Daily Richmond Whig. [volume] (Richmond, Va.) 1840-1842, 1842-05-04

.npseesA,sd "a hymn and prayer. ha, r'smiar
disi4~et, rich and snAsninoent chant enrieeed VAN
al me modern improve nis in musical science ano
NS yet imbued y imariy with the spirit OF the
uospei and the temple as they solemn'y and IA
'neueily commemorate the atonement. IL Is
signal comp imsnt t. the Italian theatre OF Paris
that such work was sent from Italy by Ross'nl
resident there. TO be first executed here. Some OF
ms admirers affirm that he wished to revenge HIN
sell hrst and directly On the Partisan Amateurs and
critics tor deem'ug him capable Of operas only,
night. hnrd, vapid fecitous. and deeetable indeed.
IN the highest degree bat not indicative ot profound
science or intensc feeling such the sicted nsic
the traditional of the old school, required and al
ways implied. The conclusion of the Stabat is a
consumnato fugue on the Amen, enough to con
iound all the doubters. A celebrated professor OF
counterpart, Mattel at Bologna. told him IN lsOI
that he was not proficient in the deeper dou-
ne science as TO be equal to RELIGIOUS composition
Ills Snbat was nearly done IN ls52 but not divul-
sed until this winter; that he took more years than
Horace rrescribes for the press or naturstion OF
good work. The ma,chless performers IN our ltal-
ian opera executed their task IN a manner worthy
OF ITS perfection. SisnoTa Grisi raHscends herself
IN the AIR iHfamniaiHs 81 aeesHSas; and Tamburini
Justly eNcites in the pro Pseeatis sur genHs and
Tia riafre, fons amoriS, bursts and transports
throughout the theatre beyond his operate riumphs.
NJ the second performance, on the 18th ultimo, we
occupied seats in the box ot ffiead, MIR Jolly, OF
Montreal,) nearly opposite to the stage. The
noon. and lasted nearly two hours, very conve-
nent period of the day. Immediately after 1t, the
people with leisure for walking or riding before din
ner could discuss their qualification is they took
their exercise through the Champs Eiysees or the
Bois dc Blulogne. % the boards were grouped
the four principal singers, the orchestra, and the
choruSSes IN simple morning attire. The house
was crowded TO excess, even the compartment usu-
ally occupied Ivy the orchestra, by ladies and gen
t'emen psle mtle The ladies wore their bornets.
fur tippes, and mufs, altogether the walking dress,
curiosity and sanguine expectation prevailed
throughout. silence was spontaneously and
studicuSly maintained, such as do not recoect ts
have witnessed here at any public exhibition what.
ever. except, OF course the regular plaudits, the
iUepressible manifestations Of de- gh' and ndmira-
ton. The theatre was warmed by fueS, and bril-
liin.ly lsh'cd Nv numbcrless chandeliers ted with
gas. superior orchestra could no, have been
formed, nor could The chorusses have been better
c instituted and led. They we've strengthened by
volunteers, artists at the first chss from the ROYAL
Academy Of Music, the Comic Opera, and the
Conservatory. Your reader who would conceive
the nature and effect OF this chef d'aurre nu Il
trke up the text Saba! .NIer, and follow
the narrative ard the sentiment strophe by
Stroptc. But II II be true ofthe ancient soft noble
cre'unc melodies OF the church. that the hearer
wi,hou' understanding the words might suppose
himself praying dcvoltly. the same may ee SAID of
RosSins musical poem; his pure. graz d. and vIrici
hIrmnuics inspire the wish and tho faculty. Of pray
er on have the SIMPLE impressiveness and direct
imphlse Of scholastic style, the raoness OF the
Old masters, and the several neeuliarities OF modern
p'ugtess and excellence. Gou have the vicssi-
tudes % passionate grief and exutins pride, 50 well
expressed m the Lnun tex, distinctly conveyed
IN sound. with all the power of original genius and
exercised skill. The ten sections into which this
true oraoro Is distributed corresponding to the ten
srophcs o. the Paint Of the Blessed Virgin are of
different proportions md characters: thew consist of
an introduction and final, three solos, one du' an
CIR with ohoru'>eS, and -four qnau:o-s The intro
duetion IS in'trumen,1l, md perfectly adapted Il
the sense and emotions of the first s:rophe. Im:a
tive harmony, both vocal and instrumental, with
reference 10 the SOU aud TO the sublime subject has
never been more successfully achieved IN such an
extent; transitions OF feeling and situation were
never more exactly and fnrcibly seed.