precision, while the orchestra was beyond all praise. Never were the nuances of Meyerbeer's vivid and picturesque music more poetically observed. The vein of melody throughout this masterpiece is rich and inexhaustible; the descriptive concerted pieces are thoroughly realistic-need we cite the choruses of the nobles as contrasted with the quarrels of the soldiers and populace in the "Pré aux Clercs" scene, and the overpowering excitement always caused by the "Conjuration des Poignards"? In the orchestration of a work so varied in its emotion, the colouring of such a conductor as the Drury Lane one is that of the finished painter; he becomes, in fact, the tone-poet. The tempi were always safe and steady; now stately, anon bold and brilliant, seductive, and characteristic. It was just such a performance,— in its pomp, in its breadth, in its exactitude, in its piquancy, in its grandeur, as an English amateur or artist who is proud to assert our claim to be a musical nation can point out to a foreign musician, as showing the extent to which an ensemble can reach when there is a presiding director to carry out the conceptions of a creative genius like that of Meyerbeer.

If we were to dismiss our weekly record of operatic events with the notice of the revival of the Huguenots,' there would be no very great loss, for the infinitesimal merits of the artists who have appeared, as yet, would be, perhaps, better passed over in silence. Of what possible interest can it be to old opera-goers to dwell on the Marguerite of Mdlle. Marie Roze, at Drury Lane, which is to be followed by another delineation of Goethe's heroine by Mdlle. Smeroschi, at Covent Garden? Now, these two singers follow, in this part, Madame Miolan Carvalho, Mdlle. Tietjens, Madame Pauline Lucca, Madame Nilsson, and Madame Adelina Patti, every one of whom showed a special individuality in the realization of her "creation." The Margaret of Goethe is an abstract speculation. In personating the character, it is difficult to triumph over the thraldom of the position, for innocency is not idiotcy, nor is an unsuspected fall "a bag of all known mortal sins." The imitation of predecessors is no indication of a creative faculty. Mr. Bentham, who made his début at Drury Lane three seasons ago as Signor Bentami, has now a greater right to Italianize his name than he had formerly, for in singing his style is vastly improved. He sang the cavatina in the garden scene like a true artist, and he can launch a B flat in alt in the concerted pieces. Signor De Reschi re-asserted his claims as a vocalist with a rare organ, and, as Valentino, gave much promise of a bright and distinguished future. With the personal advantages they possess, Mr. Bentham and Signor De Reschi ought to be better actors. The Mephistopheles of Signor Rota, whose rentrée is most welcome, is well conceived. Madame Trebelli-Bettini's Siebel is romantically passionate; her singing of the two canzonets, the perfection of the vocal art.

The experience of last season at the Royal Italian Opera ought to have been sufficient to prevent the production of 'Il Ballo in Maschera' again with Madame Pezzotta's Amalia. In acting, Madame Pezzotta is too demonstrative; in singing, too deficient in style. A débutante, Mdlle. Bianchi, made a favourable impression in Oscar, the Page. Signor Cotogni was Renato, vice M. Maurel, indisposed. There was nothing lost by the change.

The most remarkable points about the revival of Mozart's 'Flauto Magico' last Monday, at Covent Garden, were the brilliant bravura displays in the two airs of the Queen of Night by Mdlle. Marimon, who, as usual, took the house by storm with her daring tours de force. She has no equal in the execution of roulades. Mdlle. Smeroschi was a lively Papagena, but she has not a sympathetic voice; and Signor Cotogni, a buffo Papageno, excellent in its way, if it did not make us forget Ronconi. The general conduct of the opera was steadier than any previous performance, for the bâton was wielded by Signor Bevignani, who, in Russia, is regarded as the most efficient director, and was preferred to Signor Arditi, who last season

succeeded Signor Vianesi at St. Petersburg, the latter not having found the same favour among Russian amateurs as he did recently with the Parisians. Signor Bevignani is free from fuss, is clear in his beat, and shows tact in sustaining the voices. It was quite a relief, both for eye and ear, to find him again in his place, and it is a pity he is not the permanent conductor; but, with five representations in the week, there need be two directors, double band and double chorus, whereas the only thing aimed at is to have a triple troupe of principals.

We are to have another Traviata next Tuesday at Drury Lane in Mdlle. Imogene Orelli.

CRYSTAL PALACE CONCERTS.

Of all Schumann's dramatic compositions, his setting of Byron's 'Manfred' is the one, perhaps, which has provoked the least difference of opinion; and there was great regret expressed, even by his strong opponents, that only the overture to that work was included in the festival of three days held in his honour, at Bonn, in August, 1873, when the cantata, 'Paradise and the Peri,' was given in its entirety, and excerpts were executed from the third part of 'Scenen aus Gothe's Faust.' At the two Conservatoire Concerts in Paris of the 29th of December, 1872, and the 5th of January, 1873, several numbers of 'Manfred,' with a French adaptation by M. Victor Wilder, were performed, the introduction of the work having been suggested, it was stated, by M. Thiers, then President of the Republic, who was present. Schumann's productions had till that time been little relished by the French connoisseurs and professors, his Symphony in в flat having been the only piece previously performed at the Conservatoire Société des Concerts. The second hearing of 'Manfred' certainly made many converts among the Parisians. We heard some of the old subscribers, the "big-wigs" of the Sunday afternoon réunions, freely admit that the music of 'Manfred' was a fine conception, coherently and consistently carried out by the composer. Doubtless the popularity of Byron's poems in France influenced the verdict in favour of Schumann; but there is less in Manfred' of the obscure, the confused, and of the unintelligible, which are to be found in too many of Schumann's feverish inspirations. It is to be regretted that Mr. Manns, at his benefit concert last Saturday, presented only a selection from the score. There were but four pieces, the overture, the Adjuration of the Witch of the Alps, the Hymn of the Evil Agencies, and Manfred's Address to Astarte; yet these, we venture to state, are by no means the most striking of the numbers. The overture, except at the close the impressive adagio, the poetic pianissimo expressive of the death of Manfred in the abbot's arms-is scarcely suggestive of the story; the two subjects are not salient enough to dwell on the ear; and the combined influences of Spohr, Weber, and Beethoven are recognized. The gems of the orchestration are in the 'Ranz des Vaches,' in the entr'acte between the first and second acts; in the calling for Astarte, a lovely nocturne; the orchestral monologue in the third part; the final "Requiem æternam," with choir and organ. We cannot expect at the Palace a mise en scène as in Germany when 'Manfred' is given, unless, indeed, the Directors would present Lord Byron's poem, which we could not call a "play," on their opera stage with Schumann's music. That would indeed be a treat. But in default of dramatic adjuncts, a narrator might declaim the outline incidents, as is done with Mendelssohn's 'Athalie.' If the experiment succeeded, as it very probably would, then Mr. C. A. Barry, who has so ably adapted Byron's words to the music of 'Manfred,' might try to perform a similar task with Schumann's scenes of Faust.' But, at all events, let us have the full score of 'Manfred' in the first instance.

Beethoven's Ninth Symphony concluded Saturday's scheme; the solos in the choral movement were given by Madame Lemmens, Miss A. Sterling, Mr. Lloyd, and Mr. Santley. Appended to Mr. Grove's analytical programme of this symphony, which has

so revolutionized orchestral writing, is a reply by Herr Manns to Herr Wagner's suggestions to alter and amend the instrumental passages of Beethoven, in which the composer of 'Lohengrin' contends that the manifest intentions of the Bonn master-mind are not realized. The arguments of the Sydenham conductor are mainly technical, but he might have taken a broader view of the suggested modifications. If they are begun, where are they to end? Additional accompaniments of wood and brass to fill out the weaknesses of the stringed, as in Handel's Messiah,' are allowable, but to alter Beethoven's orchestration is a very different matter. As regards the vocal parts, the pointing of the notes to bring them within the natural register of the human voice would be most acceptable, for the choral section of the Ninth Symphony never has been and never will be sung as written by Beethoven to be really effective and grateful to the ear.

The new violinist, Herr Otto Peiniger, a pupil of Herr Joachim, made a favourable début in his playing of Ernst's favourite Hungarian fantasia The new-comer possesses plenty of dexterity, but it is possible he may have played on three strings, for his tone lacked roundness.

Herr Manns had a cordial greeting as a recognition of his able services during the twenty-five concerts of the seventeenth series. A most enthusiastic reception was accorded to M. Gounod, who conducted his march, 'The Funeral of a Marionette.' It was rapturously re-demanded, and if it had been heard a third time no one would have been sorry to listen again to one of the most piquant and witty orchestral pieces ever written.

Musical Gossip.

THE Prince of Wales, who evinced tact as chairman at the Royal Society of Musicians last Monday, threw out a good suggestion in one of his addresses, that the benefits of the institution should be extended to musicians who reside outside the metropolis. We have on former occasions called attention to the fact that the association as constituted comes under the denomination of a friendly society, the subscribing members of which can alone derive substantial benefit from the funds. It is true that small grants are made at intervals to non-members, but the patrons and supporters imagine that the subscriptions raised at the annual dinners go to aid indigent musicians and their families generally. This is not the case; and cases are constantly occurring where independent appeals to private benevolence are made, because the distressed artists have no claim on the Royal Society, not having been members of it. We cannot state that the musical selection was at all up to the standard of excellence of former times, but the subscriptions reached nearly the sum of 1,0007.

THE third concert of the Philharmonic Society Philharmonic will be given this afternoon (Saturwill take place next Monday. The third New day), and the fourth next Wednesday. The second Matinée of the Musical Union is fixed for cital will be on the 8th inst. In the evening the next Tuesday. Herr Halle's first Pianoforte Reannual performance of the Messiah,' in aid of the funds of the Royal Society of Musicians, will take place, in Exeter Hall.

THE forty-second season of the Sacred Harmonic Society terminated last evening (May 1st), in Exeter Hall, with the performance of Sir Michael Costa's oratorio, 'Naaman,' too late for notice in this week's Athenæum.

HERR SUPPE'S burlesque operetta, Galatea,' was performed at the Crystal Palace last Tuesday, sustained by Misses E. Collins and A. Newton, Messrs. F. Wood and F. Sullivan, followed by Mr. A. Sullivan's 'Cox and Box.'

MR. BRINLEY RICHARDS will deliver a lecture, on the National Music of Wales, next Thursday, at the meeting of the Society for the Encouragement of the Fine Arts, with vocal and instrumental illustrations.

THE Crystal Palace Directors announce a series of nine Summer Concerts, commencing this day (May 2nd), and ending on the 25th of July. It is gratifying to find the statement in the prospectus, that seven of these programmes will be devoted to our national music, as represented in the works of Purcell, Gibbons, Bishop, &c., as well as orchestral pieces by our best modern composers. On the 30th inst., Signor Randegger's successful cantata, Fridolin,' will be produced. The Handel orchestra is being prepared for the Festival next June, to accommodate the 4,000 executants under Sir Michael Costa's direction.

THE Annual Festival of the Sons of the Clergy will be celebrated in St. Paul's Cathedral on the 20th inst. There is to be a full orchestra, and Mendelssohn's "As the hart pants" will be rendered.

A NEW sacred cantata, 'Supplication and Praise,'

by Dr. Sloman, will most probably be performed

in London during this season.

THE first representation of a one-act opera, in verse, by M. Thomas Sauvage, the music by M. Ambroise Thomas, took place in Paris, at the Théâtre National de l'Opéra Comique, on the 22nd ult. The work is entitled 'Gille (father) et Gillotin (son), the former sustained by M. Ismaël, the baritone-basso, and the latter by Mdlle. Ducasse, soprano. The other characters are represented by Mdlle. Nadaud, Mdlle. Reine, MM. Neveu and Thierry. The overture and three solos were encored. It was a decided success. As our readers are aware, it was brought out against the will of the composer, who, however, as well as the Director of the Opera house, were compelled, by legal proceedings taken by the poet, M. Sauvage, to perform 'Gille et Gillotin. The fact is, it is a very early operetta by M. Thomas, in the style of his 'Caïd' and Double Echelle,' with which he first acquired fame years ago; but he has since composed 'Hamlet' and Mignon,' and having soared to Shakspeare and Goethe, how could he descend to the inspiration of a Sauvage? M. Thomas feels remorse for his 'young sins," as he calls his early operas. His 'Caïd' created M. Offenbach, but his 'Hamlet' and 'Mignon' have not extinguished the 'Huguenots' and 'Dinorah.' As Herr Wagner repudiates Rienzi' and the 'Flying Dutchman,' so does M. Thomas scornfully cast off his 'Caid,' one of the most amusing burlesque operas ever heard on a lyric stage. In a letter to the Director of the Opéra Comique, he angrily maintains that he cannot admit, despite the decision of the law courts, that "les droits du musicien puissent être primés par ceux de son collaborateur." He adds, he does not object to 'Gille et Gillotin' because it is in one act, as the importance of a work depends on sentiment and style, "l'art élève, ennoblit tout, jusqu'aux sujets les plus frivoles." If he entertains these notions, it is a pity M. Thomas quarrelled with his collaborateur, whose libretto is amusing, and the setting of which has turned out to be a triumph both for poet and composer.

THE season of MM. Maurice Strakosch and Merelli, at the Théâtre Italien in Paris, will end next Tuesday (the 5th inst.). As the subvention has been withdrawn by the Legislative Assembly, it is doubtful whether the directors will risk

another season.

M. CHARLES LECOco's new opera, 'Giroflé Girofla,' which is so successful in Brussels, will be produced in Paris at the Renaissance. The English adaptation, after a long competition between directors and publishers here, will be brought out at the Islington Philharmonic Theatre, the French composer and authors being guaranteed, according to rumour, 1,5001. for the rights of representation and of publication.

THE Brussels Théâtre de la Monnaie, seemingly one of the most disastrous operatic undertakings in Europe, closed on the 30th ult.

M. CHARLES LECOco has undertaken to set, for the Variétés in Paris, the comedy, 'Près-Saint Gervais,' by M. Victorien Sardou.

SIX farewell representations of the Strakosch Italian Opera Company were commenced in New York, at the Academy of Music, on the 20th ult., with Herr Wagner's Lohengrin,' sustained by Madame Nilsson, Miss Cary, Signori Campanini, Del Puente, Nannetti, and Herr Blum. On the 22nd ult., Madame Pauline Lucca was to appear as Zerlina in Fra Diavolo.' Mdlle. De Murska has been creating a great sensation in Donizetti's 'Linda' and Meyerbeer's Dinorah.'

DRAMA

THE WEEK.

VAUDEVILLE,—'Pride,' a Comedy, in Three Acts. By James Albery.

THE Conditions under which the writing of comedies is attempted in England are fatal, dramatist supplies a company with a comedy, or nearly so, to all chance of good work. A so to speak, by contract. He takes the measure of the different members, and fits them, as nearly as he can, out of the re-adjusted fripperies, of which his closets are full. If, after his work is finished, an accession is made to the company, the limits of his piece must be stretched so as to include the new-comer. these conditions must be attributed the fact that To Mr. Albery's comedy of Pride' comes short of the reputation of its author. It is not less original than his previous works-it is not deficient in characterization; and, amidst much dialogue that is strained and artificial, it has some genuine wit and some highly dramatic utterances. Nature, however, has been sacrificed to convenience; characters have been lugged by the ears into the play, because competent expositors are at band; and the repast provided resembles less a dinner whereat wellselected guests sit in order than a table-d'hôte, where people scramble for their seats and take them as they arrive. Of the dozen characters taking part in the action of 'Pride,' three, at least, are not only unnecessary, but out of place. Their intrusion serves to confuse the action, and prevents other personages necessary to the play from receiving adequate

elaboration.

The men and women in Pride' are more than mere stage types. In exterior respects they may, perhaps, conform to existing models. There is always, however, a distinguishing characteristic, needing only to be brought forward and made intelligible, to render them recognizable beings. Fearful, it may be supposed, of afflicting an audience with the psychological explanation for which all taste is lost in England, Mr. Albery gives results without processes, and startles us with surprises. Where, accordingly, one of his conceptions ceases to be stagey it is apt to become improbable. No stronger instance of this can be advanced than Sir Ball Brace, in 'Pride.' Sir Ball Brace is a man endowed with a refined sensuality. He has denied himself nothing, man," and has found, when, in due course, ruin has gone through his income like a "gentlecomes upon him, nothing left of his former splendour except a taste he is unable to gratify for gambling. While, accordingly, like Horace Skimpole, or like the popinjay with whom Percy was pestered, talking,

-with many holiday and lady terms,

about the harmonies of nature, Sir Ball Brace begins to pilfer small sums from the desk of his "brother, the merchant," and accepts, as a proper concession to his own superior position

and refinement, the startling self-immolation of a workman who accepts the burden of his guilt. So inadequately filled up are the outlines of this very conceivable character, that it appears distorted, incongruous, and impossible. It would be easy to show a like want of finish in other characters-in all, indeed, except Cadbutton, the merchant, who is depicted with a care contrasting strangely with the negligence elsewhere displayed.

Some

'Pride' is wholly devoid of plot, properly so called. There is no middle action whatever. One act opens out what promises to be a story, a second keeps it at the same point, and a third closes it. Since the day when The King of France, with forty thousand men, Went up a hill, and so came down again, Ado about Nothing." Mr. Cadman Cadbutton, there has been no stronger instance of "Much reserved, haughty, and unscrupulous, is anxious, unlike most self-made men, to hide his past history, and to be accepted as a country gentleman. Greatly to his disgust, he finds in Barnabas Smith, a workman employed in some miscellaneous repairs about his house, his own son, whom, at the outset of the prosperous portion of his career, he had abandoned. Quite unaware is the youth of his claim upon his prosperous employer. Unfortunately, Mr. Cadbutton's secretary, a certain Frank Leyton, who is of an inquisitive disposition, has learned that there is a mystery connected with the birth of Barnabas, and has undertaken to solve it. He is already near success, and might any day stumble on the truth. In order to defeat him, Mr. Cadbutton tries sharp measures, dismissing him from his service with ignominy, and with an imputation of dishonesty. These processes failing, he adopts contrary tactics, and bribes him to silence with the hand of his daughter. difficulty is occasioned the young lady by the variable policy of her father. She finds herself at first compelled to refuse the man she loves, then to summon him back and bid him hope, at the moment when she has solemnly assured him her determination not to have him is irrevocable. Neither bribe nor menace, however, can influence Leyton. He goes straight to his end, and Mr. Cadman Cadbutton sees himself obliged to acknowledge the "poor, but honest," mechanic as his son. Compensation for this defeat is furnished by his success in an election contest, which from the beginning of the play has been impending. Here Pride,' for no reason, terminates. Its story, so far as it can pretend to a story, consists of the exposure of Mr. Cadbutton, who is compelled to acknowledge with very questionable taste, exchanged the a son he has deserted, and to own that he has, familar patronymic of Smith for the unenviable surname he now bears. Some agreeable scenes and situations are brought about. The lovedelightfully fresh, natural, and tender, and making between Leyton and Gertrude is some of the dialogue is humorous and pointed. The most forcible scene, however, which is reached at the close of the second act, comes upon the spectator with a shock wholly subversive of the effect it might otherwise have had. So nebulous and indistinct is the last

act, that the spectator feels almost as if he had commenced to watch a performance waking, and was finishing it in a dream. The play, indeed, is like one of those waterfalls, not

uncommon in Switzerland, which commence a considerable body of water, but end in spray before they reach the bottom.

The acting throughout was creditable. Mr. Farren, as Cadbutton, gave a singularly clever representation of vulgarity and meanness asserting themselves through a thin veneer of courtesy. Miss Amy Fawsitt's mannerisms are suited to the character of Gertrude, her representation of which was touching. In Sir Ball Brace Mr. James showed capacity to deal with a class of parts altogether outside the line in which he is known; and Mr. Thorne, as Barnabas Smith, gave a piece of sincere and earnest acting. The character of Frank Leyton is difficult; Mr. Warner made something of it, though he wore habitually a pained look, which was not always in keeping with the part. Miss Kate Bishop was agreeable as a schoolmistress. Mr. Horace Wigan and Miss Larkin played two characters so completely outside the framework of the picture, that no talent in acting could render them acceptable.

Dramatic Gossip.

'LA MARÂTRE' was repeated on Monday at the Princess's, and 'L'Honneur de la Maison' on Tuesday, for the farewell of Madame Marie Laurent. On Thursday, 'Gavaut, Minard et Cie,' by M. Edmond Gondinet, and 'L'Été de la Saint-Martin' of MM. Meilhac and Halévy, were performed for the first time this season.

MADAME FAVART, who is at present at Liége, will make her first appearance in London, this year, on the 11th inst., in 'Le Sphynx.'

'THE BELLS' was revived at the Lyceum on Saturday last, with Mr. Irving in his original character of Mathias. Mr. Irving's performance, though still ultra-realistic in demonstrations of physical agony, is less strongly accentuated than previously, and rises, in some places, to a remarkable display of power.

THE St. James's Theatre will to-night, re-open with a performance of Mr. Robertson's comedy of 'Progress,' and with M. Offenbach's opéra-bouffe, 'Vert-Vert.'

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"Prompt in opinion as in action, he makes up his mind when nineteen out of twenty men would be hesitating, and generally he jumps pretty nearly to a just conclusion. We are struck throughout his volume by the shrewdness of his surmises when he is guessing in the dark, and of the frequency with which his hurried judgments are con firmed."-Times.

"He fairly wins admiration by the frank and yet stern eloquence of his narrative."-Telegraph.

Mr. Stanley writes in a brisk and characteristic style, full of picturesqueness and vivacity..... We commend it as a spirited and graphic story of an expedition which reflected credit on all who took part in it."-Standard.

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NOTICE.

THE death of M. Serret, well known for his novels, contributed to the Revue des Deux Mondes and other periodicals, is announced from Paris. In 1846, M. Serret, then in his twenty-fifth year, made his dramatic début at the Odéon, with a three-act comedy in verse, entitled 'Les Touristes.' Subsequently, he contributed to the same theatre, 'En Province,' 'Un Mauvais Riche,' and 'Que dira le Monde'; to the Français, 'La Paix à tout Prix'; and to the Gymnase, Les Fonds Secrets,' 'Les Incertitudes de Rosette,' and 'Un Ange de Charité.'

A PETITION, signed by actors and managers, has been sent to Marshal MacMahon, requesting him to re-consider the question of the freedom of the theatres. The Marshal has asked for further information.

'LE POLONAIS D'EN FACE,' a vaudeville, in one act, by MM. Félix Savard and Alfred Aubert, has been played at the Folies-Marigny.

A UNION has been made between the companies Renaissance of the Bouffes-Parisiens and the theatres. The united company is now giving, at the Bouffes, 'La Chanson de Fortunio,' 'La Pomme d'Api,' and 'Les Rendez-vous Bourgeois.'

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TRAVELS in PORTUGAL (continued). By John Latouche.
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