the church nor smart enough for the saloon. If the organ now-a-days is an orchestra, let us have the gazouillement d'esprit of the band. The present school is neither hot nor cold-neither flesh, fish, nor fowl. We have profuse modulating plunges, loud music that is conventional and even slangy, and wailing sentimentality in soft passages. Organ composers should study in church, watch place and instrument, and then devotional ideas may suggest themselves. There was once a large organ in the Alhambra, and the style of music in vogue there seems to inspire our present race of church musicians, who indulge in a succession of tones marked by no distinctive character and no abiding feeling.

The Holy Communion' of Mr. Williams, like the work of his contemporaries, is composed on no pattern-his method is neither French, German, Italian, Old English, nor orthodox Anglican. He produces no new ideas from a lack of feeling; he creates no new form from a want of strength; and there is a general laxity in touch, phrase, and progression, which tends to no deep or permanent impression. Great musicians bring out the "Et Incarnatus," the Crucifixus," the "Et Resurrexit," and in the Gloria the "Domine Hoc" is made a real solemn prayer. There is no prayer, no joy, no thanks in Mr. Williams's setting; and the sooner he studies in a school and style capable of expression, the better for his choir and church in Dublin. A fine field is open to M. Gounod, who, we hope, may set some pattern choir music for the benefit of our English musicians. Part Songs for Public Schools. Edited by John Farmer. (Novello & Co.) Harrow School Songs. By John Farmer. ley & Clarke.) Harrow Glee Book. By John Farmer. publishers.)

(Cross(Same

MR. JOHN FARMER, the musical professor, has dedicated his Glee Book to the Rev. H. Montagu Butler, D.D., who, from his sympathy with the musician, has made singing a part of the school life. Mr. Farmer is known as a good classical musician. His selection for his pupils is marked by tact and taste. Of the Volk's melodies of Germany he has made good use, and his own contributions are clever. It may be supposed that in

the choice of the words there has been no lack of judgment; and indeed our ancient as well as modern poets have been gleaned from in turn. It is gratifying to find that at our public schools such care is taken to lay the foundations of a feeling for what is pure and sound in Art.

page we find short, clear, and succinct explana-
tions in Mr. Hiles's Dictionary. We have no
hesitation in pronouncing this small pocket volume
as one of the most useful publications of the
kind. It is admirably arranged-alphabetically,
of course; and titles and terms are tersely ex-
plained. The volume, limited in size as it is,
must have taken a considerable time to com-
pile; and Continental books in all languages
seem to have been carefully consulted. Even
to the observance of the accents of foreign words
there is remarkable accuracy. The volume really
contains an amazing amount of information in the
smallest compass.
Of course it must be under-
stood that it is not a biographical dictionary, nor
is it an elementary work, but still on technical
points it is invaluable.

The Union School Garland. Edited by William
M'Gavin; the Harmonies by W. Hume and D.
Baptie. (Simpkin, Marshall & Co.)
Leslie's Songs for Little Folks. By Henry Leslie.
(Cassell, Petter & Galpin.)

THE tendency to make little children, who sing from impulse, sing by rule, is on the increase. It must be delightful labour for the teachers to hear the attempts of the "little dears" who have just commenced to talk, at accurate notation and intonation. Mr. M'Gavin, of Glasgow, has had a trying task in finding suitable tunes and simple harmonies, but the joint editors have done their joint work nicely, and for elementary schools or home use this little volume, printed in clear type, will be acceptable and useful.

That Mr. Henry Leslie is no novice in composing for children, we know from his former work, Little Songs for Me to Sing'; and the tiny folks to whose juvenile voices will be assigned the dozen airs in his present small, nicely got-up volume, need not be dismayed by their difficulty; and how can they refrain from liking the topics treated, such as "Kittie and Mousie," Squirrel," "The Robin Redbreast," "Butterflies are Pretty Things," "Little Rain-drops," &c. ?

THE OPERA SEASON.

"The

been barren of events. As yet the operatic campaign at both houses has The managers still confine themselves to a répertoire which has done service for years. This lack of novelty is more strongly manifested each season, owing to the modern system of engaging so many new artists, who must make their debuts in familiar works. If the new-comers were all singers of the first class, A Complete and Comprehensive Dictionary of the interest would be great: but the introduction 12,500 Italian, French, German, English, and of so many novices is disheartening. They other Musical Terms, Phrases, and Abbrevia- come here before they have mastered the simplest tions; including an Explanation of the various scales-it is quite enough if they have the semTechnical Terms used in Music as they occur in blance of a voice. And then the subscribers are the Works of the most Eminent Classical Com- told "Only wait and see what time will do to posers and Theoretical Writers, both Ancient develope vocal efficiency and histrionic experience." and Modern; Descriptions of the various Kinds In the season after the début, the improvement of of Voices and Instruments, and of the Names the artist is pointed out. Indeed, this boast of the and Qualities of the different Organ Stops, both advance made has become chronic, except when English and Foreign, &c. By John Hiles. we are assured that perfection has been reached (Brewer & Co.) during the very first season; and our opera-houses are turned into nothing more nor less than singing schools, and most reprehensible agencies are resorted to in order to create an artificial reputation. No wonder so many new faces are seen yearly, for all the contrivances for the manufacture of fame are sure to fail eventually. The musical public, whose instinct is so often right, settles the question by the most effective method - that is, by stopping away from the theatre when a mediocre vocalist is announced. There is no doubt the evil has been materially increased by the indiscriminate applause freely bestowed. Of course if it were said that there is an organized claque, there would be an indignant disavowal. The genteel term to apply to thick and thin supporters is, "friends of the house "deadly enemies, we should think, they prove too often. The general public would be much more liberal in according approbation, but for the fear of being identified with the applauders who are excited at everything, and often at

READING a prospectus the other day of the proposed 'New Dictionary of Music,' to be edited by Mr. George Grove, we came across the following statement:"There is no one work in English from which an intelligent inquirer can learn in small compass, and in untechnical language, what is meant by a symphony or sonata, a fugue or stretto, a coda or any other of the terms which necessarily occur in every description or analysis of a concert or piece of music." Now, every professor or amateur who pretends to possess a musical library can of course lay his hand on many foreign dictionaries and works which will enlighten him upon the matters mentioned by Mr. Grove; and even in English have we not Moore's 'Cyclopedia of Music,' Grassineau's 'Dictionary of Music,' Dannelley's 'Dictionary of Music,' &c.; but there is a little unpretending shilling book, so valuable and complete, that we have printed its title in full. Of each subject specified in the title

nothing. The practised eye and experienced ear know the precise places from which the furore comes and the bouquets are thrown. The more clearly a singer is wrong in intonation and is vicious in style, the stronger are the manifestations; for what is the value of "friends" if they do not help you out of difficulties? When things come to the worst they may mend, and perhaps what has recently occurred may be some check on the importation of raw recruits and of incompetent artists. Amongst the new singers specified in Mr. Gye's Prospectus was a Monsieur Blum, who turned up as Signor Blum-Dorini, on the 11th, in the part of Count Almaviva (Il Barbiere') to the Rosina of Mdlle. Marimon, who has been singing most brilliantly. Of all the ludicrous displays ever witnessed on a lyric stage, not excepting even that of Signor Urio last season as Arnoldo, in 'William Tell,' the exhibition, both vocally and musically, made by Signor Blum-Dorini was the most absurd. At first it provoked hilarity; but even the proverbial patience of the "friends of the house" was tried too severely, and hissing was heard. On whose judgment was the engagement made? If through agents, it is another proof how little these musical dealers can be relied upon, but a manager who knows nothing of music is at their mercy. From Drury Lane, Signora Lodi has disappeared, after singing Amina once and Gilda twice, our suggestion that time should be given to this promising young lady to recover from the fatigue of having overtaxed her voice in Italy having been adopted; but why was she brought out at all in her present condition? At all events, her first representation sufficed to show her deficiencies, and she ought not to have re-appeared this season. From Covent Garden, Malle. Heilbron has disappeared, and returned to Paris, after two "Traviata' nights. The debut of Signor Bolis was promised for Thursday as Arnoldo, too late for notice in this issue; but he comes with a real reputation from

Bologna and Milan. Mdlle. d'Angeri has sung in Meyerbeer's Africaine' (Selika) and Donizetti's 'Favorita' (Leonora); but both parts are far beyond her vocal and dramatic attributes, still less can she grapple with such a character as Valentina, in the Huguenots,' announced for last evening (Friday).

Mr. Mapleson has sustained a second reverse with a prima donna. Mdlle. Risarelli made her début on Tuesday night, as the successor of Mdlle. Lodi as Gilda; but the subscribers evidently preferred the assumption of the latter, weak as it was, that by the new-comer being too strong. Her upper notes are harsh-she is too fussy; and the florid roulades are not artistically executed. This lady made a favourable impression in St. George's Hall, in December, 1872, in a very small arena, with a very limited band, in Rossini's 'Count Ory' and other operas, when an Italian company had a winter season, under the direction of Signor Monari Rocca. Small theatres seemingly suit Mdlle. Risarelli better than Her Majesty's Opera. The new tenor, Signor Ramini, has a very nice voice for a concert-room; as a tenorino, he will be charming, but Lionello, in Flotow's Marta,' is too much for his present powers. He was cruelly encored in "M'appari." He has sung at Bucharest, Leghorn, and Bologna, and is only twenty-three years of age. He has been prematurely brought out here. Of the new baritone, Signor De Reschi, a Pole, who has sung in Venice, the highest expectations may be entertained. He has a voice more of a low tenor than a baritone in timbre, of delicious quality; he phrases artistically, and possesses sensibility, but he lacks experience on the stage such as would enable him to turn his vocal gifts to greater account than he did at his debut as Alfonso, in 'La Favorita,' on the 11th, and to become an effective actor. His personal appearance is much in his favour, and with such an organ he ought to take the highest position. Since Barroilhet, the original Alfonso, when Donizetti's masterpiece was produced in Paris, with Madame Stolz as Leonora, and M. Duprez as Fernando, we have never heard

the music of the King's part sung with greater charm than by Signor De Reschi. The execution of the work was wonderfully fine, quite equal in the ensemble to the 'Semiramide' and the 'Fidelio,' thanks to the conductor; and the voice of Mdlle. Tietjens, as Leonora, was really "stupendous": the epithet is not too strong. The new basso, Signor Perkins, as Baldassare, may prove an acquisition.

Signor Fancelli returns this evening (Saturday), as Raoul, in the 'Huguenots,' and Herr Behrens will be the Marcel, for the first time at Drury Lane.

MDLLE. DE BELOCCA.

IN reply to a paragraph in our number for the 28th of March, Mr. Gye writes to us, under the date of the 9th of April :-" You state in the said paragraph that a certain artiste, Mdlle. de Belocca, will appear at the Royal Italian Opera as Arsace, in 'Semiramide,' with Madame Adelina Patti; also as Cherubino, in 'Le Nozze di Figaro,' and in 'La Cenerentola.' Besides this, you not only state that the same lady will make her debut in 'Il Barbiere,' but you absolutely advertise the very day on which she will do so! The simple answer to all this is that Mdlle. de Belocca is not engaged, and never was engaged, at my theatre, and you must please to pardon me for saying that I think you are wholly unjustified in making such an announcement as the above, especially considering that your office is not a couple of hundred yards from the Opera-house, and you could so easily have ascertained its truth or the reverse." The Figaro of Paris, the Menestrel, and the Revue et Gazette Musicale published, almost simultaneously, the same information as we gave. The same journals, the relations of which with the Théâtre Italien are well known, on the 9th (Figaro) and 12th inst. (Menestrel and Revue), stated that, at the request of Mr. Gye, Mdlle. de Belocca's engagement at Covent Garden had been postponed until the Emperor of Russia's visit to London, when the lady would make her debut at His Imperial Majesty's state visit. The Paris Correspondent of the Daily Telegraph, in his letter, dated the 9th of April, says that Mr. Gye applied, by telegraph, that Mdlle. de Belocca might be allowed to sing at his theatre on the 18th and 21st of this month; but that the subscribers to the Théâtre Italien had threatened legal proceedings if M. Strakosch allowed Mdlle. de Belocca to leave before the end of the season.

BISHOP'S NATIONAL OPERAS.

On the 12th of March last it was fifty-eight years since Daniel Terry's adaptation of Sir Walter Scott's "Guy Mannering' as an operatic play was produced at Covent Garden Theatre, Smirke's edifice, the interior of which was, in 1847, reconstructed by Albano for the Royal Italian Opera. Of the original cast, Miss Stephens, Miss Mathews, Mrs. Davenport, Mrs. Gibbs, and Mrs. Egerton, Messrs. Abbott, Sinclair, Liston, Emery, Tokeley, Simmons, and Blanchard, there is still one survivor, namely, the Countess Dowager of Essex (Miss Stephens), of whose charming vocalization middle-aged amateurs have a vivid recollection. Despite the mutability of human affairs" on which Baillie Mucklethrift dilates in the opening scene of 'Guy Mannering,' the work possesses permanent vitality. It appears and disappears periodically; but the eternal freshness of Bishop's melodious strains, which Rossini used to hum whenever mention was made of English music; the ambition of artists to appear as Dominie Sampson, Dandie Dinmont, and Meg Merrilies; and the delight vocalists take in singing the incidental songs, and in the opportunity of introducing extra airs of their own choosing, has caused Guy Mannering' to be revived from time to time, although National Opera as really represented in Bishop's days has long ceased to exist. In place of a speciality of which England ought to be proud, we have had a succession of composers who have based their style of composition on French, German, and Italian operas. Our claim to a distinctive school for the lyric drama dates from

the days of Henry Purcell, the composer of Bonducca, and his legitimate successor was Sir Henry Bishop, a musician who has left more than seventy operas, amongst which can be cited 'Cortez,' 'Native Land,' Clari,' Maid Marian,' 'Henri Quatre,' the 'Law of Java,' the 'Maniac,' the 'Miller and his Men,' &c., besides his incidental music to the Shakspearean comedies, 'Twelfth Night,' the 'Two Gentlemen of Verona,' the Comedy of Errors,' Midsummer Night's Dream,' and his music to the novels of Scott, the Antiquary,' 'Rob Roy,' &c. The names of these works will at once recall to the memory of all lovers of music who are not wedded to special styles a mine of melody, a richness and variety of tune,which are really marvellous. For Bishop rarely repeated himself. His songs were not circumscribed to one groove of four or five bars, the poverty of which it is essayed in modern days to conceal by overloaded accompaniments. The glees and rounds of Bishop are perfect specimens of part-writing; many of his choruses are characterized by graphic power, eminently suggestive of the subjects he set. It is objected to many of his operas that spoken dialogue is too much used, and he is now found prolix; well it may be so, for the artists of the present period mumble their words, and their articulation is so indistinct that the point is lost, unless it happens to be supplied by the prompter-who enjoys no sinecure in a modern theatre. In the histrionic days of Covent Garden and Drury Lane, tragedies, comedies, operas, melo-dramas, &c., were changed nightly, and it was the pride of the performers to be letter perfect, and to boast that they could commit accurately to memory parts of great "lengths," to use the technical term. There may come a day when there will be a Bishop revival. Even now a number of his vocal pieces are constantly sung, and he lives, at all events, in the choral societies of the kingdom. It was, then, no wonder that, last Saturday afternoon, there was an assemblage of lovers of our truly national music at the Gaiety Theatre, to listen to the familiar and ever popular glees, "The winds whistle cold," "The chough and crow"; the quaint concerted piece, "The fox jumped over the parson's gate"; the fine bass song, Follow me"; the echo duet, "Now hope, now fear"; the tenor air, “Be mine, dear maid," &c. The "Rest thee, babe," sung first by Lucy Bertram, and then by the gipsy, was composed by Whittaker. It has always been the custom to interpolate songs in Guy Mannering. Braham used to electrify his audience with "Scots wha hae wi' Wallace bled." The Lucy Bertrams and Julia Mannerings introduced their favourite airs. Miss Loseby chose "Tell me, my heart," from 'Henri Quatre'; Mr. Beverley (Henry Bertram) dragged in inappropriately "Who shall be fairest"; Mr. Ludwig, as Gabriel, gave "The wolf," from the 'Castle of Andalusia, by Shield (another truly national composer), and he sang it so well that it was encored, a compliment well deserved by the glee, The winds whistle cold," the parts of which were tripled. Mr. Meyer Lütz conducted the music so well, and it was, on the whole, so fairly executed, that we wish the acting had been equally up to the mark; but when we refer to the Dominie Sampson of Mr. George Honey, the Colonel Mannering of Mr. Lyall, the Gilbert Glossin of Mr. Perrini, and the Baillie of Mr. J. G. Taylor, we have named the only adequate representatives of their respective parts. Mrs. Leigh gave the conventional rendering of Meg Merrilies, but she has not the physical aspect of Scott's gipsy, and perhaps Miss Cushman's powerful delineation of that character is still too strong in the memory for us to accept any other reading. It is to be hoped that the success of the revival of Guy Mannering' may be such as to encourage the lessee and manager to turn his attention to our old English operatic répertoire; for, even if the drama attached to it be somewhat feeble, the quality of the music will be a redeeming attraction. It will be refreshing to revert to the manly type of British melody, and it may prove an incentive to the native talent of the day to abandon the bastard style which

66

they have adopted. If ever we are to have grand opera executed here as it ought to be to secure public patronage, there could be no better preparation for the executive than to have at least one theatre in existence with a specialty for national opera, an establishment, in fact, like the Opéra Comique in Paris, at which musicians are first tested in a one-act lever de rideau, before they essay a three-act work. Mr. Hollingshead announces the revival of 'Rob Roy' for Monday next; Mr. Phelps will play Baillie Nicol Jarvie.

CONCERTS.

M. GOUNOD completed his series of Choir Concerts on the 11th inst. His fifth programme was a repetition of compositions previously performed, of which may be mentioned his "Pater-Noster" and the "New Ave Verum," amongst the sacred pieces, and the secular part-songs in the second part. There were solo performances on the violin and pianoforte, by Master Claude Jacquinot, M. Gounod, and Mr. Hamilton Clarke; and airs were sung by Mrs. Weldon, Madame Schneegans, Mr. Trelawny Cobham, &c. It is to be regretted that the services of an orchestra were not retained. The reproduction of Jeanne d'Arc,' the charming entr'actes, the marches, the symphonies, the masses, the overtures, &c. of the French composer, would have been most acceptable to the subscribers and general public. The reasons which have been assigned for the non-continuance of the band we cannot discuss, but it is to be hoped that sufficient support will be secured for the season 1875 to ensure instrumental co-operation at every concert.

The

The Saturday afternoon orchestral season at the Crystal Palace is drawing to a close. scheme of the 11th contained Mendelssohn's Symphony, No. 1, in c minor, and two overtures, that by Schumann, in E, Op. 52, and the brilliant prelude to 'Benvenuto Cellini,' by Berlioz. Next season, the production of additional instrumental works by the French composer would be gladly welcomed. Madame Norman - Néruda, Herr Halle, and Signor Piatti, coalesced in an effective performance of Beethoven's Triple Concerto for violin, piano, violoncello, and orchestra. Herr and Madame Noriny were the solo singers. The Swedish Ladies' Vocal Quartet party also afforded specimens of their skill and charm in part singing. Herr Dannreuther is to introduce a new pianoforte concerto, by M. Grieg, this day (the 18th). We believe it is the same work which was executed in Brussels a few days since by M. Brassin, and made a great impression on the Belgian amateurs. On the 25th, Herr Manns will have his annual benefit, and well does the zealous conductor merit the compliment; but he is too conscientious an artist to accept the compositions of Herr Brahms as his own. By a slip of the pen, which must have been obvious to our musical readers, the Athenæum last week assigned to Herr Manns the credit of having composed the 'Song of Destiny,' the success of which secured two executions of the work at Sydenham. M. Gounod will conduct his 'Funeral March of a Marionette' at the concert of Herr Manns.

The "Classics of the Pianoforte" are being illustrated, for the eighth season, in St. George's Hall, by Mr. A. Gilbert, who, on the 15th, had the aid of Herr Straus (violin) and Signor Pezze (violoncello) in Mendelssohn's Trio in c, Op. 66, and Haydn's in E flat; besides his playing of Mendelssohn's Fantasia in F sharp minor. The vocalists were Mesdames Gilbert and MartorelliGarcia, and Messrs. Wilbye Cooper and Percy Rivers.

The Italian Opera concerts have been begun early this year. Mr. Mapleson commenced in St. James's Hall on Wednesday evening. The singers announced were, Mesdames Valleria, Justine Macvitz, Trebelli-Bettini, Signori Naudin, Ramini, Galassi, De Reschi, Borella, Perkins, and Agnesi, with Signor Li Calsi and Mr. F. H. Cowen as conductors. The programme was made up of the familiar pieces from the operatic répertoire which have been heard year after year.

Handel's oratorio, 'Judas Maccabæus,' with Sir

Michael Costa's additional accompaniment, was finely performed by the Sacred Harmonic Society, in Exeter Hall, on the 10th inst. Madame Sinico was to have been the leading soprano, but had to sing at Covent Garden Theatre in the Africaine,' and Madame Lemmens was substituted. The other solo singers were Mrs. Suter and Miss J. Elton, Messrs. Vernon Rigby, Montem Smith, and Santley. The season will end on Friday, the 1st of May, with Sir M. Costa's oratorio, 'Naaman.'

Musical Gossip.

At the second concert of the Philharmonic Society, next Monday, Madame Viguier, a new pianist, will make her first appearance.

AT the opening New Philharmonic concert this afternoon (the 18th), Fräulein Krebs will be the pianist, and a new Fest-overture by Herr Reinecke will be played.

MR. AND MRS. GERMAN REED will give their musical entertainments for the present in St. George's Hall, commencing next Monday.

NEXT Tuesday afternoon Prof. Ella will begin his thirtieth season of the Musical Union.

THE Royal Albert Hall Amateur Orchestral Society's concert, on the 25th inst., will be in aid of the funds for the widows and orphans of the Ashantee soldiers, sailors, &c.

THE notion of holding the National Music Meetings on the off-days of the Handel Festival next June has been wisely abandoned by the Directors of the Crystal Palace. It is proposed to renew these silly gatherings in their integrity in 1875, but there will be time enough for the Board to take into consideration whether the competitions answer financially. The results from the art point of view have been next to nothing.

Ir may afford a notion of the progress of

musical amateurs

if

we

mention that

at

the Vocal Concerted Music Meetings of M. Sainton and Madame Sainton-Dolby, such works are executed as the 'Last Judgment of Spohr; Schumann's' Rose' cantata; Mendelssohn's 'Lauda Sion'; M. Gounod's ' Mireille,' &c.

THE Glasgow News supplies a gratifying account of the progress of music in that and other Scotch towns. Handel's oratorio, 'Saul,' has been pro

duced by the Musical Association of Paisley. Schubert's Mass in B flat has been given by a new choral society in Bothwell. The Glasgow Choral Union revived Bach's "Passion' (St. Matthew) on Good Friday, conducted by Mr. Lambeth, with Miss E. Spiller, Miss Dones, Mr. E. Lloyd, and Mr. R. Alsop, as principals. The St. George's Choral Union produced Sir George Elvey's oratorio, The Resurrection and Ascension,' on the 7th inst., conducted by Mr. W. Moodie. The Crosshill Society produced Mr. Cummings's cantata, "The Fairy Ring,' on the 14th. The Hillhead Choir will give Mr. J. F. Barnett's cantata, 'The Ancient Mariner.' The Albany Society will produce Signor Randegger's Fridolin,' the operatic setting of Schiller's poem. The Queen's Park Church Choir will give Astorga's 'Stabat'; the Prospect Hill Association, a Mass by Haydn. Mendelssohn's 'Athalie' music has been executed at the Queen's Rooms, as also Hummel's Mass in B flat. We must confess that the Scotch choral societies regard music with no sectarian spirit, and the Glasgow News is right in claiming for them sound taste in widening our narrow London répertoire of choral compositions.

WE learn from the Boston Metronome that at the Triennial Festival of the Handel and Haydn Society, the New York orchestra of Mr. Theodore Thomas, the best band now in America, is engaged, which will be augmented by the addition of the finest players of Boston up to eighty executants. Two new works were produced at the symphony concert of the Harvard Association: one 'In Memoriam,' ballad for soprano voice and orchestra (Longfellow's verses on the fiftieth birthday of Agassiz), composed by Otto Dresel, with Miss

Clara Doria, daughter of Mr. John Barnett, the English composer, as the vocalist; and an overture to a MS. cantata, by Mr. Dudley Buck. Mr. Zerrahn was the conductor. "The statue of Beethoven, in the Boston Music Hall," adds the Metronome, "is a noble work of art, but it very little, indeed, represents the real man, even in general appearance. It is too ideal. Cromwell's injunction to the painter should be followed,-'Paint me with every scar and wrinkle, or I'll not pay you a shilling.'

THE new three-act opera-buffa at the FoliesDramatiques, La Belle Bourbonnaise,' the libretto by MM. Dubreuil and Chabrillat, the music by M. Coedes, the musical prompter at the Grand Opéra-house, is founded on the old French ballad. The plot turns on the striking likeness between Madame la Comtesse Du Barry and Marion la Belle Bourbonnaise, both parts played by one artiste, Mdlle. Desclauzas, so that the interest and

fun of the drama are much the same as in 'GirofléIt is a (( Errors," in fact, the amiable attentions of Louis Girofla,' the twin-sisters. Comedy of Quinze towards Marion being defeated by his favourite, Madame Du Barry. Mdlle. Tessilly, as Billette, has a good part; and the other characters fall to MM. Sainte-Foy, Luce, Villars, Hayme, Vavasseur, Milher, &c. The music met with great favour, being both melodious and vivacious. OPERA-HOUSE property does not seem to be of much value in Paris when put up to auction. The entire stock of the Athénée only fetched 9,000 francs, although the costumes alone, when new, cost 30,000 francs.

THE final appearance on the French lyric stage of Mdlle. Fidès Devries took place on the 15th inst., at the Salle Ventadour, as Ophelia, in the 'Hamlet' of M. Ambroise Thomas. The lady is about to be married. M. Halanzier, therefore, has engaged as her successor Mdlle. Belval, who has been singing at the Théâtre Italien; she will make her début as the Queen in 'Les Huguenots.' M. Vergnet, a young tenor, who has met with great success in concerts, has also been engaged for the French Grand Opéra, which M. Faure leaves next month for a short engagement at Covent Garden. The new opera, by M. Membrée, 'L'Esclave,' is in active preparation.

THE success of the 'Messiah' and Bach's 'Passion Music' has encouraged M. Charles Lamoureux Handel, and the Christmas oratorio by Bach next to promise the Parisians the 'Israel in Egypt' by

season.

M. MARCEL DEVRIES, brother of the sisters Mdlles. Fides and Jeanne Devries, has made a successful début at a Paris concert, as tenor, in the cavatina from M. Gounod's 'Faust,' and the air from Méhul's 'Joseph.'

M. PLANTÉ, a pianist, who has made his mark in Paris, and is now on a tour in the French provinces with Signor Sivori, is expected to visit London this season.

SIGNOR SANGUINETI, for many years the Director of the Carlo Felice, in Genoa, has died in that city, in his seventy-fourth year. He first brought Signor Verdi into notice.

THE Milan Scala terminated the season with Signor Ponchielli's 'Lituani.' The Teatro Dal Verme was to re-open with Signor Cugnoni's 'Claudia.'

AT last, the extraordinary "run" of 'La Fille de Madame Angot' has ceased with its 411th performance at the Folies - Dramatiques. M. Charles Lecocq's opera is still being played at the Islington Philharmonic Theatre, but will be withdrawn from the Strand Opéra Comique, to make way for the revival of M. Offenbach's 'Geneviève de Brabant.' At the Brussels Alcazar (Fantaisies Parisiennes), M. Lecocq's 'GirofléGirofla' is filling the theatre every night to overflow.

ROSSINI'S 'Stabat Mater' and Basili's 'Miserere' were executed at a Good Friday concert in Rome. Signor Mario, who now resides in the Italian capital, was present.

DRAMA

THE EASTER NOVELTIES.

GLOBE.-Wig and Gown,' a Domestic Drama, in Three Acts. By James Albery.

HOLBORN.-'The Thumbscrew,' a Drama, in Five Acts. By H. J. Byron.

STRAND.-May; or, Dolly's Delusion,' in Three Acts. By R. Reece.

COURT.-Second Thoughts,' a Comedietta, in One Act. By G. C. Herbert.

ROYALTY.-The Main Chance,' a Farcical Comedy, in Two Acts. By H. B. Farnie. Fire-Eaters,' a Whimsical Vaudeville. By J. T. Ashton.

has been in England the rarest of dramatic FROM the earliest days of the stage, invention

gifts. Our dramatists, from Marlowe to Sheridan, have taken their plots, and whatever else they needed, from foreign sources. There is scarcely a play in the English language that can claim to be original in the sense in which the works of Lope de Vega, Tirso de Molina, or Moreto, are original, or, perhaps it is safer to say, seem original to the present generation. A perception of resemblances and contrasts, a keen sense of the incongruous, and a measure of grotesque fancy, have to stand instead of originality with the few successful dramatists who are not mere translators or adapters. These gifts Mr. Albery possesses in a remarkable that his work, whatever its faults of execution, degree, and to their presence is owing the fact seldom fails to interest and amuse. So far as regards plot, his latest production, 'Wig and Gown,' is a mere farce, in three acts, not much higher or more serious in pretension than those pieces of unchecked drollery Parisian dramatists contribute to the Variétés or the Palais Royal. A new vein is worked, however, in the treatment, and the manner in which a situation, thoroughly ludicrous at the outset, developes in its course serious and pathetic interest, is both novel and noteworthy. The reception of this scene was scarcely favourable on the first night—a fact easy to explain, when one remembers that pieces are thrust upon the stage in a crude state, are rehearsed before corrections that should be supplied by the the public, and receive from the audience the management. It contains, however, the elements of durable success, and it will win its author pardon for much grievous inprobability and many faults of detail in his piece.

An impostor has turned up to claim in open court the Kenreutie title and estates. Ham

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mond Coote, the barrister who opposes him, has been chosen for his incompetency by the family solicitor, whom the conspirators have succeeded in converting privately to their interests. Bungling then through a examination ineffective in all essential respects, moving the audience to constant derision, and ruining, as it appears, the chances of those whose interests he represents, Coote keeps obtaining hints which stir his own sluggish memory. After a while he awakes, and becomes intensely excited in the case. His cross-examination, no longer perfunctory, but direct, earnest, and serious, goes to the very root of the matter, and, at the moment when the chief impostor shrinks, baffled and discomfited, from questions he can neither answer nor parry, the counsel, in a voice and with a manner that carry conviction to all hearts, proclaims himself the missing heir. His birth has always been obscure, and the events brought before him have recalled the facts of his early life, before effaced from his memory. new, and effective.

This is ingenious, It might be worked with

more skill, the processes on the stage preceding the discovery being a little hurried. As it stands, however, it is still powerful and sufficiently stimulating to make the audience forgive a third act, which might almost belong to a separate work. In this scene is the entire play. A first act serves only to reveal the meek spirit of the barrister and the aristocratic pretensions of his wife, and a third is occupied with a mild love interest, barely seen in the first act, and wholly forgotten in the second. Mr. Albery's pictures of genteel poverty are very ludicrous, and the satire upon social shams is amusing. An elderly spinster, of aristocratic birth, rather vaguely described as the Hon. Miss Kenreutie, is a funny conception. Mrs. Coote, the wife of the barrister, is a depressed copy of "the Campaigner."

Mr. Toole enacts Hammond Coote, playing in this part a farewell engagement, previous to going to America. He presents successfully both the comic and the pathetic side of the character. A little more elaboration of the serious parts of the trial-scene would add to the value of the interpretation. As the judge before whom the inquiry is conducted, Mr. Arthur Cecil gives a clever and admirably natural and conscientious piece of acting. One or two small impersonations of this class afford clear indication of the presence of the artistic faculty. Miss Carlotta Addison plays agreeably an unimportant character; Miss Daly gives clearness of outline to the spinster; and Mr. Lionel Brough is careful as the chief agent in the attempted imposture. This character, who disguises a genius for intrigue and a shrewd care for self behind a mask of benevolence and good nature, is cleverly conceived.

Mr. Byron's drama of 'The Thumbscrew' needs only to be regarded as a burlesque to be a thoroughly clever and amusing production.

Considered as a serious attempt its claims are very low. Conventional characters are dressed in well-worn garments and set to familiar occupations. The whole machinery of modern melo-drama is called into play, and scenes and situations are repeated which have done service ever since virtuous poverty and successful villainy were first at feud. A wicked uncle holds to the property he has wrongfully acquired, and seeks to murder the comic man, who has found a will that dispossesses him. The partner and agent in his crimes turns penitent and discloses his master's misdeeds, and virtue triumphs at the fall of the curtain. What is most strange in this, however, is that though the principal action is melo-dramatic, the aim of the whole is farcical. It is for laughter, not tears, that Mr. Byron angles. His principal character, a lawyer, conducts the serious intrigue of the piece while remaining responsible for the "comic business." Mr. Byron's unconquerable carelessness detracts from the value of his fun. He is not at the least pains to keep his characters natural or true to themselves, and he puts into the mouth of his personages expressions they could not possibly use, and words the signification of which is as strange to them as would be a foreign language. Thanks to Mr. Byron's verbal witticisms and to the comic contortions of Mr. J. S. Clarke, whose facial play is very droll, the piece was favourably received. Such triumph is, however, sorry for a man of Mr. Byron's capacity.

Of all forms of art the drama is that, probably, in which the penalties of a "fatal facility" will be most severe. Mr. Reece's drama of May; or, Dolly's Delusion,' is a curiously old-fashioned piece, essaying to awaken interest in rustic courtships and the old difficulties between the worthy cultivator of the soil and the not too highly-principled possessor. Neither incidents nor situations are very new, and the dialogue, like Mr. Byron's, though sometimes comic, is seldom characteristic. The sufferings of the heroine, played by Miss A. Swanborough, interested greatly the audience, probably for the reason that what is most familiar upon the stage is not seldom the most effective. Second Thoughts,' by Mr. G. C. Herbert, is a pleasantly-written comedy of domestic life, inculcating the lesson that a little with love is better than "a good deal" without it. A baronet in needy circumstances is about to wed for money a designing but too attractive widow. He is induced, however, to abandon his intention and marry his pretty cousin, who loves him and has fortune enough to keep him from absolute poverty. The lesson is, perhaps, half-hearted, but the writing and construction of the piece are commendable. Mr. Bruce, Miss Litton, and Mrs. Clifford Cooper render this trifle with much spirit.

Two novelties from the French have been produced at the Royalty. "The Main Chance' is an adaptation, by Mr. Farnie, of 'Moi,' a comedy given, some years ago, at the Théâtre Français. It is a poorly constructed play, which aims at ridiculing the greed and egotism of society. Mr. Righton gives a comic portraiture of the principal character, a man incessantly clamouring against the selfishness in others of which his own nature is composed. Miss Hodson plays with spirit the part of a hoyden, but has little opportunity for displaying the reserve, the demureness, and the suppressed humour which recent impersonations have revealed. Miss Brennan, Mr. Neville, and Mr. Bannister are competent in smaller parts, but the result is failure. The same fate, in this instance richly deserved, attended an extravaganza, entitled 'Fire-Eaters,' which followed the comedy.

THE Hon. Lewis Wingfield has in the press a new romantic play, 'Despite the World.' The the period being the middle of the last century. scenes are laid in Sans Souci, Versailles, &c.;

A DRAMA, by Mr. Palgrave Simpson, founded upon the 'Bleak House' of Dickens, and named 'Lady Dedlock's Secret,' has been given recently in Aberdeen. Mrs. Vezin and Mr. W. Rignold supported the principal parts.

A VERSION, by Mr. Mortimer, of 'Les Deux Orphélines,' now being given at the Porte SaintMartin Theatre, is, we understand, in preparation for the Olympic.

'LES GANACHES' of M. Sardou will follow the 'Comtesse de Sommerive' at the Vaudeville. A new drama, also by M. Sardou, is in preparation for the same theatre.

THE Holy Week festivities at Seville, promised to be of an unusually gay and varied descrip

tion.

Andalucia has become light-hearted and light-headed. The cathedral city of the South has had her religious processions in full force this year, having subscribed liberally. The fair, it was the Ayuntamiento and the inhabitants expected, would be the most crowded for years, Seville being crammed with holiday folks, sleeping on chairs, tables, and in carriages, and even on door-steps. The theatrical performances, and, of course, the bull-fights, will have, ere this, rejoiced the hearts of many a Majo and his Maja, who, in picturesque costume, bright with colours, ride pillion the gaily-trapped old mule from their neighbouring "pueblo" and "go in" for gingerbreadnuts and dancing.

St. John the Baptist's Head.-Will you suffer me to say three words in self-defence? With regard to the "coincidence" referred to by your Correspondent respecting "The Mystery of Ashleigh Manor' and "St. John the Baptist's head," there is no coincidence whatever in the matter, but a mere utilization of a stock image. I expressed an idea by what I believed a well-known fancy; and I would as soon have thought of assigning the authorship to a quotation from Shakspeare's tritest "beauties" as putting Goldsmith's name to a sentence which I considered as universally famous as the celebrated essay from which it was taken. I assume that your Correspondent admits the remarkable originality of the great author of The Scarlet Letter'; and Mr. Hawthorne's adoption of the simile would certainly seem to suggest that he, at least, regarded it as too well known to ELIZA RHYL DAVIES. be acknowledged.

The Correspondent who objects to the hunting to death of the simile of St. John the Baptist's aptest use of it on record. Truly or falsely, it is head on a charger, does not cite probably the stated that when Robespierre sneered at St. Just for carrying his head in its voluminous cravat like the victim's of Salome, the rival of the Incorruptible retorted: "And I shall make him carry his like St. Denis!" H. L. WILLIAMS. Your Correspondent, referred to in the Athenæum of March 28, might have gone farther back than 1758, and Oliver Goldsmith's essay, for the first simile comparing the head of a party with a monstrous ruff to "that of John the Baptist placed in a charger." L'Estoile, a French historian of the time of Henri Trois, is thus quoted by ChateauFrance':-"Le nom de mignon, dit L'Estoile, combriand in his 'Analyse raisonnée de l'Histoire de mença alors à trotter sur la bouche du peuple (1576), à qui ils étoient fort odieux, tant pour leurs façons de faire badines et hautaines, que par leurs accoustrements efféminés et les dons immenses qu'ils recevoient du roy: ces beaux refrisés, remontants par-dessus leurs petits bonnets mignons portoient les cheveux longuets, frisés et de velours, comme font les femmes, et leurs fraises de chemises de toile d'atour empesées, et longues de demi-pied, de façon que voir leur tête dessus leurs fraises, il sembloit que ce fût le chef de Saint Jean en un plat." The simile is, therefore, matter of history and common property; and it appears to me that the authors referred to are quite as likely to have borrowed it (like myself in an unpublished poem) from the older source, as to have imprudently stolen it from a standard author, so much read and so much given to repeating his own good things, and occasionally appropriating those of French writers, or improving on them, as Oliver Goldsmith. W. T. ALVAREZ,

TO CORRESPONDENTS.-W. P.-Junius-J. B. B.-F. E. D. -An Actor-J. H. Mc.-T. S.-F. M.-H. M.-received. D. B. K.-Many thanks, but hardly of public interest.