lle Parodi and Signors Gardoni
and Coletti. It was evident that Parodi did not realise
the high expectations which had been formed of her
powers. Her voice sounded husky and appeared to give
her:immense trouble to control. Opera, and not concert,
is the proper sphere of this lady. Her dramatic illustra-
tion enables her effectually to conceal those slight vocal
defects which stand out in full relief in the passive role of
a concert programme, prevented from bringing these aids
to her support : she appeared to be contending against a
difficulty, and attempted to molify her restrained position
by introducing into her singing a succession of unnatural
smiles ; it was anything but good taste to be " laughing
all over the face," while singing passages containing sen-
timents not all likely to give rise to feelings of gaity or
cheerfulness. The defects of her voice have induced her
to cultivate art, and her success is to be attributed to this.
Mad'lle Meric appeared to be the favourite. Her style is
simple, and much more natural and easy than that of
Parodi. Her voice, a contralto, is very equal, and quite
free from the imperfections which belong to Parodi's.
She was encored in Cruda Sorte. Gardoni possesses a
sweet musical voice, though perhaps its character is too
feminine. Colletti's part is bass ; he was enoored in
Zaira, in the second part. His voice possesses great com-
pass and volume, while it is devoid of that guttural
rumbling which frequently characterises the bass voice.
Gardoni had the same compliment paid to him in L'Elisir
d'Amor, which ho sang with great feeling. The quartet,
Mi manta la Voce, by all the artistes, was the gem of the
evening. The blending of the different voices was perfect
in the extreme, and the turn so true that it was impossible
to conceive a truer specimen of great singing. It was
loudly encored. On Thursday evening the second concert
was still more fashionably attended, and gave equal satis-
faction.